Jenny Bak is an associate/junior literary agent at Viking Books for Young Readers (Penguin Random House) who hunts for high-concept middle grade and YA fiction — especially from underrepresented and Indigenous voices — that sits precisely at the crossroads of commercial hook and literary depth.
In brief
Jenny Bak acquires only through their agency imprint (Viking Books for Young Readers/PRH) and accepts submissions exclusively from agented authors — unagented writers cannot query directly.
Their wishlist skews toward concept-first storytelling: a killer hook and swift pace matter as much as prose quality. Commercial-literary hybrids are the sweet spot.
Bak names Indigenous and underrepresented writers as an active priority — this is not a footnote but a stated top-of-list goal.
In MG, found-family emotion and genre variety (magical realism, animal fantasy, mystery) are equally welcome; in YA, every category listed carries a literary-depth requirement, not just commercial entertainment.
Science fiction, sports narratives, and high fantasy are explicitly outside Bak's taste — pitch none of these, even if the manuscript has other elements Bak would normally welcome.
Lately
Bak has publicly emphasized a desire to champion underrepresented voices, naming Indigenous writers as a specific and active acquisition priority — framed not as an openness but as something Bak is actively seeking out.
What Jenny is looking for
Bak is enthusiastic about MG that pulls at the heartstrings through friendship and found-family bonds, as well as adventure stories, magical realism, literary animal fantasies, and puzzle-driven mysteries. The common thread is emotional authenticity paired with a strong concept. Graphic novel formats are also on the table.
YA fantasy and speculative fiction are among Bak's clearest priorities, provided the work carries genuine literary weight alongside its genre engine. Unexpected structural twists and an irresistible hook are essential entry points.
Bak welcomes YA thrillers and horror that move at pace and deliver genuine surprise — the 'unexpected twist' criterion is especially relevant here. Literary ambition must accompany the genre thrills.
Contemporary romance in YA is wanted only when it carries substantive thematic weight, particularly around inclusivity and belonging. Romance as pure entertainment, without that deeper current, is unlikely to interest Bak.
Picture books are acquired only occasionally and sit well outside Bak's main focus. The bar here is high; approach with caution and only submit through representation.
Graphic novel formats are explicitly included within both the MG and YA categories Bak pursues — the same conceptual and literary standards apply.
Not the right fit
Taste fingerprint
How to query Jenny
Do not submit directly. Bak can only be approached through a literary agent acting on a client's behalf — this is a hard house policy, not a personal preference.
Lead your pitch with the hook. Bak's criteria list 'irresistible hook' first; your agent's submission letter must open with the concept, not the backstory or the author's credentials.
If the manuscript is MG, name the emotional core explicitly — found family, friendship stakes, a puzzle to solve. Bak appears to weigh emotional resonance heavily in this category.
If the manuscript is YA contemporary romance, your agent should be explicit about the thematic layer (inclusivity, belonging, identity) — Bak screens this category selectively and will pass on romance that doesn't demonstrate that depth.
Underrepresented writers, especially those from Indigenous backgrounds, should be identified clearly in the submission — Bak has named this as an active acquisition priority, not a tie-breaker.
Avoid pitching anything with significant science fiction, sports, or high fantasy elements even as a secondary strand — Bak has flagged all three as outside their taste.
For graphic novel submissions, confirm format upfront in the pitch; Bak explicitly includes graphic novels within their MG and YA mandates, so the format itself is not a barrier.