Anna Olswanger is a veteran independent children's book agent with two decades of experience and a roster decorated with Newbery Honors and Sibert Awards, now laser-focused on illustrated books — picture books and graphic novels — especially from author-illustrators of color and creators working at the intersection of art and nonfiction.
In brief
Her stated current priority is illustrated books — picture books and graphic novels — with a particular lean toward author-illustrators rather than text-only writers; if you're a writer without illustration skills, your path in is limited unless you're seeking a pairing with an illustrator.
Her sales record and client roster reveal a deep, recurring strength in nonfiction picture books and illustrated biographies, with multiple award-winning titles in that lane — Josephine and Lift as You Climb (both Patricia Hruby Powell) earned Sibert Honors, Orbis Pictus recognition, and Bologna Ragazzi honors, signaling strong editorial relationships in the nonfiction picture book space.
She has sold to every major house — Bloomsbury, Chronicle, HarperCollins, Houghton Mifflin Harcourt, Macmillan, Penguin Random House, and Simon & Schuster — suggesting broad publisher access, not a single-imprint niche.
She explicitly wants to represent more author-illustrators of color, and has flagged this as a priority on her own agency page — creators from underrepresented backgrounds should lead with that context.
Her personal interests in animal advocacy and Judaic or Israel-themed books show up directly in her client list; if your illustrated book touches either thread authentically, it's worth naming that connection in your query.
Lately
Sneak peek: COCKROACH THE GREAT by award-winning illustrator Igor Karash — a darkly funny, visually inventive picture book inspired by Korney Chukovsky's satirical poem “Tarakanische.” Now out on submission. #PictureBook #KidLit #ChildrensBooks #Illustration #Publishing
A sneak peek at LITTLE ETERNITIES, an upper middle grade graphic novel by Joyce Y. Ng, set in the final months before Hong Kong’s 1997 handover. As her family prepares to emigrate to Canada, Pui Pui’s sense of identity — and friendship — begins to shift. Now on submission. #KidLit #GraphicNovel
From an unfinished Holocaust novel came the seed of a new graphic novel. Rabbi Rafael Grossman once described a moment that became the heart of A VISIT TO MOSCOW, illustrated by Yevgenia Nayberg. Here’s a look at the art by Joshua Edelglass for that original unfinished manuscript. #HistoricalFiction
Four determined kids build a homemade spaceship to rescue Laika, the first dog in space. That’s the heart of THE SECRET SPUTNIK RESCUE SOCIETY by author-illustrator Andrew Finnie — now on submission. #GraphicNovel #KidLit #SpaceAdventure
A girl. An old book of names. A sky full of stars. MY FATHER’S DREAM by Melita Kraus is a deeply personal picture book about memory, Jewish family, and the ancestors whose light still shines across generations. Now on submission with Melita's luminous art. #KidLit #PictureBook #JewishStories
Olswanger shared a preview of an upcoming picture book by award-winning illustrator Igor Karash — a darkly comic, visually bold work rooted in a classic Russian satirical poem — signaling she is actively submitting illustrated picture books and is drawn to projects with literary pedigree and distinctive visual sensibility.
I can't fully evaluate a manuscript unless I see the art. There are lots of great agents that just represent the text, and more power to them — that may be my flaw — but it's just so wonderful. It's not a financial issue. There is more money if you're representing the package, but that's not the reason. I'm stubborn and I like to keep sending a manuscript out until it finds a home, and it's not unusual that that home is a small press that doesn't pay much money.
The graphic novels I take on are usually serious non-fiction, beautifully illustrated graphic novels. I'm not doing superheroes, I'm not doing dystopian fantasy. Lots of other people do that, so I'm just not the right agent for those. What I hope is that when I do take on a client, it's a client that nobody else wanted to take on because they didn't see the potential — but I could.
I do take on new clients, but very few. I get hundreds of submissions a month, but most are not author-illustrators, or they're not in the genre I represent. I think it's clear that not many people check the website before they submit — which is okay — but yeah, it is few.
I don't think it's realistic for most writers to expect to be published every year. Putting a manuscript away for three months and looking at it cold is the best thing you can do as an author — you can see it the way somebody else sees it because it is so cold. I think the reason so many bad manuscripts go out is that they didn't have enough time to really develop. It's a race for the long term, not a short-term race.
I don't have really commercial, mass-market taste. It usually comes down to one publisher — I'm not getting multiple offers for everything I send out. But I think when I do place a client, the chances are better than fifty percent that I'll sell the work.
To sit around and complain because an agent or editor hasn't picked up your work is not going to lead to anything good. I wouldn't sit on my hands — I would find a way to exercise my creativity. There are also publishers who don't require agented manuscripts, and there's always another path: some people self-publish, some people start their own publishing companies, some people find it wasn't what they wanted to do in the first place.
What Anna is looking for
Olswanger's primary focus right now is picture books created by author-illustrators — people who both write and draw their own work. She is not currently looking for text-only picture book manuscripts; the author-illustrator package is the gate. She has a particular interest in signing more author-illustrators of color, and welcomes work that is visually inventive, narratively strong, and revision-ready. Her track record in this space is extensive and award-laden.
Nonfiction graphic novels are a stated top priority. She is specifically seeking author-illustrators working in this format, as well as author-illustrators who would be interested in being paired with nonfiction text written by other writers. This is a narrow but emphatic signal — if you are an illustrator drawn to long-form nonfiction in graphic novel form, she is actively looking.
Her sales record makes this her single most decorated lane: illustrated nonfiction biographies, especially those told in verse or with lyrical prose, have consistently landed with major publishers and earned top-tier awards including Sibert Honors, Boston Globe Horn Book Nonfiction Honors, and Bologna Ragazzi recognition. Subjects tied to civil rights, cultural history, and social justice have performed well for her clients.
She has a personal and professional interest in books — illustrated or otherwise — that explore Jewish culture, history, or identity in unexpected or literary ways. She is drawn to titles that bring fresh angles rather than familiar retellings. This includes picture books, novels, and illustrated works. Unusual or unconventional approaches are welcome.
Through her existing client work, Olswanger has developed a genuine passion for animal welfare and advocacy stories. She is open to illustrated books or narrative nonfiction — particularly for young readers — that center animals and the humans who protect them. Work grounded in real events or real organizations carries particular appeal.
Her client Vince Vawter writes Newbery Honor–level middle grade fiction, suggesting she can place literary MG. However, her current public messaging focuses almost entirely on illustrated books, and she does not appear to be actively soliciting new MG or YA fiction clients. Query in this space only if your work is exceptional and aligns closely with the literary, character-driven voice her existing clients demonstrate.
Not the right fit
On Anna's list
Taste fingerprint
How to query Anna
Send a brief email introducing yourself and your book — a few sentences about the project and your background are enough to open the conversation; attach the full text and art as a PDF or Word document.
You must be an author-illustrator or have a completed illustration portfolio/dummy — text-only submissions are not what she is seeking right now.
If you are an illustrator open to being paired with a nonfiction writer, say so clearly upfront; she is actively facilitating those partnerships.
If you are an author-illustrator of color, lead with that; she has explicitly named this as a priority.
Be ready to discuss your appetite for revision — her agency page is unusually candid that most manuscripts require extensive work before submission, and signaling that you welcome editorial development will land better than implying your manuscript is submission-ready.
If your book has a genuine Judaic, Israel, or animal advocacy dimension, name it in your opening lines — these are documented personal interests that influence what she takes on.
No phone calls under any circumstances.
Verify her current submission status directly via her agency website before querying, as agent availability can change.