In an increasingly complex global publishing landscape, foreign rights agents play a crucial role in connecting authors with international audiences. PW recently spoke with Daisy Meyrick and Helen Manders, two of CAA’s leading foreign rights agents, about current market trends, emerging opportunities, and the evolving nature of their work. The following Q&A provides insights into the dynamic world of international publishing rights.
How would you describe the current state of the translation rights market?
HM: Despite concerns about English-language dominance, we’re seeing a robust market for translation rights. We have 30 agents now across the U.S. and U.K., with a very eclectic list. There’s something for every editor, which is exciting for us to work on.
DM: We’ve recently expanded our roster to include more international authors, including two Swedish writers. We’re becoming more international, which mirrors publishers’ tastes.
How are English-language exports faring in international markets?
HM: The impact varies by genre and target audience. What we’re seeing with some of the older readership in the translation markets is that they do want to read in their local language. Interestingly, the rise of social media phenomena like “BookTok” has created a dual market in some countries. Readers actually end up buying two copies of the book. They buy the English-language version to do the TikTok stuff with, but the one they’re actually reading is the Danish or Norwegian edition.
Are there any emerging markets or genres that you’re particularly excited about?
DM: We’ve seen increased interest from Spanish-language publishers in North America. We’ve definitely had more requests this year for meetings at Frankfurt with people we haven’t necessarily met before. We recently had a three-publisher auction for Spanish North American rights to Xóchitl González’s Anita de Monte Laughs Last, which is an example of the market’s growth.
HM: In terms of genres, we’re seeing continued demand for romantasy titles, as well as strong interest in narrative non-fiction and investigative journalism.
How important are book fairs and face-to-face meetings in your work?
DM: Despite the rise of virtual communication, nothing beats face-to-face. It’s such a relationship-building business in so many ways.
HM: These events create a unique energy around new projects. You’re all building this buzz together. There’s this whole feeling of things starting, energy around books and new projects that I just absolutely love.
How do you balance the demands of your work with the need to stay current on new books and authors?
DM: It’s a constant juggling act. Some people outside the industry think we just come into work every day and read at our desks, but that’s far from reality. Our days are filled with negotiations, phone calls, and deal-making. The actual reading happens outside of office hours—while you’re making risotto, brushing your hair, or during any spare moment you can find. It’s a passion that extends well beyond the nine-to-five.
HM: Absolutely. And it’s not just about reading. We’re always on the lookout for new talent and trends. That means attending creative writing courses, poring over scientific journals, newspapers, and constantly digging through the slush pile. We encourage everyone on our team, even those just starting as assistants, to keep their eyes open for potential new voices. It’s a multi-layered approach that requires dedication and enthusiasm for discovering the next great story.
Can you share any recent success stories or titles you’re particularly excited about?
HM: One that always comes to mind is Big Swiss by Jen Beagin, which Scribner published in the U.S. last year. It’s such a brilliantly hilarious novel that appeared on the Indie bestseller list and numerous other charts. We’ve completed about six or seven translation deals so far, but I still bring the cover with me to every book fair to show people. Beagin’s voice is just so brilliant, distinctive, and interesting.
DM: I’d add Orlando Whitfield’s All That Glitters, published by Pantheon and Profile. It’s a fascinating look at the fraudulent art dealer Iñigo Philbrick. While we didn’t initially get quite the traction we wanted, there’s now an HBO option. I think once that adaptation moves forward, we’ll see a longer selling cycle. We never stop working on a book, and I feel like we’re operating on a much longer sales timeline now than we were a few years ago. This extended cycle allows us to continue finding opportunities for our titles long after their initial release.
A version of this story previously ran in the 2024 PW Frankfurt Show Daily.
