Ambar Sahil Chatterjee is a literary agent from A Suitable Agency based in Delhi, India, who has worked in publishing for over a decade. He previously served as a senior commissioning editor at one of India’s leading publishing houses, where he acquired and published a prestigious classics list as well as an eclectic selection of contemporary fiction. Over the years, he has worked closely with a diverse range of writers and translators.

During his visit to the London Book Fair (LBF), Sangita Swechcha from Global Voices met Chatterjee at the fairgrounds and spoke with him about the role of literary agents and how events such as the London Book Fair help South Asian writers navigate literary representation.

Sangita Swechcha (SS): From your perspective as a literary agent from South Asia, what makes the London Book Fair particularly important, and how does it differ from, say, Frankfurt, or other fairs closer to home?

Ambar Sahil Chatterjee (ASC): The London Book Fair is important because London is a major hub of literary and publishing activity. The fair provides an excellent opportunity to meet publishers, and as literary agents we present the work of writers to the international publishing community.

In comparison, the Frankfurt Book Fair is much larger and has its own significance in the global publishing calendar. However, book fairs in general whether London, Frankfurt, or those closer to home, create valuable opportunities for connection. For instance, today I have several meetings scheduled with publishers, and the manuscripts we represent may soon find a home with the right publisher.

SS: Have you noticed a genuine shift in how international agents and publishers engage with South Asian writers over the past few years, or does it still feel like interest comes in waves?

ASC: From my understanding, there is definitely interest in voices from South Asia because publishers want their lists to be more diverse. However, there are also challenges. When publishers speak of South Asia, they often treat it as a single entity, while in reality the region has many facets — Nepali, Sri Lankan, Pakistani, and within India itself, which abounds in so much regional diversity.

I am also not referring only to South Asian literature written in English, but literature in regional languages that could be translated into English. For international publishers, however, there are limited slots, and South Asia is often seen broadly as one category.

Individual editors may recognize these differences, but decisions are rarely made by editors alone. Sales teams and acquisition teams are also involved, and questions about market suitability or logistics often arise. So while there is genuine interest, there are structural constraints as well.

SS: When you attend the London Book Fair, are your priorities more about closing rights deals, discovering co-publishing opportunities, or simply strengthening relationships with editors and agents in Western markets?

ASC: I don’t think these priorities can really be separated because they tend to work together. Each aspect supports the others. One is always looking to discuss rights, explore collaborations, and strengthen professional relationships.

SS: What should emerging South Asian writers understand about how opportunities actually emerge at a fair like LBF? Is it really the place where careers are made, or is most of the groundwork laid long before anyone boards a flight to London?

ASC: The London Book Fair offers an opportunity for agents or publishers from South Asia to showcase the writing and literary talent on their lists to editors and publishers internationally. These opportunities remain important and continue to grow as participation expands.

SS: What usually makes you decide to take on a manuscript, and how much editorial shaping happens on your end before a book is presented to international publishers or agents?

ASC: I used to be an editor before becoming an agent, so my editorial instincts are activated when I consider signing a writer. It’s important that the work speaks to me in some way or makes an impact.

Because of my editorial background, I do look at whether a manuscript might need editing or polishing before it is sent to a publisher, whether in India or internationally. Ultimately, the work needs to speak to me because we all respond to stories as readers first. If something has a strong impact, it becomes something I want to explore further.

I don’t necessarily look for specific genres. Personally, I focus more on fiction than non-fiction, though we have another editor who works on non-fiction. As a literary agency, however, we are genre-agnostic. Writers can send us what they have, and if the writing or concept appeals to us, we are interested in taking it further.

We usually take on books where we see clear potential and where we feel we can do justice to the work. It would be unfair to take on something if we did not believe we were the right fit for that book.

SS: How do you work with literary translators, and do you think translation is still undervalued in the pipeline between South Asian literature and global readership?

ASC: I don’t think translation is undervalued. Increasingly, publishers and readers recognize its importance in bringing stories to a wider audience. Prizes such as the International Booker Prize (formerly Man Booker International Prize) have helped highlight translated works, and two Indian books have already won the award.

The mood around translation is optimistic. The primary challenge is finding the right translator for the right project. If they are not well matched, all other constraints and challenges, of which there are many, will be exacerbated.

SS: What are the biggest structural challenges South Asian writers face when trying to reach international publishing markets? Is it about marketing budgets, network access, or something more fundamental about how Western publishers perceive South Asian stories?

ASC: These challenges exist across publishing in many parts of the world. As agents, we try to remain true to the books we represent and present them as authentically as possible. At the same time, we try to understand what publishers are looking for through ongoing conversations. If there is a match, it works; if there isn’t, it doesn’t. In many ways, it becomes a process of trial and error. But one has to keep sustaining these efforts, because publishing can seem like one long endurance test and so determination is key.

SS: Are there particular genres or narratives from South Asia that you feel are gaining more attention globally, and what advice would you give a writer who wants to build an international readership?

ASC: Fiction in translation has certainly received more attention than non-fiction, and within that, literary fiction tends to travel more easily than commercial fiction.

Publishing is a long game, and writers need patience. Conversations with publishers often take a long time before anything materializes. Sometimes, after months of discussion, a publisher may still decide they cannot take the project, and then the process begins again elsewhere.

Occasionally things fall into place more quickly, but that is not the norm. Writing a book itself takes a great deal of time, effort, and energy, and the publishing journey can take just as long. Patience and persistence are essential.