Breaking into Publishing and Scouting Indie Talent with Flo Sandelson

In this episode of The Write and Wrong Podcast, host Jamie is joined by Flo Sandelson, an associate literary agent at the prestigious Curtis Brown. Flo shares her journey from working as a bookseller at Waterstones to navigating the “apprenticeship” model of publishing as an assistant to Felicity Blunt. She also breaks down how she is building her own client list—which leans heavily into the SFF (Science Fiction and Fantasy) and romantasy space—and why she actively scouts self-published indie authors who are proving their own market viability.

Key Takeaways:

• Bookseller experience is invaluable: Flo credits her time working at Waterstones with giving her a deep, practical understanding of the market and consumer trends, which helped her secure her role in publishing.   

• Publishing relies on an apprenticeship model: Flo worked as an assistant for three and a half years before being promoted, steadily taking on more agenting responsibilities and signing clients before officially getting the title of associate agent.   

• Co-representing offers high-level client care: Flo occasionally co-represents authors (like fantasy writer Marv Michael Lanson) alongside other agents, providing the author with multiple perspectives and ensuring someone is always available to handle their needs.   

• Agents are actively scouting indie authors: Self-publishing is no longer stigmatized; Flo actively monitors platforms like Kindle Unlimited (KU) and TikTok to scout indie authors who demonstrate rapid sales growth and audience engagement.   

• The "Romantasy" and SFF space is booming: Flo represents across the SFF spectrum (from literary speculative to commercial romantasy) for YA and adult readers, and is particularly hungry for crossover sci-fi and grand space operas.

  
  

The Bookseller Advantage

Like many in the publishing industry, Flo’s path began with a deep love for reading and an English literature degree. After graduating into the pandemic and working briefly in modern art, she took a job as a bookseller at Waterstones.   

Flo quickly realized that working on the front lines of retail provided an unparalleled education in the publishing market. She learned how books were packaged, what covers worked, and how trends—particularly those driven by "BookTok"—translated directly into sales. She noted that customers would frequently email the store demanding older, out-of-stock titles that had suddenly gone viral online. This deep, practical knowledge of consumer habits proved to be a massive advantage during her job interviews, ultimately helping her land an assistant role at Curtis Brown.   

Navigating the Publishing "Apprenticeship"

Flo describes the traditional path to becoming an agent as an old-school apprenticeship. She spent three and a half years working as an assistant across the lists of Felicity Blunt and Alice Lutyens. In the publishing industry, the goal of most assistant roles is not to remain an assistant, but to learn the trade and eventually step into the role of the person you are assisting.   

To secure her promotion to associate agent in 2022, Flo had to prove she could do the job before she held the title. She utilized the generosity of her colleagues, picking up internal submissions that other agents had passed on. By the time she was officially promoted, she had already signed three clients and negotiated two book deals. Today, she balances her time—roughly a 70/30 split—between continuing to assist Felicity Blunt and managing her own growing list of around 11 clients.

The Power of Co-Representing

Flo’s approach to agenting involves a lot of collaboration. She frequently acts as a sub-agent for US colleagues and also co-represents authors with other UK agents. When fantasy author Marv Michael Lanson queried Felicity Blunt, Flo spotted the submission, recognized its potential, and teamed up with fellow agent Kira Finon to approach the author.   

Flo explained that while co-representing is common in film and television talent agencies, it is becoming increasingly popular in publishing. By teaming up, the author gets two champions for the price of one (sharing the same commission rate) and benefits from two distinct editorial brains. It also guarantees high-quality client care; if one agent is on holiday, the other is available to handle urgent requests.

Scouting the Indie Market

One of the most fascinating shifts in the publishing industry is the changing attitude toward self-publishing. Flo actively scouts indie authors, noting that the indie route is more validated and potentially lucrative than ever before.   

When evaluating indie authors, Flo isn't just looking at total sales figures; she looks for rapid spikes in interest over short windows, particularly on platforms like Kindle Unlimited. Because the indie space moves incredibly fast, agents must act immediately if they spot a breakout hit. Flo noted that when an agent approaches a successful indie author to transition them to traditional publishing, they must think critically about how they can add value, ensuring any traditional advance justifies the author's potential loss of ongoing indie income.

Building an SFF and Romantasy List

Flo represents authors across the entire Science Fiction and Fantasy (SFF) spectrum, catering to both Young Adult and adult audiences. Her list ranges from literary dystopian novels—such as a project by German author Carla Hirsch—to commercial "romantasy" (romantic fantasy) and feminist mythological retellings.   

She is particularly interested in projects that straddle genres and age groups, noting that crossover titles (like fantasy with sci-fi or dystopian elements) have massive potential in the current market. While she is actively searching for a big, epic space opera, she tends to avoid heavy body horror or gore set in the real world, admitting she is a bit too squeamish for it.