Erin Casey Westin is a Gallt & Zacker agent who champions the full spectrum of children's literature—picture books through YA—with a particular hunger for world-building-driven fantasy, diverse illustrated formats, and stories that expand whose childhood gets to be reflected on the page.
In brief
Erin represents every age group in children's literature, from picture books to YA, with zero crossover or adult titles—a tightly focused list.
Her wishlist skews heavily toward fantasy (especially non-Western mythology and folklore), illustrated formats (graphic novels and highly illustrated chapter books), and work by BIPOC, queer, and disabled creators—these are not just aspirational categories but active priorities.
She reads for immersion above all else: if the world-building, voice, or prose doesn't make her forget she's reading, the project isn't for her.
She explicitly names what she does NOT want—gun violence as a plot device, stories hinging entirely on a misunderstanding, purely romance-driven plots, or adult-market work—making her unusually easy to self-select against.
Her reopening in spring 2026 after a hiatus suggests she is actively building her list right now, making this an opportune window for strong submissions.
Lately
After far, far too long, I am finally reopening to queries on May 1st! I'm so excited (and a little scared. But mostly excited)! I'm going to share my biggest wish list items below, but please visit my website to learn more about me generally to see if I'd be a fit. Ok, #MSWL thread incoming:
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After a lengthy hiatus from queries, Erin announced she would reopen to submissions on May 1, 2026. She described feeling both excited and a little apprehensive, then shared her current top wishlist priorities in detail—signaling she is actively building rather than passively accepting.
What Erin is looking for
Her single most-emphasized 2026 priority. She wants sweeping fantasy with genuinely distinctive world-building and a strong authorial voice—not generic secondary-world fare. Her touchstones are N.K. Jemisin and Rebecca Roanhorse, which signals she is drawn to structurally inventive, culturally grounded work rather than European-medieval defaults. Fantasy rooted in non-Western mythology and folklore is especially welcome across all the age groups she represents.
She is specifically hunting for humorous, character-driven picture books where the protagonist(s) are vivid enough to anchor a series. Single-title concepts with no series potential are less exciting to her than a character with legs. The writing must be precise and emotionally resonant—she describes wanting even the simplest line of text to move her.
She is actively expanding her graphic novel work and strongly prefers author-illustrators—writers-only submissions in this format are unlikely to be a fit. Art style must be immediately distinctive. She covers all age groups but is especially keen on graphic novel chapter books and early readers that could stand alongside established illustrated series. Both realistic and fantastical content are welcome.
She sees genuine market opportunity here for marginalized creators whose stories have historically been underrepresented in this format. She is explicitly seeking BIPOC author-illustrators and frames this as an advocacy priority, not just a taste preference. The commercial argument she makes: editors are aware of the category's homogeneity and are looking for solutions.
Novels that take a recognizable world and alter one pivotal element, or flip reality on its head entirely, speak directly to how she reads for pleasure. This applies across MG and YA. She is an escapist reader by self-description, and speculative premises that deliver genuine immersion are a strong fit.
She called out survival stories as a specific 2026 want without restricting age group, format, or setting. The emphasis fits her broader taste for plot-driven immersion and strong world-grounding.
She has a genuine regional interest here and wants it written by someone with authentic insider knowledge of Appalachia's culture and idiosyncrasies. She mentions light horror set in the region (monsters in the woods, unnaturally altered animals) as one specific lane she'd love to fill. Outsider tourism of the region is unlikely to satisfy her.
She will read contemporary only if it meaningfully broadens perspective, teaches her something, or centers experiences outside the default white, allocishet teen narrative. She specifically welcomes contemporary sports stories with queer representation. She is not the right fit for romance-centric plots or high-drama, highly commercial realistic YA. Think: content that expands the world rather than replays familiar territory.
She is interested but cautious. Biography is a hard sell unless the subject is genuinely underrepresented and the story urgently needs telling. Other nonfiction formats have a better chance if the subject matter is fresh and the angle is compelling.
She describes herself as easily scared, so full-throttle horror is not a fit. What she does want is atmosphere-driven unease: creatures in wild settings, animals that are subtly, wrongly altered. Heavy gore, psychological extremity, or darkness-for-its-own-sake will not land with her.
Not the right fit
On Erin's list
Taste fingerprint
How to query Erin
Her form reopened May 1, 2026 after a hiatus—she is actively seeking new clients, so a strong query right now lands at an opportune moment.
Lead with world-building. She says she wants to believe wholeheartedly in the world of the book; your query should establish the setting and its rules quickly and confidently.
Voice is a dealbreaker. She describes wanting to forget she's reading entirely—if your sample pages don't have an immediately distinctive, absorbing voice, no amount of plot summary will compensate.
For picture books, make clear whether the character has series potential; she is specifically hunting for protagonists who can carry multiple books.
For graphic novels and illustrated chapter books, clarify upfront that you are an author-illustrator and describe your art style in concrete terms—she wants a style that stands out immediately in a crowd.
If your book is set in Appalachia or draws on non-Western mythology, say so explicitly in your query letter and briefly establish your connection to that material.
Do not pitch adult fiction, crossover titles, or projects where a misunderstanding is the primary plot driver—these are flat rejections.
Avoid framing romance as your book's central hook; if romance is present, contextualize it as one element within a larger story.
She has been explicit about being a white cishet abled agent actively seeking to represent non-white, queer, and disabled voices—if you are a marginalized creator, it is entirely appropriate to note that in your query.
Confirm the submission form is still open immediately before querying, as her status has fluctuated.