An agent who lives in the space where genre bleeds into the literary — Smith chases category-blurring adult fiction, high-concept rom-coms, wide-ranging nonfiction, and the standout kid-lit project, with a clear pull toward neurodivergent and adoptee voices.
In brief
Genre-blending upmarket and literary fiction is the heart of what Smith looks for — books that smuggle a thread of genre into literary storytelling.
They are hungry for high-concept, out-of-the-box rom-coms, and have clients already working in that lane.
Smith prioritizes own-voices work: stories celebrating neurodiversity by neurodivergent authors, and joyful adoptee narratives by adoptees.
Science fiction and fantasy only land with them when they're accessible to readers who don't usually reach for the genre — no epic fantasy, military SF, or doorstoppers.
Kid-lit (YA and MG) is a narrow door: the client list is fairly full, so only a genuine standout will break through.
Lately
The baby is sleeping through the night and comfortably staying her crib, at last. I might get to open to queries again? Yes I own my literary agency, but this ten month old is my boss.
So my agency’s latest industry event is live, and in July! Tired of hearing “poetry doesn’t sell” from folks? Me too! Join us for a free convo on traditionally publishing poetry, at Head and the Hand here in Philly. As always, it’s free. www.theheadandthehand.com/events/pitch...
Reported open to queries as of mid-April 2026, by email in standard query-letter format with no attachments.
About 60 percent of the queries I get feel like they're made for me. I don't work on picture books and I get a lot of picture book queries. I don't work on memoirs that aren't in essay format, and I get lots of straight storytelling memoirs. So I sort them all out every morning and set aside the pitches that feel right for me, so I can give those the attention they deserve.
Try to have a hook at the opening of your query — the title, genre, category, word count, comp titles, and that one line that sells what your book is about. With one client, Allison Stein, her hook told me it was about a female marijuana farmer trying to escape climate change in Appalachia, and it comped Station 11, The Girls, and California. Right away I knew it was going to be end-of-the-world, feminist, lyrical and literary — and I knew I was going to request it before I even got to the pages.
Saying more about the comp and why it works for your book is more important than just listing them. There's nothing wrong with an older comp if you explain why — like 'my book has the slow burn and commentary on societal expectations you'd find in Jane Austen.' Use comps to talk about your voice too. Older comps only become a problem when we assume that comp is what your voice is actually going to sound like.
When you send a book to me — or to most agents — you should be thinking, 'If this was on the shelf right now, I would be comfortable with that.' That's the space you should be in. We will have things to change, but you should be there already. I do light edits and touch-ups; I can't really do developmental edits anymore, so the heavy lifting needs to be done before it reaches me.
Don't belittle your genre — saying things like 'nothing has ever been written like this before' is a red flag. Don't belittle other books either; it's a very small industry and I might know that author or their agent. And if you're writing nonfiction, don't just send me a link to your Wikipedia page — I want to feel like I'm getting to know a person, not someone announcing they're a big deal.
An author's job is just to write the best book they can — that's it. Be aware of the market and what's on bookshelves, and if you want to know how to do that, go to the bookstore. Subscribing to all the publishing-specific newsletters gets overwhelming, and that's not your job. Your job is to write your best book.
What Eric is looking for
Smith's stated sweet spot: fiction that pulls a bit of genre into the literary register. They want category-crossing, upmarket storytelling and explicitly invite more of it.
A genre Smith reads widely and actively wants more of — unique, high-concept romantic comedies that step outside the expected. Several of their clients are already writing in this space.
Fiction and nonfiction celebrating neurodiversity from neurodivergent authors, and joyful novels and memoirs about the adoptee experience written by adoptees.
Smith loves and reads a lot of SFF but is picky: the work must be accessible enough that a reader who doesn't normally pick up the genre can still enjoy it. Not the right fit for epic fantasy, military SF, or doorstoppers.
Wide-ranging nonfiction tastes. They're after memoir (best when it reads like a linked essay collection), essay collections, pop history, and wellness — the wellness titles from platformed writers who are genuine experts in their topic.
Smith reads broadly across YA and enjoys nearly every genre within it — moving contemporary, thrilling SF, lush fantasy, and diverse, inclusive stories. But the kid-lit client list is fairly full, so only a true standout will grab them. They'd also welcome more MG and YA nonfiction, including memoir and essay collections.
Not the right fit
Taste fingerprint
How to query Eric
Send a standard query letter — pitch only, no attachments.
Don't overthink the format; a clean, conventional query letter is all they ask for.
Lead with the genre-blend or high concept, since that's Smith's stated bullseye.
If you write SFF, make the case for accessibility up front — and skip it entirely if it's epic, military, or doorstopper-length.
For wellness nonfiction, foreground your platform and subject-matter expertise.
Expect a reply to every query in roughly four to six weeks; nudges after that window are welcome.