Hattie Grunewald is a commercial and upmarket fiction specialist at The Blair Partnership whose taste runs toward voice-driven, conversation-starting novels—think bold family dramas, atmospheric historical fiction, and cleverly plotted crime—with a consistent appetite for marginalised voices and books willing to engage with feminism, identity, and mental health.
In brief
Grunewald's publicly named touchstones—Liane Moriarty, Tana French, Taylor Jenkins Reid, and Torrey Peters—map a clear taste profile: commercial yet substantive, emotionally intelligent, voice-led, and unafraid of identity politics or moral complexity.
Regional crime is a stated passion; writers with a strong sense of place should flag it prominently in their pitch.
A February 2025 public note specifically called out epic, slow-burn love stories with long timespans and fated romance—a concrete, timely signal for romance and upmarket fiction writers.
Grunewald explicitly invites submissions from disabled, chronically ill, and LGBTQ+ authors, and seeks books that identify as feminist—these are active priorities, not box-ticking.
Submission format requirements are unusually strict: a single Word or PDF attachment, a one-line elevator pitch in the body, and the first thirty pages plus a one-page synopsis. Any deviation means an automatic pass.
Lately
Grunewald put out a specific call for an epic love story: two people finding their way to each other across a long timespan, fated romance, obstacles that feel real—and a final page that earns its emotional payoff. The emphasis on sustained hope throughout the narrative suggests a preference for romances that resist easy resolution.
What Hattie is looking for
Grunewald wants novels with genuine cultural currency—stories that feel of-the-moment, spark conversation, and carry a 'you have to read this' urgency. Multi-layered family dynamics, high-concept love stories, and fiction willing to tackle complex social or emotional terrain all sit squarely in the wheelhouse. Think the tonal and thematic territory of Liane Moriarty or Kiley Reid: readable but not slight.
A February 2025 public signal was unusually specific: Grunewald wants a love story that spans a long timeframe, where lovers find each other against considerable odds and the reader is kept hoping until the final page. Fated romance, emotionally sustained arcs, and a sense of destiny are the operative notes here.
The appetite here is for the under-explored and the atmospheric: settings or figures that mainstream historical fiction tends to overlook, rendered with an escapist sensibility. The range is deliberately wide—from gothic-tinged historicals to sweeping historical romance—so the unifying requirement is an unusual angle and immersive world-building rather than a specific period.
Grunewald is actively building in this space across three distinct flavours: immaculately constructed detective fiction, taut psychological thrillers, and witty cosy crime. Regional crime with a strong sense of place is a standing priority. Crime that doubles as social commentary—using the genre to probe wider issues—is especially welcome. Tana French is the named north star for quality and ambition.
These are not just acceptable categories but actively sought ones. Grunewald wants books that are unafraid to declare themselves feminist and stories that centre LGBTQ+ lives with authenticity. Fiction at the intersection of identity, body, and social expectation—as in Torrey Peters's work—fits the brief well.
Grunewald takes a narrow slice of non-fiction, focused on lifestyle and personal development. The publicly listed non-fiction categories also include memoir, psychology, and pop culture. Projects here would need to be unusually strong—this is not a primary focus, and the fiction wishlist clearly dominates Grunewald's attention.
Not the right fit
On Hattie's list
Taste fingerprint
How to query Hattie
Submissions go to a dedicated email address (hattiesubmissions@theblairpartnership.com) — use it, not a general agency inbox.
Put the manuscript's working title in the subject line; nothing else is specified for the subject, so keep it clean.
The email body must contain: a one-line elevator pitch, a short blurb, the target market and genre, and any writing competitions or prizes you have won.
Attach the first thirty pages of your manuscript AND a one-page synopsis together in a single Word or PDF document. Two separate attachments, or any other file format, will be declined without reading.
Do not use Pages, Google Docs, WeTransfer, or Dropbox — these formats are explicitly rejected.
Grunewald's touchstones are commercially minded but thematically rich; if your novel has a social or identity-related dimension (feminist themes, LGBTQ+ characters, mental health, disability, chronic illness), state it plainly in your blurb — it is a selling point here, not a risk.
For crime submissions, lead with your regional setting if you have one — it is a standing priority on the wishlist.
For romance and love story submissions, the February 2025 signal about long timespans and fated romance is unusually specific — if your book fits, mirror that language in your elevator pitch.
The form was closed as of late May 2026. Verify the live submission form before sending — windows can reopen without announcement.