Charlie Serabian is a film-trained literary manager at Martin Literary Management who built a reputation on true crime and nonfiction before pivoting to genre fiction—sci-fi, fantasy, and horror—as their primary growth area.
In brief
Charlie's roots are in true crime and nonfiction: named clients include Matthew Phelps, Aphrodite Jones, and the estate of Vincent Bugliosi (Helter Skelter), signaling deep relationships in that corner of publishing.
Genre fiction is now the stated growth priority—sci-fi, fantasy, and horror top the wishlist—but the sales record skews nonfiction/true crime, making this a transitional list worth watching.
A SCAD film-and-television background shapes taste: Charlie gravitates toward high-concept hooks, tight narrative architecture, and stories with cinematic through lines rather than languorous literary fiction.
Romantasy is explicitly accepted only with a fresh twist; writers with straightforward romantic fantasy should look elsewhere.
Non-fiction platform is non-negotiable: proposals without a demonstrated or demonstrably growing author platform are declined outright.
Lately
Charlie's current agency page frames genre fiction—sci-fi, fantasy, and horror—as the primary area for list-building, a notable shift in emphasis from a background that was heavily weighted toward nonfiction and true crime.
What Charlie is looking for
Charlie wants sci-fi with something to say: space operas, sci-fi noir, tech-thrillers, and stories built around experimentation or scientific transgression in the vein of classic cautionary-tale fiction. Sci-fi that wrestles with urgent contemporary questions is especially welcome. Mixed genre work—sci-fi crossed with horror, for instance—is enthusiastically considered.
The full spectrum of fantasy subgenres—high, low, urban, epic—is on the table, but Charlie wants standout characters and a concept clear enough to pitch in a sentence. Fresh spins on fairy tales or classic myths, inventive magic systems, and voices with genuine stylistic distinctiveness will rise to the top of the pile.
Both adult and YA horror are welcome, with a preference for work that lodges under the skin by finding novel angles on fears that are universally human. Gothic sensibilities, dark humor, and a macabre atmosphere all resonate strongly. Horror blended with fantasy or sci-fi elements is particularly encouraged.
Adult thrillers and crime fiction are open, rounding out the genre fiction list. No specific subgenre restrictions stated, but Charlie's overall bias toward high-concept hooks and clean narrative construction applies here as everywhere.
Charlie accepts romantasy only when it brings a meaningful twist or subverts conventions in some clear way. Writers with a more conventional romantic fantasy project are explicitly advised to look elsewhere; this is a narrow door, not a welcome mat.
True crime is a career-long passion backed by an actual track record—Charlie has worked with prominent authors in the genre and managed the estate of one of its most celebrated practitioners. Every true crime submission gets a genuine read. Platform requirements still apply.
Nonfiction that illuminates the harsher realities of human behavior, explores emerging technology, or navigates political intrigue is welcomed. Studies of overlooked or lesser-known people and situations are a particular soft spot. A robust, verifiable author platform is required for all nonfiction submissions.
Years representing Sir Ken Robinson have made education a subject Charlie follows closely and cares about personally. Teachers and educators with compelling ideas and a developing platform are encouraged to reach out.
Both cookbooks and narrative works about the restaurant industry are genuinely welcome—Charlie grew up in a family of restaurateurs and brings personal investment to this corner of nonfiction. Platform still required.
Not the right fit
On Charlie's list
Taste fingerprint
How to query Charlie
Submit through the online form linked on Charlie's current agency page — do not email a cold query to a general address, as the official page directs writers to the form.
Lead your query letter with a tight, high-concept pitch: Charlie's film background means they think in hooks and through lines, so bury neither the premise nor the stakes.
For fiction, include the first 20 pages or one sample chapter alongside your query letter; for nonfiction, a full proposal is required even if the manuscript is complete.
Format the subject line as: 'Title of Book' by 'Your Name' — this is explicitly requested and skipping it may hurt your chances.
Keep the query letter itself to 300–400 words; add a brief author bio and links to any relevant website or social platforms.
If you write true crime or a novel with gothic, macabre, or dark-humor sensibilities, say so plainly and early — these are genuine passions, not afterthoughts.
Romantasy writers: state your twist in the opening paragraph or don't query — Charlie has made it clear that conventional romantasy is not a priority.
For nonfiction, lead with your platform numbers or platform-growth trajectory before anything else; this is listed as a firm requirement, not a preference.
Charlie considers only one project per author at a time — do not pitch multiple books in the same submission.
If you don't receive a response within six to eight weeks, treat it as a pass; follow-up nudges are unlikely to change the outcome.