Gordon Warnock is a founding partner at Fuse Literary who champions marginalized voices through adult suspense, book-club women's fiction, socially engaged nonfiction, and graphic novels for all ages — always hunting for the high-concept, the undeniably fresh, and the change-making.
In brief
His sales record tells a clearer story than his wishlist: domestic suspense and women's commercial fiction dominate his recent deals, with Steena Holmes (six forthcoming titles), Julie Mulhern (six titles), and Kerry Lonsdale (five titles) representing a tight core of repeat clients who collectively account for the majority of his recent activity — writers in those lanes should take note.
Graphic novels are a genuine passion, not a sideline: his roster includes multiple cartoonist clients and his submission guidelines specifically call out First Second and Scholastic Graphix as taste benchmarks, signaling literary/indie comics sensibility over superhero fare.
His nonfiction bar is intentionally high: he wants authors who already ARE the platform — activists, public intellectuals, and cultural figures for whom a book is an extension of ongoing, measurable impact, not an introduction.
He explicitly excludes genre fiction (sci-fi, fantasy, romance, western), satire, legal/political thrillers, children's novels, and children's picture books — a meaningful portion of the market, so read the 'not seeking' list carefully before querying.
With sixteen-plus years of experience spanning editorial, marketing, and agenting, he positions himself as a full career partner; authors who want a hands-off agent are probably not the right fit.
Lately
His agency page notes he is watching for 2026 conference and event appearances, suggesting active engagement with the writing community and ongoing visibility for querying writers who attend industry events.
What Gordon is looking for
He wants concepts that hook him before page one and prose too tense to put down. The sweet spot is high-concept domestic suspense and psychological thrillers with a genuinely surprising twist or voice. His sales record — packed with Steena Holmes and Julie Mulhern titles — confirms this is where he works most actively. Originality matters; a fresh angle on a familiar premise will always beat a polished execution of something he's seen before.
Commercial fiction with emotional depth and book-club resonance, particularly from writers with distinctive cultural or personal perspectives. Kerry Lonsdale's multiple forthcoming titles demonstrate his sustained commitment here. He's drawn to stories that balance readability with something genuinely at stake beneath the surface.
Fiction that carries a specific, lived-in cultural voice — diaspora narratives, LGBTQ+ perspectives, and stories that center characters typically pushed to the edges of mainstream publishing. He names this as a priority, and roster titles like We the Animals and Gaijin and Chicano Frankenstein map his taste toward the literary end of this spectrum.
He lists horror as a represented genre in fiction and his roster includes Trevor Henderson (Scarewaves: Beyond the Grave). He appears most interested in horror that bends or subverts realistic fiction — the uncanny intrusion into an otherwise grounded world — rather than pure genre horror.
One of his clearest differentiators. He represents graphic novels across age categories for both adult and younger readers, and his taste benchmark is explicitly First Second and Scholastic Graphix — literary, character-driven, and visually ambitious — rather than superhero or genre comics. He works with author-illustrators and collaborative teams. Submissions require a link to a 10-page sequential PDF of finished artwork; this is non-negotiable.
He has a precise and demanding vision here: he wants authors who are already the foremost voice on their subject — activists, journalists, cultural figures — for whom the book is the crystallization of sustained public work, not the beginning of it. He calls this the 'social thermostat vs. thermometer' distinction: he wants writers who create change, not just document it. Favorite nonfiction reads span cultural criticism, food history, illustrated reference, humor, pop/geek culture, and memoir. Query letter only for nonfiction (no sample pages).
Not the right fit
On Gordon's list
Taste fingerprint
How to query Gordon
Use the submission form linked on his agency page — he states explicitly that unsolicited queries sent to his email address or through social media will be deleted.
For novels and memoir, paste or attach your first chapter; do not skip this — it is a stated requirement, not optional.
For nonfiction, send a query letter only — no sample pages. Your letter must demonstrate that you are already the established expert or platform-holder on the subject, not someone who hopes to become one.
For graphic novels or graphic nonfiction, include a link to a 10-page sequential PDF of completed artwork. Rough sketches or a script alone will not serve you here.
His taste in graphic novels runs toward literary indie publishers — lead with character, story, and artistic vision rather than genre or IP comparisons.
Make your concept legible in a sentence or two: he says fresh concepts excite him before he starts reading, meaning your query hook carries enormous weight.
He is explicitly not seeking satire, sci-fi, fantasy, romance, westerns, legal or political thrillers, children's novels, picture books, or standalone novellas — confirm your project is genuinely outside these categories before querying.
His core fiction clients write domestic suspense and commercial women's fiction; if you're in that lane, lean into it, but demonstrate what sets your voice or angle apart from an already-full stable.