Chelsea Hensley is a Mad Woman Literary agent with five years of experience who hunts for bold, genre-bending work across the full age spectrum—from lyrical picture books and plucky middle grade to twisty YA thrillers and dark adult romantasy—with a particular appetite for BIPOC voices and ambitious, career-spanning creators.
In brief
Her deal record skews strongly toward fantasy and romantasy—dark, atmospheric, and often debut—despite her wishlist spanning many genres; writers in those lanes have the most evidence she can close deals.
She has confirmed relationships at Tor, Farrar Straus Children's, Union Square Kids, Andrews McMeel, and the Slowburn imprint, suggesting she moves confidently across both prestige literary houses and commercial/genre imprints.
Her picture-book gate is tighter than it sounds: she is open to author/illustrators only—not standalone authors—and is actively scouting illustrators for covers and interior work beyond PB.
She represents illustrators as a distinct practice (Raquel Travé is a named current client), a rare specialization that opens a separate submission lane for visual artists.
Her submissions form was observed closed as of May 1, 2026; writers should check the live form directly before querying.
Lately
Beau hasn't quite figured out that Chloe isn't coming back yet but he went looking for her today and kept circling my bed trying to find her (Chloe used to like going under there and her bed is right next to mine) and he looked so confused when she didn't turn up.
Her agency page confirms she is actively building out her illustration representation alongside her author list, specifically seeking illustrators interested in covers, interiors, and illustrated works across children's and adult publishing—a lane that goes well beyond traditional picture-book agenting.
What Chelsea is looking for
Her recent deal record is dominated by fantasy and romantasy, from dark blood-magic debuts to atmospheric gothic narratives. She wants immersive worldbuilding, bold stakes, and strong character interiority. Debut authors are welcome—several of her recent deals are first books. She gravitates toward work that carries both emotional weight and genre momentum.
She actively wants to grow this corner of her list. She is drawn to layered, twist-heavy plots with intense protagonists who are not trying to be liked—complicated teenage girls, revenge arcs, puzzles, and games are all strong signals. Series potential is a plus. She references the work of Holly Jackson and Courtney Summers as tonal benchmarks.
She favors suspenseful, atmospheric horror over shock-and-gore. She has specific enthusiasm for a project that captures the energy of the teen slasher trend, especially one featuring a compelling POC Final Girl. She is equally open to adult horror that is 'imaginative and innovative.'
Steamy, hilarious romcoms and cozy queer romantasy both appear in her deal record. She wants fresh conceits and distinct voice above all. Queer stories are explicitly welcomed.
She names smart sci-fi as part of her list and her wishlist calls for works that blend genre and surprise her. She is open to speculative fiction that leans literary and voice-driven rather than hard or technical SF.
She wants immersive, adventure-packed fantasy with rich worldbuilding and a modern voice that still carries a timeless, classic feel—the kind of book that works as a read-aloud for kids and parents together. Both sweeping standalones and series are welcome.
She is hungry for fun, inventive capers with good humor (not gross-out), plucky protagonists, and interesting settings. Stories that dig into history, mythology, or unusual bodies of knowledge are especially appealing.
Open to picture books exclusively from author/illustrators—not standalone authors. She is particularly drawn to BIPOC human characters on contemporary adventures and to stories with strong narrative drive rather than quiet, mood-only texts. Lyrical language is welcome but must serve a real story. Picture book biographies of lesser-known or contemporary figures are also on her radar. She is additionally scouting illustrators interested in covers, interior art, and illustrated works for both children's and adult publishing.
She describes an interest in intelligent, deeply researched nonfiction. This category appears infrequently in her deal record, so expect a selective approach. Voice and rigor are the entry points.
Not the right fit
On Chelsea's list
Taste fingerprint
How to query Chelsea
Her form was closed as of May 1, 2026—check the live status on her agency page before doing anything else.
She represents illustrators as a distinct category; if you are a visual artist seeking illustration-only work (covers, interiors, PB), you can address that lane directly in your query rather than framing yourself as an author.
Picture book submissions are for author/illustrators only—if you are not also the illustrator of your PB, do not submit it to her.
Lead with voice and boldness: her wishlist language consistently prizes surprise, weirdness, and ambition over genre-conventional pitches. A query that demonstrates what makes your book formally or tonally unexpected will read better than one that front-loads category.
BIPOC characters and BIPOC authorship are named priorities across every category—if that applies to your project, say so clearly and early.
If you write across genres or age categories, her wishlist explicitly invites you to flag that ambition. A sentence noting your longer-term creative range can be a genuine asset.
Her recent deals show a pattern of exclusive submissions to publishers, suggesting she is selective and deliberate about where she submits—frame your pitch to match that seriousness.
UK and translation rights are handled by sub-agent Taryn Fagerness; you do not need to raise rights separately in your query.
Follow her submission guidelines precisely; her wishlist states that submissions outside her stated parameters are automatically declined.