Julie Satow and Alice Robb sit down with Laura McGrath, the author of Middlemen to tell the surprising story of how literary agents went from magazine brokers to the most powerful figures in American publishing. Through archival sleuthing, vivid fieldwork, and data that brings catalogs and auction-room drama to life, this episode traces pivotal moments — from the first auctions to the birth of the super agent — and the intimate, sometimes fraught relationships that shape what readers get to see on shelves.

Listen as they weave anecdotes about deals, loyalty, and gatekeeping with sharp reporting on today’s shifts: agents as editors, agents on Substack, and the ways technology and consolidation are rewriting old rules. It’s a fast-moving, character-driven narrative that reveals not just how books get made, but who gets to decide.

Have you ever wondered about speakers' bureaus and how they work? Or wondered whether they might make sense for you? Speakers' bureaus can be controversial, with some authors adamant that they are not worth the cost, while others are big believers in the benefit of increased visibility.

Join Alice and Julie as they talk with Christie Hinrichs, the Director & Events Agent at Authors Unbound, a full-service literary speakers bureau that represents more than 300 authors and manages nearly 1,000 events every year. Christie, who lives with her partner and teenage son in Bend, Oregon, managed several Visiting Author Series and worked as an independent booking agent before founding Authors Unbound in 2018. She talks with Alice and Julie about what sorts of authors are a good fit for her company, what authors can do to book more speaking gigs, and what Authors Unbound brings to the table.

For our inaugural episode of Season 2 of How Books Work, Julie and Alice delve into the obtuse world of foreign rights, perhaps one of the least understood aspects of the publishing industry. Did you know, for instance, that half of all books published in Germany are translations, while only 3% of US publications are? Or that UK publishers are now booking their schedules so far in advance that some editors can't take on anything new until 2027? Have you ever had the surreal experience of finally selling a book, then hearing from your agent that it also sold abroad, then months later, getting sent your book, but with a completely different cover and in a language that you don't understand? How do these deals actually happen? And what determines whether your book finds readers in Italy versus Japan versus nowhere abroad at all?

To get answers to these mysteries, Julie and Alice speak with Allison Malecha, Director of Foreign Rights at Trellis Literary Management. Allison explains the hidden world of foreign scouts and shares stories of authors who flopped in America but became bestsellers in France. Whether you're curious about advances abroad or wondering why American narrative nonfiction still has such cachet internationally, then this conversation is for you.

Join hosts Julie Satow and Alice Robb as they talk with Anna Sproul-Latimer, founding partner and president of Neon Literary. A literary agent who has sold multiple New York Times bestsellers, and brokered major book-to-film deals, Anna dishes on recent posts from her popular Substack, “How to Glow in the Dark,” including one controversially titled, “Is Nonfiction Dead?” Julie and Alice also ask Anna about marketing and publicity, what authors need to do to get a book deal today, and ideas for boosting their sales.

Anne Dickerson, CEO of the communications training firm 15 Minutes Group, helps authors like Maggie Haberman and Christine Blasey Ford prepare for high-profile interviews on radio and TV. In this episode, she tells us about the biggest challenges authors face when it comes time to pitching their books. (Distilling years of work into a two-minute soundbite?!) She gives us tips on how to handle an unwanted question, how a podcast differs from a radio interview, and what not to wear on TV.

Take a journey into the world of book marketing as hosts Julie Satow and Alice Robb speak with Anne Jaconette, a senior marketing manager at Doubleday Books. With nearly a decade of experience, Anne shares her expertise in developing ad campaigns, social media strategies, and partnerships for a wide range of nonfiction books. We talk about the difference between publicity and marketing, what sorts of book marketing are working these days, and what authors can do to help promote their work.

Anne has worked with writers including David Grann, Colson Whitehead, and Patrick Radden Keefe. She shares insights into how she tailors ads and messaging for authors, what sorts of pitches and partnerships she finds most effective, and best practices for the all-important social media roll-out. Before joining Doubleday Books, Anne was a title marketer at Galley Books, an imprint of Simon & Schuster, and Abrams Books.

Publishing veteran Eamon Dolan—currently Vice President and Executive Editor at Simon & Schuster—has edited hundreds of books, including Eric Schlosser's FAST FOOD NATION, Richard Dawkins' THE GOD DELUSION, and Mary L. Trump's TOO MUCH AND NEVER ENOUGH. He makes his debut as an author next year with THE POWER OF PARTING - which draws on his own experience of physical and psychological abuse in childhood, as well as research on trauma and interviews with other survivors.

In one of Eamon's first interviews about his upcoming book, he discusses the difficult topic and what drew him to it, as well as what it's like to write his own book after thirty years of editing others'; what he looks for in a proposal; and what all the books he acquires have in common.

Susan Canavan, a literary agent at Waxman Literary Agency, discusses the current state of nonfiction books, the role of AI in publishing, and how the industry is changing. She also shares insights on how important author platforms are for book deals, what makes a successful book launch, and what she looks for when working with clients. Susan also explains why she transitioned from editor to agent and the delicate balance she has to manage when talking to authors and managing their expectations.