Clare Wallace is Managing Director and Literary Agent at Darley Anderson in London — a fiercely voice-driven champion of children's and YA fiction who hunts for unforgettable characters, high-concept hooks, and authors with something meaningful to say.
In brief
Her heartland is YA in all genres, but her list spans picture books through to a boutique selection of adult fiction — she is genuinely one of the broader-remit children's agents working in the UK market today.
Voice is her single biggest filter: she describes it like hearing a song on the radio and instantly recognising the artist — distinctive, authentic, and irreplaceable. Submit without a strong narrative voice and she will pass.
She has a particular appetite right now for YA/NA romance, romantasy, and horror — especially 'horromance' mashups — signalling a clear commercial lean toward genre-forward YA with emotional heat.
Her clients' track record is substantial: Sunday Times and New York Times bestsellers, Irish Book Award winners, Carnegie longlists and shortlists, Branford Boase shortlists, and Waterstones Children's Book Prize nominations. She was herself shortlisted for British Book Awards Agent of the Year in 2024.
She actively and explicitly prioritises submissions from under-represented writers — this is a stated value, not a footnote.
Lately
In her current wishlist, Clare emphasises that horromance — horror and romance fused — is a specific mashup she is actively seeking, signalling a very current appetite for genre-blending YA that combines emotional stakes with genuine terror.
What Clare is looking for
This is Clare's declared heartland and she is always actively seeking it. Every sub-genre is on the table: contemporary, fantasy, horror, thriller, romance, and genre mashups. She is especially drawn to stories with a strong narrative voice, high stakes, and something genuinely worth saying. The emotional register matters as much as the plot.
She explicitly flags YA/NA rom-com, high-concept romance, and romantasy as categories she is keen to find. This is a current commercial priority, not just an openness — she is actively hunting for love stories with a distinctive hook.
A terrifying horror or a twisty thriller will win her over, and she is particularly excited by mashups of horror and romance — a sub-genre she specifically names. The horror needs to genuinely frighten; the thriller needs real narrative tension and surprise.
She wants two distinct flavours: big-world adventure fiction with new settings and inventive magic systems on one hand, and grounded contemporary stories centred on friendships, family, or issues seen through a child's eyes on the other. Originality of world or emotional specificity of situation are her entry points.
Humour is a through-line across her entire list and she states she is always, always looking for it regardless of age category. Funny is not a genre for her — it's a quality she prizes in picture books, middle grade, and YA alike. Several of her named clients achieve their impact partly through comedy.
She is always looking for new younger illustrated fiction and graphic novels. This is a consistent interest rather than an urgent gap, but it is genuine — she includes it in her wishlist alongside her major categories.
Picture books are on her list, spanning her full range from the very young upward. Her remit notes 'everything from picture books right through to YA,' establishing this as genuine scope rather than a legacy claim.
She carries a small, selective adult fiction list described as 'boutique.' This is not a primary focus, and writers querying adult fiction should understand they are pitching into a very narrow, carefully curated space. Strong voice and a compelling hook are even more essential here than elsewhere on her list.
Non-fiction appears in her listed favourite genres, suggesting openness to children's and YA non-fiction that meets her voice-driven and high-concept standards. This is not a loudly stated priority, but it is a genuine opening.
Not the right fit
On Clare's list
Taste fingerprint
How to query Clare
Email her directly using the address published on her agency page — it is her preferred and stated submission channel.
Lead with your hook in the very first lines. She describes herself as a bookshop browser: she needs to be stopped in her tracks immediately, not warmed up gradually.
Make your authorial voice audible in the query itself, not just in the pages. If your letter is generic but your manuscript is distinctive, you've already undermined your pitch.
Answer the question she explicitly poses: why is this the book only you could write? What is your unique angle, experience, or perspective? Build this into your covering letter.
Name the age category, genre, and any relevant mashup upfront. She represents a wide range, so clarity about where your book sits helps her evaluate fit quickly.
If your book is funny, say so — and show it. Humour across all ages is a standing priority for her, and a witty, lively query letter that reflects the tone of the manuscript will resonate.
If you identify as an under-represented writer, it is worth noting this — she has stated this is an explicit and active priority, not a passive one.
Follow any submission guidelines published on her agency's current submissions page, which may specify page counts, format, or accompanying documents. Check these at query time as they can change.