The BIA was established in 2012 by Ben Illis to offer specialist literary representation, focussing on writers of Children's, Young Adult and crossover fiction and select clients who also write for adults. We work directly with publishers around the world, both directly and via a network of sub-agents and scouts. More after the slideshow....

Why us?

In this world of consolidation and conglomeration, many agencies and publishers are joining forces, pooling resources and growing in size to face off the competition. As a small agency, we can offer a personal service, working more closely with our clients to build their work into as commercial a prospect as possible. We are in constant contact with editors at UK and international houses - both large and small - as well as, of course, the Film and TV world - and pride ourselves on finding the right home on the right  list for the right book.

What are we looking for?

Put simply: We are looking to be transported. We look for the sorts of stories that make us want to stay up late under the covers with a torch, squeezing in just one more chapter before we fall sleep.
Help us unleash the child within!

Here's just a few of the specifics we look out for:
VOICE - The toughest thing to fix. Voice needs to be authentic and compelling from the off.
POWER - Nothing worse than a kids' story in which adults retain power. Empower your kids in an original way.
POINT OF VIEW - If your protagonist is a child, let's see their world through their eyes AND from their height.
PACE - Get the story started and keep it moving. Watch chapter length. Keep prose spare and drive the story on.
NARRATIVE ARC - Sequels are important, but give your reader some satisfaction before leaving them hanging.

The process...

Very rarely do we encounter a story that is ready to go. The first step is to meet with potential clients and discuss ideas and possible editorial directions for their manuscript. It is crucial that both parties agree they can work together and that potential clients demonstrate their ability to listen to feedback and take it on board, as well as, of course, defend their own intentions.

Some scripts take a couple of edits - of varying magnitude - some more. The important thing is that it is not a timed process. Books go out only when they are good and ready to compete in a highly challenging market. Keeping an open mind on the writer's part is key.

A bit more about Ben...

I have been lucky enough to work in many guises in the publishing industry over the past almost two decades. As part of the branch management team of Books Etc, I bought kids and YA books in stores across the whole of London. I was a co-founder of Old Street Publishing. I have been both sales director and marketing director of small publishers. I have acquired, commissioned and edited;  done picture research and ghost-written, all ahead of turning my hand to agenting. I am a published writer in my own right and have had the experience of working with agents both good and bad from the other (your) side of the fence.

I speak regularly at writers' conferences and festivals, such as the Winchester Writers' Festival; as well as to creative writing courses, such as The Golden Egg Academy, and groups like The London Writers' Group on writing for children and young adults and, of course, getting that all important publishing deal. I network with graduates of all the major creative writing degree courses and source clients and contacts from across the publishing world. All in all, I have a broad base of experience to draw on and a wide network of friends, colleagues and mentors within the industry to call on for advice whenever I see fit.

Any more questions? Head to the contact page...