A former children's book executive editor turned agent at Dystel, Goderich & Bourret who splits his list evenly between children's (MG, YA, picture books) and adult narrative nonfiction, with a deliberate but selective appetite for commercial fiction.
In brief
Rudolph spent twelve years as an acquiring editor—including as Executive Editor at G.P. Putnam's Sons—before joining DG&B in 2010, giving him unusually deep editorial relationships on the children's and YA side of major publishing houses.
His deal record skews heavily toward narrative nonfiction (sports, music, history, memoir) and children's/MG fiction, which tracks with his editorial background; his adult fiction list is intentionally small and he is openly selective there.
He is one of the few agents who combines a genuine picture-book practice with adult narrative nonfiction—but the picture book gate matters: he wants author-illustrators, not writers-only.
His middle-grade wish is the most explicitly flagged priority on his current agency page, signaling real urgency for high-concept MG with an authentic kid voice.
Represented authors include Rachele Alpine, Steven Cordero, Shandy Lawson, Adam Lazarus, and August McLaughlin—a roster spanning YA/MG fiction and adult nonfiction that mirrors his stated half-and-half list balance.
Lately
On his agency bio, Rudolph flags middle-grade fiction as the single category he most wants to see more of right now, reinforcing that MG is his top acquisition priority.
What John is looking for
This is Rudolph's most explicitly stated priority. He's hunting for high-concept, 'what-if' driven stories told in an authentic child's voice. He gravitates toward realistic settings and sci-fi over fantasy. Think rousing, plot-propelled premise with a fresh perspective on the childhood experience.
Strong interest in YA with genuine teen voices and energetic, high-concept premises. He prefers realistic and science-fiction frameworks over fantasy, and favors stories that are fast-paced and plot-driven.
Rudolph is actively building DG&B's illustrator stable and specifically wants illustrators who can also write—not writers seeking an illustrator. If you are both the writer AND the artist, he is eager to hear from you. Writers-only picture book submissions are not what he's looking for.
This is the anchor of his adult list. He has a wide but specific appetite: music, sports, history, popular science, 'big think' concept-driven books, performing arts, health, business, memoir, military history, and humor. A compelling narrative frame and a strong authorial voice are essential—he is not looking for dry reference or pure how-to.
He keeps this list intentionally small and is upfront that he is very selective. Plot-driven and fast-paced work stands the best chance. Literary fiction with commercial momentum is also of interest. Do not query expecting an easy 'yes'—he takes on very few titles here.
Not the right fit
On John's list
Taste fingerprint
How to query John
Address him by name and make clear early which category you're in—his list spans children's to adult nonfiction and he needs to place your work immediately.
For MG or YA, lead with the 'what-if' premise. He responds to high concept; put your hook in the first sentence.
For picture books, do not query unless you are also the illustrator. State explicitly that you are an author-illustrator in your first line.
For narrative nonfiction, identify your subject area (music, sports, history, etc.) and the narrative angle in the opening—he represents a broad nonfiction range but the storytelling frame is what he buys.
For adult fiction, be honest with yourself: his fiction list is small and he is selective. Lead with plot momentum; if your book is more character-driven than event-driven, he may not be the right fit.
His background is editorial, not purely agenting—he responds well to craft-conscious letters that demonstrate an understanding of category, audience, and narrative structure.
Avoid labeling your work as fantasy; he explicitly prefers realistic and sci-fi settings for younger fiction.
Check the DG&B submissions page for current guidelines before sending—he joined the agency in 2010 and uses the agency's shared submission infrastructure.