I support DHA’s managing director Lizzy Kremer with her list and I am also actively building an exciting non-fiction and fiction list of my own.

I am actively looking for non-fiction work that appeals to broad audiences. I am drawn to work that helps us understand ourselves, equipping readers with knowledge about the bodies we exist in, the contexts we come from, and the world we live in.

• Platform-led and brand tie-in (including illustrated and gift), and pop culture.
• Health and psychology: practical-led health (particularly women’s health) and wellbeing; sex, sexuality and relationships; popular psychology.
• History: I’m interested in (primarily) modern history and finding new ways of telling histories by amplifying forgotten stories and voices, finding inventive structures, or something else entirely. Good examples are We Don’t Know Ourselves by Fintan O’Toole, The Holocaust: An Unfinished History by Dan Stone, and anything by Philippe Sands.
• Feminism: Work across genres with intersectional and inclusive feminist approaches – whether cultural commentary, art, investigative journalism or something else. I adored The New Age of Sexism by Laura Bates, Love In Exile by Shon Faye, The Chain by Chimene Suleyman, and work by thinkers such as Maggie Nelson, Roxane Gay and Lauren Elkin.

I am also actively looking for accessible literary fiction submissions. I look for propulsive plots, lyrical writing, and nuanced interrogations of social, political and historical themes. I particularly love work that deals with the legacies of conflict and history, particularly if intertwined with humour or a sweeping love story.

As examples of my taste, my favourite novels include The Bee Sting by Paul Murray; Close To Home by Michael Magee; Moving Kings by Joshua Cohen; Martyr! by Kaveh Akbar; Evenings and Weekends by Oisín McKenna; Flashlight by Susan Choi; Confessions by Catherine Airey; In Memoriam by Alice Winn, and Trespasses by Louise Kennedy.

I also have a weakness for zeitgeisty, contemporary fiction with an addictive voice, like Green Dot by Madeleine Gray, The Rachel Incident by Caroline O’Donoghue, and Good Material by Dolly Alderton.