Blue Pencil Agency First Novel Award 2025
The Award is open to unrepresented and unpublished authors for a novel in any adult fiction genre.
Winner: £1,000 + Agent Introduction
Runner up: £500 + Agent Introduction
Highly Commended: £150 + Agent Introduction
Submission:
To Enter Simply click on the icon below.
You will be directed to PayPal to make one payment of £25 per entry. After the payment is successful, you will be directed to the submission page automatically.
Note
After Payment, you will see a button labelled ‘FNA_Submissionxxxx’, in the Downloads row at the Checkout page.
Click on it to download the PDF file which includes a link to the submission page.
The link will also be in the email that will be sent after payment.

The Award
Literary Agent Judges: Hellie Ogden and Suzannah Ball from WME.
Author Judge: Samuel Burr
The team at Blue Pencil Agency will oversee all submissions.
Submission: Opening chapter or chapters up to 5000 words plus a 300 word synopsis and a covering letter.
Entry fee: £25 for each submission. Online entry only.
Closing date: May 31, 2025.
Favourite Lines: we will post our favourite lines on social media from April until the Long List announcement in July.
Need help with your submission?
Sign up to our live online Q & A with Hellie and Suzannah on April 1, 2025.
Purchase a recording of Emma Darwin’s tutorial on Hooks, Openings & Pitches
What we’re looking for:
· any genre with the exception of children’s fiction and non-fiction. YA is permitted provided there is an adult crossover.
· a strong voice.
· an original and unforgettable story that grips the reader.
· an attention grabbing first paragraph.
. the manuscript should be completed or close to completion.
Timetable:
The long listed writers will be contacted by email with announcements of the titles on the website in July.
Short listed writers will be asked to submit 20,000 words (includes the initial entry).
The winners will be notified by email and announced in October 2025.
Hellie Ogden
Literary Agent
Hellie joined WME’s London office as co-head of the UK Book division in 2023. She represents general fiction and children’s books and enjoys novels with bold storytelling, moving prose and vivid, thought-provoking characters. She is actively taking on new clients and as an editorially focused agent, she has a keen interest in helping to develop and nurture debut writers. She represents a number of global bestsellers and award-winning writers across genres including Kiran Millwood Hargrave, M.J. Arlidge, Samuel Burr, Fran Littlewood, Sharna Jackson and Jessa Hastings. She often speaks at writing conferences and mentors debut writers.
Hellie reads broadly, literary through to commercial, and in a bookshop will hunt for moral complexities, unusual twists and prose that will floor her emotionally and challenge her too.


Suzannah Ball
Literary Agent
Suzannah has been at WME since 2019 and is based in the London office. She works with a wide range of authors and is excited to be building her own list with an emphasis on all things romance, horror, fantasy and speculative fiction – anything that makes our own world feel larger than life, or draws readers in a new fantastical world, will be right up her street. She’s proud to work with authors who have a vivid imagination and are able to tap into a reader’s deepest desires.
Suzannah represents adult, young and new adult fiction, and is keen to work closely with both debut and experienced authors to help them develop material and ideas. Some of her clients include Instant Sunday Times Bestselling author Jennifer Delaney, #1 NYT Bestseller Philippa Rice, and Rachel Wood, among others. She loves working with authors from across the world and finding their books the right home outside of their primary market.
Samuel Burr
Author
Samuel Burr is a novelist and freelance TV executive. A documentary he shot inside a retirement village when he was eighteen years old launched his career in television and inspired his instant Sunday Times Bestselling debut novel, The Fellowship of Puzzlemakers, which has been translated into 18 foreign languages. Samuel’s writing was shortlisted for Penguin’s WriteNow scheme and in 2021 he graduated from the Faber Academy. He is a trustee of The Real Writers Circle.

Eligibility
- Authors must be over 18 years old at the time of entry.
- The Award is open to unrepresented and unpublished authors of fiction at the closing date of May 31, 2025.
- Writers must advise the organisers if they accept representation during the judging period or win any other prizes. They may still be eligible for the Award.
- Self-published authors are accepted. Entrants who have had other types of books published such as non fiction, memoir or poetry are also eligible.
- The novel must be completed or close to completion at the closing date of May 31, 2025. If you have written less than 60k words you might want to consider entering our Pitch Prize later in the year.
- Long-listed or short-listed entries in other competitions are eligible.
- Entrants may submit more than one novel but as separate entries.
- Entries must be written in English.
- Entries can only be submitted electronically via this site and payment made via Paypal.
- Entrants may withdraw entries but fees cannot be refunded.
- Judges’ decision is final. Judges are unable to comment on individual entries.
Assistance to writers on low incomes or from under-represented backgrounds
We’re offering a minimum of 20 free entries for UK based writers on low incomes or from communities currently under-represented in publishing.
Applications will be reviewed and the most promising submissions will be selected by the BPA team.
Please click here to Contact BPA with your application and, if relevant, proof of financial eligibility such as: Jobseeker’s Allowance; Disability Benefit; Income Support; Working Tax Credit; Child Tax Credit; proof of being a full-time student; Housing Benefit; proof of being a full-time carer.
All details will be kept confidential.

How to submit
- Please enter through the link on our website.
- Upload your opening chapter or chapters up to 5000 words plus a 300 word synopsis and a covering letter with some information about the novel and your career as a writer. Your submission should be three separate documents.
- Please ensure that the file name is the title of the story.
- Entries must be in either a doc., docx, or pdf. No other formats will be accepted.
- Entries must be double spaced in a clear font (Times New Roman or similar) and pages numbered.
- The novel’s title must be on every page.
- The covering letter should include the following details: your name, the title of your novel, your email address and telephone number, a brief bio and the genre of your novel if applicable (e.g. uplit, romance, contemporary, historical, psychological thriller, fantasy, crime, women’s, literary).
- Please tell us how you heard about the BPA First Novel Award. This helps us make the best decisions on marketing to help writers find our competitions.
- Click on the Pay Now button on the page and pay the fee.
- If payment is made using a different name, it is essential you include that name in your cover letter.


Interview with our Judges
Hellie Odgen
When reading submissions, what is it that makes you want to read on?
The feeling of reading something new and exciting is like nothing else. I can be drawn to so many different things but it’s often either an original voice, captivating setting or a big hook/idea that means I am desperate to read on.
What will you be looking for in the competition line up?
I’ve been fortunate to judge this prize in the past and I was blown away by the range of ideas and ambitious originality. Above all I want to feel truly connected to characters and plots that might be dark or light or funny or sad, but that carry you along effortlessly.
What do you look for in that first chapter?
I so admire writers who manage to create character and voice and a sense of suspense all fairly rapidly so you jump right in. I want to know why I should keep reading.
Any tips for the first page?
A great first line is a big win and there is often a confidence you can feel in the first page that comes from really knowing your story and characters.
How important is the synopsis and at what point do you read it?
I never look at it immediately – I will always turn to the novel pages first. They are hard to write and won’t make me judge your book less if it isn’t perfect. Sometimes I won’t look at it at all as I don’t want to ruin spoilers, other times I will dip in just to get a sense of where the story might be going. I’ll often also share a synopsis with my colleagues in TV and international to give them a quick feel of the book if I’m enjoying it.
You represent quite a broad range of genres. Is there a quality that you feel is integral to all the authors you’re attracted to?
I represent very commercial fiction through to literary and I approach it as I approach choosing a book in a bookshop. Sometimes I fancy dark and challenging, sometimes I want escapism. Readers often read broadly, and I want my list to represent that. What all my authors manage to deliver though is excellence in their space and to occupy smart gaps in the market so readers turn to them.
What genres do you not represent? For writers whose work doesn’t necessarily fit with the genres you currently represent, is it still worth their while to enter the competition?
I will honestly look at anything and if something isn’t the perfect fit, I have brilliant colleagues across WME Books who I can share material with. We are very close.
You have a reputation for being very hands-on editorially. Is that still the case today? How does this shape your reading of submissions?
I am extremely editorial. It means I don’t take on masses of new projects as I spend time perfecting what I do take on, but it means I will read your work with a very open mind, and I am not afraid of discussing big structural revisions with great writers.
How do you think your view will compare to Suzannah’s and Samuel’s?
I think we will all really complement each other! We all read widely and will undoubtedly find different strengths in novels, but I suspect we will all quite easily reach similar conclusions.
Any pet hates?
No – a good writer can make perhaps even obvious cliches great.

Interview with our Judges
Suzannah Ball
When reading submissions, what is it that makes you want to read on?
I want to be gripped from the beginning. That doesn’t mean you have to run straight into action, but the first glimpse of a character’s voice should be compelling. I want to see the beginning brushstrokes of a painting, not the whole picture.
What will you be looking for in the competition line up?
I’ll be looking for some great genre fiction, both commercial and literary. I love books that take beloved tropes and turn them on their head, and being led by authors in a new and exciting direction. I’m looking for anything that has that hint of something special, rather than trying to fit an exact mould.
What do you look for in that first chapter?
Set the scene. I want to have an idea of the main character (or one of them) and sprinkle in clues about what’s to come. There’s no right way to write a first chapter, but the best ones will always leave you wanting more.
Any tips for the first page?
Don’t write a gimmicky opening in order to grab a reader’s attention. Stay authentic to your story.
What are you looking for in the submission letter?
A good understanding of the space in which you’re writing. What authors do you see your novel standing alongside? Who are some authors that you think are good comparisons in the genre? Knowing that an author reads widely and is a fan of the genre they’re writing in is key to me. The best writers tend to be good readers.
You represent some pretty successful authors, including Instant Sunday Times Bestselling author Jennifer Delaney and #1 NYT Bestseller Philippa Rice. Do you think there’s a common ingredient to these authors’ success?
Jennifer and Philippa love the books they write. They engage with their fans and have built a community of readers, it’s really special to behold. I’ve so often found that writers who pour their heart into their books end up being the most successful because their writing feels authentic. Their character’s emotions become real and raw, and it allows readers to really connect.
In your bio, it states that you’re “keen to work closely with both debut and experienced authors to help them develop material and ideas.” Can you elaborate? How does this shape your reading of submissions?
I love to work collaboratively. For some authors, we may have a long chat about where the plot should go or what a character’s motivations are, and for others I’ll be working with them to edit the book on more of a sentence level. In both instances, I’m involved in the editorial process and feel lucky to have the privilege to support them at whatever stage they’re at in their writing career, whether that’s as a debut or if they already have one or multiple books out in the world.
In practise, when searching for new authors, I’m looking for potential. A submission doesn’t have to be perfect! And if I think there’s something really great at a book’s core, I’m excited to work with an author to polish it and get it where it needs to be in order for them to secure a book deal.
How do you think your view will compare to Hellie’s and Samuel’s?
I would say that Hellie and I have very similar views when it comes to good writing and storytelling, so I can’t imagine we’ll have very differing opinions when it comes to judging submissions. And while I’m obviously a fan of Samuel as a writer, I’m excited to see how our reading tastes might differ! Hopefully we’ll have some inspiring discussions.
Any other advice for entrants?
Write the book that you feel you need to write, not the book you think will sell.
Any pet hates?
Trust that the reader will follow you wherever you’re going. Over explaining can be the death of a good book, especially when it comes to worldbuilding. Don’t try and force feed every bit of context for your world to the reader right off the bat, let yourself build the world around the story.

Interview with our Judges
Samuel Burr
What will you be looking for in the competition line up?
I’m so excited to help find a fresh new voice in fiction. I know how tough the market is right now and how brilliant competitions like this are at breaking new talents, so I can’t wait to get cracking. I read quite broadly, but I’m always looking for stories to be a kind of escapism, to show me a side of humanity that I haven’t seen before, one that hopefully makes me feel better about the world.
Any advice for the first page?
The first page should contain a series of very deliberate choices. Start the scene as late as you can and leave as early as you can. Give us a snapshot of what’s to come, tease us and make us want more! What are we learning about the protagonists? The setting? The status quo by what you’ve put on the page? Every single line counts.
Top three tips for the first chapter.
Consider VOICE, CLARITY + MOMENTUM. These, I believe, are the three most important factors in nailing your opening chapter. Showcase your voice, write with concision, and start answering questions we might have about the world of your book.
When it comes to voice, we all have a different way of expressing ourselves. Of seeing the world. And only we can tell our stories the way we tell them.
To find your voice – one that feels unique to you – it takes some time and practice. It is something to be cultivated. Take comfort from this. It shouldn’t feel like a big reach, more like tapping into something. One that feels true to you. It should feel consistent, honest and not ‘put on’.
Clarity is key. Of Tone – is this a grisly horror book, an uplifting romance or a hilarious coming of age? Show us, quickly. Of Hook – a first page is a kind of extension of your pitch. It should be a reflection of what a reader is going to pay up to £16.99 for. A tease of what’s to come. Of Storytelling – be sure to limit any possibilities for confusion as readers find their feet in your story. Of World – establish where we are, paint the scene, build the world (and lay out the rules) of the novel’s setting. Of Character – People will ask “What is this book about?” But just as important is “WHO is this about?” Show don’t tell us, consistency of character is key.
And then, of course, is Momentum. Will an agent / editor / potential reader feel compelled to keep turning the pages…? This is perhaps the most important factor of all!.
What advice would you give to writers submitting to agents and competitions?
Sharing your work can be immensely scary so I applaud everyone who is in the submission trenches right now. Entering competitions is a brilliant way to dip your toe in the water, to see how it feels for other people to read and respond to your work. I encourage anyone on the fence to give it a go. What have you got to lose!?
Your debut novel, The Fellowship of the Puzzlemakers, is a Sunday Times and USA Today bestselling novel and it has been translated into 18 other languages. Congratulations! Can you tell us a little about this experience?
Thank you! It’s been a whirlwind, and a bit of a fairytale, but if my story inspires other to pick up a pen and write a story I’m very happy to share it! I started writing my debut at the Faber Academy after many years working as a producer in factual television. The novel ended up selling in an 8-way auction back in 2022 and the last few years have been incredibly exciting, if a little daunting, as I’ve prepared for my story, and characters, to make their way into the world.
In my TV career I was very used to rejection — so many projects I developed sadly didn’t make it to screen — so I wasn’t so daunted about the prospect of being knocked back in the publishing world. In fact, in order to get one of my TV ideas greenlit, I’d need approval from countless people and a million-pound budget signed off before we could even take the lens cap off the camera. The wonderful thing about writing novels is that you – the writer – are the only person who’s going to make it happen, or not. It’s all in your control. Of course, what happens next (when you reach the publishing side of things) is different, but at least, by that point, the story exists in the world. You’ve made something out of nothing
Tell us a little bit about your writing day and your perfect writing environment.
Since my debut was published, I’ve learnt how to write anywhere under almost any condition. It’s a completely different discipline, writing a second book while you promote the first. Don’t get me wrong, it’s an enormous privilege and something I would never complain about, but I have had to become a lot more flexible when it comes to finding writing time and trying to get words down even if the circumstances aren’t perfect. Some words are better than no words at all, after all.
Tell us a little bit about your writer’s journey (whether you did any courses and how long it took you to write The Fellowship of the Puzzlemakers) and how you came to be represented by Hellie.
Writing is a craft and not a gift as far as I’m concerned. Every course I’ve ever attended has helped me become a better writer and I’ve been lucky enough to attend writing courses at CityLit, the Curtis Brown Academy, and Faber Academy. They’ve given me a a brilliant introduction to all the fundamentals of fiction writing : including plotting, characterisation and dialogue – and I frequently dip into the notes I made on the course, even now! Hellie contacted me off the back of reading the Faber Academy’s Anthology. She loved my opening chapter and we got on so well that I quickly decided she’d be the perfect agent for me.
We always try to have a writer to judge the competition as well as agents. How do you think your view on the entries will compare to Hellie’s and Suzannah’s?
Just like Hellie and Suzannah, I’ll be picking up every submission hoping to find an exciting new talent but I’m sure I’ll bring some writerly perspective to the mix. I know how scary it is to share your work for the first time, so I’ll be rooting for each and every one of you!
What are you reading at the moment?
It’s the start of the year, so I’m about to tackle a very large pile of proofs for debuts coming up in 2025. Some of the ones I’ve got my eye on include The Names by Florence Knapp, The Midnight Carousel by Fiza Saeed McLynn and The Correspondent by Virginia Evans.
Before entering, please ensure you familiarise yourself with the Rules, Terms and Conditions, and Privacy Policies.
Entering the Blue Pencil First Novel Award is taken as your full agreement. Do not enter after the closing date of May 31, 2025 as your entry will not be valid.
BLOG NEWS
How to Write a Stand-Out Cover Letter
SO, WHAT IS A COVER LETTER? Literary agents and many literary competitions require a cover letter along with your sample chapters and synopsis. This is a formal introduction to you and your novel. Note: It is not a CV, a bio or a blurb for the book. It's a letter,...
Common Mistakes Writers Make: A Q&A with BPA’s Editors
Blue Pencil Agency offers editorial reports to writers who want their manuscript to be in the best shape possible before they approach a literary agent or self-publish. Our editors are bestselling authors and industry experts with shrewd eyes and a passion for...
How to Write a Synopsis
SO, WHAT IS A SYNOPSIS? A synopsis is a functional document summarising the story of your novel. It usually fits on a single side of A4, but always check the agency/competition website for specific requirements. Third-person, present tense, reasonable font size......
Want to keep up with all the latest
Events, Workshops, Online Courses?
Enter your details below to get all the latest information.