Ashlee MacCallum is a New York-based Howland Literary agent who champions marginalized and underrepresented voices through high-concept, voice-driven adult fiction—with a particular appetite for the strange, the dark, and the genre-bending.
In brief
As of May 4, 2026, Ashlee MacCallum's submission form is CLOSED — verify directly before querying, as this can change without notice.
Their stated focus is entirely adult fiction across romance, fantasy (romantasy, cozy, and dark), mystery/thriller, horror/gothic, women's fiction, and historical fiction — no children's or YA at this time.
MacCallum's taste runs toward the morally gray and commercially ambitious: they repeatedly invoke power dynamics, ensemble tension, and slow-burn unraveling as hallmarks of what excites them.
A recurring theme across every category they list is voice — a distinctive, page-one-grabbing narrative voice appears to be the single most important filter in their reading.
Their background includes an internship at another agency before landing at Howland Literary, and they bring a self-described commitment to uplifting historically underrepresented creators — diversity in perspective is not a checkbox for them but a core priority.
Lately
#MSWL round three! 🧡 I'm currently closed to #YA, but if your project matches these vibes or can comp to one of these books, send me a DM.
#MSWL round two! This time for graphic novels 👀
Happy #MSWL day to all who celebrate 😉 I'll post a variety of wish lists throughout the day, but here is what I'm looking for in the #MG space!
I'm open to middle grade queries! #MSWL
MacCallum publicly confirmed they are closed to YA submissions, but signaled ongoing enthusiasm for certain YA-adjacent vibes — inviting writers whose projects match specific tonal comps to reach out directly via DM rather than a formal query.
What Ashlee is looking for
MacCallum wants romance that is impossible to summarize in anything but one electric sentence — the hook must be instantly pitchable and wildly original. They are drawn to speculative or light paranormal elements woven into the romance, and they prize chemistry, emotional intensity, and bingeable pacing above all. They are especially interested in projects that flip a familiar trope on its head or take a genuinely subversive angle on a well-worn premise. Series potential and breakout appeal are strong pluses.
Romance-first fantasy with a central love story driving the plot. MacCallum wants accessible worldbuilding — not sprawling lore dumps — paired with high emotional stakes, morally gray love interests, and power dynamics that crackle. Strong series hooks are especially welcome. The fantasy elements should enhance the romantic tension rather than overshadow it.
Warm, character-driven stories centered on found family, community, or healing. Light magic and whimsical world-building are the flavor; charm, humor, and a strong authorial voice are the engine. The tone should feel genuinely escapist and comforting, but the hook still needs to be clear and compelling enough to pitch in a sentence.
Gritty, immersive worlds with real stakes and protagonists who are flawed, morally compromised, or actively difficult to root for. MacCallum is drawn to genre-blending here — fantasy crossed with horror, thriller, or literary sensibility — and to atmospheric, high-concept hooks with a weird or edgy edge. Think the power-driven loyalty-and-violence storytelling of Peaky Blinders or Sons of Anarchy transposed into a fantasy context.
Both psychological/domestic suspense and cozy mysteries are welcome, but each must have a strong, escalating hook and sharp twists. For darker suspense, unreliable narrators and morally complex characters are a plus. For cozies, the differentiator must be a truly distinctive setting, voice, or concept — not just a quirky amateur sleuth. Bingeable pacing is non-negotiable across both.
MacCallum wants horror — commercial or elevated — that is rooted in atmosphere: hauntings, decay, isolation, and a persistent sense that something is deeply wrong. They are especially excited by psychological or social horror grounded in real human fears, stories where the uncanny intersects with identity, grief, relationships, or memory. Voice and a strong character perspective are essential. The White Lotus's slow-burning tension beneath a polished surface is a named tonal touchstone for the social-horror end of this spectrum.
Relationship-driven stories with a high-concept emotional hook that can be pitched cleanly. Family, identity, and reinvention sit at the center; secrets, moral dilemmas, and interpersonal tension give the plot its engine. Culturally specific storytelling and diverse perspectives are particularly sought here. Book club appeal — meaning something readers will argue about — is a real differentiator.
MacCallum is not interested in well-trodden historical ground — they want a fresh angle, an underexplored moment, or a hidden history told from a marginalized perspective. A strong emotional throughline and character focus are essential. Dual timelines and narrative reveals that build momentum are welcome structural choices. Book club appeal is a plus.
Overarching filter for everything MacCallum considers: the work must be high-concept, voice-driven, and emotionally resonant while remaining broadly readable. Genre-bending, the offbeat, and the strange are welcomed as features rather than flaws. Diverse and underrepresented perspectives are a stated priority across every category, not a secondary consideration.
Not the right fit
Taste fingerprint
How to query Ashlee
Confirm the form is open before drafting anything — as of May 4, 2026, it was closed, and submitting through a closed form is wasted effort.
Your query letter's single most important element is the one-sentence hook: MacCallum explicitly asks for a clear, compelling pitch in one sentence. If you cannot write that sentence, the manuscript may not be ready to query.
Voice must announce itself on page one. MacCallum screens for distinctiveness immediately — a generic opening will not survive.
Foreground any underrepresented, marginalized, or culturally specific perspective in your pitch. This is not a box to tick; it is a genuine priority for them.
If your work is genre-bending, say so plainly and name both genres. MacCallum actively wants projects that cross lines — but the blend must feel intentional, not accidental.
Do not query YA, middle grade, picture books, or any children's/nonfiction category — these are not on the table regardless of form status.
If you are querying dark fantasy or horror with a strong power-dynamics or ensemble-tension angle, leaning into those tonal comparisons in your letter will speak directly to what MacCallum has said excites them.
A note about series potential is worth including for romance and romantasy — MacCallum specifically names breakout and series potential as desirable in those categories.