Kimberley Atkins

Kimberley joined WME’s UK Book division in 2025 after sixteen years working at Big Five publishing houses in London and Sydney. She previously acquired and published multiple Sunday Times and New York Times bestselling authors including Lucy Score, Stephanie Garber, Paige Toon, Gillian McAllister, Sophie Cousens and Holly Bourne.

Kimberley is actively building her client list, with a focus on representing commercial fiction and non-fiction. She is particularly drawn to page-turning novels with a strong hook, distinctive voice and memorable characters. As a former editor, she brings a hands-on approach and a sharp editorial eye and she loves working closely with writers to develop ideas and shape their stories. She also collaborates with colleagues across WME – from international rights to TV/film – to help her clients reach readers worldwide and develop opportunities that go beyond the page.

Before becoming a literary agent, Kimberley held senior editorial roles where she acquired fiction (and occasionally non-fiction) at major UK publishers including Penguin Michael Joseph, Hodder & Stoughton and Head of Zeus. She also spent two years working at Penguin Random House Australia where she published authors on the local ANZ list. She has been involved in writers’ festivals and conferences internationally and has mentored junior editors in the industry.

“Working with authors to shape and refine their work has always been the most rewarding part of my career. I’ve edited hundreds of manuscripts – many of which became international bestsellers – and love collaborating closely with writers to bring out the best in their ideas. As an agent, I’m eager to turn concepts into books and welcome projects that could benefit from experienced editorial direction. With a strong knowledge of the Australian market, I’m especially excited to work with authors from Australia and New Zealand and help bring their work to an international audience.

I’m looking for mass-market commercial fiction: addictive, page-turning novels with a hook you can pitch in a single sentence. My favourite stories are plot-driven, with real, flawed characters whose voices leap off the page. I’m particularly drawn to novels that play cleverly with structure (think ONE DAY by David Nicholls, WRONG PLACE, WRONG TIME by Gillian McAllister or THE VERSIONS OF US by Laura Barnett).

I’m a passionate reader of women’s fiction and romance, especially stories built around a clear, compelling concept (like THE FLATSHARE by Beth O’Leary or HAPPY PLACE by Emily Henry). I love a love story: especially one rooted in an impossible relationship that makes me cry or a heart-wrenching love triangle. I want characters I can root for, relationships I can fall for and extra points for a sense of nostalgia or timelessness (as in Rainbow Rowell’s SLOW DANCE). The sharp dialogue of Mhairi McFarlane or Lucy Score paired with the strong sense of place of Carley Fortune would be my dream combination.

I’m also on the lookout for general book-club fiction that pairs quality writing with accessible storytelling. Recent favourites include Liane Moriarty’s HERE ONE MOMENT, Alison Espach’s THE WEDDING PEOPLE and Taylor Jenkins Reid’s ATMOSPHERE (all of which I adored!)

In crime and suspense, I’m drawn to clever concepts (like Benjamin Stevenson’s EVERYONE IN MY FAMILY HAS KILLED SOMEONE) and twisty psychological thrillers with a female focus (VERITY by Colleen Hoover or THE HOUSEMAID by Freida McFadden). I always enjoy a clever plot twist or a truly surprising ending I didn’t see coming – just nothing too grisly.

On the non-fiction side, I’m keen to represent individuals with established platforms who want to make the move into books. I’m especially interested in narrative non-fiction and lifestyle writing – I live by Sali Hughes’ EVERYTHING IS WASHABLE* AND OTHER LIFE LESSONS and found Natasha Lunn’s CONVERSATIONS ON LOVE moving, funny and profoundly relatable.”

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