Charlotte Wenger is a Prospect Agency agent who specializes in children's books across nearly every format—picture books through middle-grade, with graphic novels a notable strength—and who actively champions underrepresented voices and fresh story structures over familiar formulas.
In brief
Her confirmed client roster is concentrated in picture books and beginning-reader graphic novels, with Liz Goulet Dubois's Duck & Cluck series and Melissa Coffey's picture books as anchors — meaning she has real editorial experience in humor-driven, visually led children's content.
She has a strong preference for author-illustrators in picture books and graphic novels; writers-only querying picture books are at a structural disadvantage in her inbox.
Her wishlist skews hard toward humor, surprise, and structural ingenuity — she does not just want 'a funny book,' she wants puns, twist endings, and story architectures that feel new.
Despite listing memoir and nonfiction in some directories, her actual client work is entirely children's — treat those directory tags as legacy noise and query her only for children's projects.
She does not accept resubmissions of any kind, even revised ones — get the manuscript polished before you send, because you only get one shot.
Lately
You can find my full #MSWL here: www.manuscriptwishlist.com/mswl-post/charlotte-wenger (also linked in my Bluesky profile) If you decide to submit your work to me, please do so via Prospect's submission form: www.prospectagency.com/submit.html
For middle-grade (novels and GNs), I lean toward mysteries and puzzles. Light spookiness is okay, but nothing too scary creepy for me, please! Think THE GHOST OF SPRUCE POINT by Nancy Tandon (@nancytandon.bsky.social, one of my clients) and GHOST SQUAD by Claribel A. Ortega. #MSWL
I know most of us are dreaming of warmer weather at this point, but I'd love to see PB submissions with ✨cozy little moments.✨ Think Eliza Wheeler's A COZY WINTER DAY, Devil Elle Kurtz's THE BAKERY DRAGON, and Steve McCarthy's THE WILDERNESS. #MSWL
I've updated my wish list in preparation for the upcoming #MSWL Day! Stay tuned for details on 2/26/26!
She publicly directed writers to her full wishlist details and reminded them that all submissions must go through Prospect Agency's official submission form — not directly to her.
I really consider myself an editorial agent and do a fair bit of work with my clients at various stages of their projects — even at an earlier stage than when I was actually an acquiring editor. I take on clients that I feel like I can support long term. Publishing is a long game, and I want to build that kind of connection and relationship in their career over time.
I am a huge fan of wordplay. I really enjoy work that walks that line of being both quirky and commercial — in both writing and illustrating.
I love picture books that tackle a really important issue in a super fun and accessible way. Back matter that gives kids concrete, real-world context for that issue is something I find really valuable too.
One of my long-time favorite illustrators is Oliver Jeffers because he really walks that line of being both quirky and commercial — and he can be funny and tug at the heart at the same time. That balance is something I really respond to.
I represent picture books — both author-only and author-illustrators — as well as early reader graphic novel-style books, so I do work across a range of formats on the younger end of children's publishing.
What Charlotte is looking for
This is her stated top priority. She wants complete packages: art plus text, ideally a sketch dummy with sample finals. Humor is central — she loves outright silliness, wordplay, and puns. Story structure matters as much as concept; a punchy twist ending or an unexpected narrative shape will get her attention faster than a clever premise alone. She gravitates toward character- and narrative-driven work over purely concept-driven pieces, and she has a particular soft spot for nontraditional or underrepresented families, social justice themes handled without being preachy, stories centered on crafts or hobbies, and quiet cozy moments. Narrative nonfiction in sports, the arts, or history is also welcome. She is selective about rhyme — it must feel genuinely native to the tone and age range, not forced.
She does represent picture book writers without illustration portfolios, but she is explicit that author-illustrators are her priority. A writer-only submission needs an exceptionally strong manuscript to compete. All the same content preferences apply: humor, structural surprise, underrepresented voices, character-driven storytelling, and authentic rhyme only.
Her sales record makes this a genuine strength, not just a stated interest. She prefers author-illustrators here too, but is openly willing to consider illustrators working from a script, or script-only submissions. Both fiction and nonfiction are welcome. She wants spunky, memorable protagonists and a goofy, irreverent sense of humor. Mysteries work well in this format for her as long as they stay light — creepy is a ceiling, horror is a hard stop.
She is drawn to stories that put family and sibling dynamics at the center, especially when those families look different from the traditional nuclear model. Novels in verse are a genuine interest. Within genre, she favors magical realism and contemporary fantasy over portal or epic fantasy, and she enjoys mystery and puzzle-driven plots. Horror in any form is off the table. Think emotional warmth with structural ambition.
She takes select YA projects but does not elaborate extensively on what she wants here, which suggests the bar is high and the volume low. Her broader sensibility — diverse voices, emotional depth, no gore or horror — applies. Query only if the project is genuinely strong and aligns with her stated values; do not lead with YA if you also have a middle-grade project.
Specifically within picture books and graphic novels, she welcomes narrative nonfiction focused on sports, the arts, and history. This is distinct from adult nonfiction or memoir — directory listings showing those categories appear to be mislabeled artifacts and should be disregarded.
Not the right fit
On Charlotte's list
Taste fingerprint
How to query Charlotte
Submit only through Prospect Agency's official online submission form at prospectagency.com/submit.html — she has explicitly stated she is not reachable through any other submission channel.
Illustrators-only have a separate submission path for portfolio work; use the correct form for your category.
For picture books, submit the full manuscript in a single document; author-illustrators should include a sketch dummy with sample finals. Do not send partial picture book manuscripts.
For middle-grade and YA, submit a query letter, the first three chapters, and a brief synopsis — all combined into one document.
Your query letter must include your name, date, contact information, and a focused description of the work. Add personal background only if it is directly relevant: prior publications, writing education, or lived experience that informs the story.
She does not accept resubmissions under any circumstances — only query when your manuscript is fully polished and edited.
Submit only one manuscript at a time.
If your picture book uses rhyme, be prepared to defend why it must rhyme — she is skeptical of rhyme that feels habitual rather than essential.
Lead with what makes your story structurally or narratively surprising — she responds to twist endings, unconventional structures, and genuine humor far more than high-concept premises.
If you are from an underrepresented community and that perspective is woven into the work, mention it briefly in your query — she is actively prioritizing diverse voices and it is relevant context, not a bonus.