Kate Rogers is an Associate Agent & Licensing Coordinator at KO Media Management who specializes in visually driven, illustrated stories — graphic novels above all — with a strong pull toward horror, queer narratives, and genre-blending work across all age categories.
In brief
The deal record attached to this profile belongs to a different Kate Rogers — the Editor in Chief of Mountaineers Books, a 35-year publishing veteran specializing in outdoor recreation nonfiction. That is an entirely separate person. KO Media Management's Kate Rogers is an early-career associate agent; treat the outdoor titles in the raw data as background noise, not her sales.
Her agency page is the highest-authority source and makes one thing unambiguous: she wants a visual component in everything she takes on — graphic novels are her core acquisition category, and prose or picture books without illustrated/multimodal elements are not her focus.
She explicitly closed the door on high fantasy in her current agency bio, even though an older wishlist post mentioned 'light fantasy.' Writers with epic or high-fantasy projects should not query her.
Her queer lit and horror appetite runs across all age categories — she has flagged these as through-lines, not genre slots, meaning a queer horror graphic novel for middle grade is as welcome as one for adults.
Picture books are cooling: she has stated she is slowing acquisitions there and is now only open to author-illustrator submissions — writers seeking an illustrator need not apply.
Lately
Rogers updated her wishlist in February 2026, reinforcing that graphic novels remain her top acquisition priority across all ages, and signaling a deliberate pullback on picture book acquisitions — now limited to author-illustrators only.
What Kate is looking for
This is Rogers's primary acquisition focus. She actively seeks graphic novels for children, middle grade, young adult, and adult readers. She is especially drawn to diverse romance, character-driven horror (particularly entry-level horror pitched at younger audiences), humor, coming-of-age stories, light fantasy, and genre mashups. Queer themes are a consistent bonus. Scripts are only considered when a visual artist is already attached — unillustrated scripts will not be considered.
Rogers is selectively acquiring prose in this space, with speculative horror and thriller being the genres she is most open to. She gravitates toward manuscripts that stretch the form — think books that incorporate text messages, emails, diagrams, or other non-prose elements woven into the narrative. Works that blend speculative and horror conventions are especially welcome.
Queer themes are a cross-category priority for Rogers, not a standalone shelf. She has specifically called out queer retellings of classic narratives and well-worn tropes across all genres as something she is hungry to see. A queer lens can elevate a submission in any category she represents.
Rogers welcomes romance in both graphic novel and prose formats. Diverse romance is particularly encouraged. In prose, she favors contemporary and category romance; romantic elements woven into other genres (horror-romance mashups, for instance) align well with her broader taste for cross-genre work.
Rogers is actively slowing her picture book acquisitions and is only open to submissions from author-illustrators — creators who both write and provide the finished art. Writers seeking a separate illustrator should not query her for picture books. When she does take one on, she favors silly, warm-hearted stories with genuine emotional resonance.
Her agency bio specifically includes narrative nonfiction as long as a visual component is present. This is a narrower lane, but worth noting for creators working on illustrated nonfiction for children or young adults.
Not the right fit
On Kate's list
Taste fingerprint
How to query Kate
Send to the agency's query email address with the subject line formatted exactly as: 'Query for Kate Rogers: [Your Title]' — deviating from this format risks your email being overlooked.
Paste your query letter and sample pages directly into the body of the email; attachments will not be opened. For picture books, paste the full text. For prose, include your first five pages. Illustrators and content creators should include a link to their portfolio.
The visual component is the single most important filter — lead your query by making clear what the illustrated or multimodal element of your work is. If there is no visual component, Rogers is not the right agent.
If you are submitting a graphic novel script, your query must confirm that an artist is already attached; scripts without art will not be considered.
For prose submissions, briefly describe any multimodal or non-conventional format elements (embedded texts, diagrams, mixed media) — these are explicitly cited as a plus and will help your query stand out.
Query only one KOMM agent at a time. If Rogers is not the right fit, the agency may internally pass your query to a colleague — you do not need to re-submit.
Expect a response within four weeks if there is interest; no response after four weeks signals a pass. The agency does not send individual rejection notices due to query volume.
Do not query by postal mail — physical queries are discarded.
Do not submit AI-generated content; this is a firm, non-negotiable agency policy.