Kendyll Drilling is a Corvisiero Literary Agency agent who brings a historian's precision and a fantasy devotee's imagination to her list, hunting for dark, character-driven fiction — especially intricate fantasy, pre-1900 historical fiction, and speculative work that unsettles the reader long after the last page.
In brief
Currently CLOSED to queries and on leave until further notice — confirmed directly from her live submission form as of 2025-07-20. Do not query until she publicly announces her return.
Fantasy and pre-1900 historical fiction are her self-described favorites and her clearest editorial identity; these are almost certainly the categories to lead with when she reopens.
Her wishlist places heavy emphasis on underrepresented voices — BIPOC, LGBTQIA+, and disability narratives — particularly through an #OwnVoices lens, signaling a deliberate mission rather than a passing preference.
She has a notably specific anti-list: she names exact titles as examples of what she does NOT want (cozy fantasy, classic retellings with pre-established characters, commercial romance, horror, humor/satire). Writers near these edges should self-assess carefully.
Her academic background — a dual degree in English Literature and European History — makes her an unusually credible home for rigorously researched historical fiction and myth-rooted fantasy; she is not a generalist pretending interest in the past.
Lately
Her agency page carries a direct notice that she is closed to queries and on leave until further notice — no return date is given. Writers should monitor her page and submission form for any announcement.
What Kendyll is looking for
Her single most-read genre and the category she describes as a 'soft spot.' She wants stories that balance character depth with plot momentum, rich imagery, and — ideally — undercurrents of religious or philosophical inquiry. Unique worldbuilding with a sense of mystery is a strong plus. Her comps span from R.F. Kuang's brutal scope to Alix E. Harrow's quieter, symbol-laden approach, suggesting she is equally comfortable with sweeping epic fantasy and intimate, lyrical works.
She is specifically drawn to traditions that are less familiar to Western readers, and she expects dark themes and subverted expectations rather than faithful or reverential adaptations. Voice and atmosphere drive her investment here more than plot mechanics. One important gate: she explicitly does not want retellings that use pre-established characters from canonical classics (e.g., Ophelia, A Dowry of Blood). Original myth-rooted stories or retellings of lesser-known folklore are the target.
The 1900 cutoff is firm — she prefers eras before heavy industrialization. Crucially, the historical setting must be structurally load-bearing: the time and place need to shape the characters and events, not merely decorate them. She is especially interested in representation of countries and cultures underrepresented in the genre. Her European History degree gives her real authority here, and her comps range from intimate domestic drama to sweeping epic, signaling breadth within the pre-modern world.
She wants speculative work that uses its premise as a crowbar — to pry open a social or moral conversation, to make the reader genuinely uncomfortable through characterization or the exposure of social structures. Emotional impact is essential; she describes thinking about books like these for months after finishing. No subject is off the table as long as the execution is purposeful.
All varieties welcome, but she gravitates toward morally grey or outright unlikable protagonists, gothic atmospheres, dark academia, and prose that is stylistically memorable rather than merely functional. She is not looking for redemption arcs or likable heroes — she wants characters whose perspectives compel even when the characters themselves do not.
She openly acknowledges she is not a science-oriented reader, so accessibility is non-negotiable — the science or pseudo-science must feel real and immersive without requiring specialist knowledge. Far-flung space opera falls within scope. The unifying demand is that big ideas about humanity anchor the adventure, not just spectacle.
She wants internally consistent systems — the rules of how time travel works, and the consequences of breaking or following those rules, must be clearly established and honored. The complexity of the mechanics can range widely; what matters is that the author commits to the logic and follows through on its implications.
A clearly stated mission priority, not a secondary interest. She specifically wants to elevate BIPOC, LGBTQIA+, and differently abled stories that are underrepresented in publishing. Importantly, she encourages writers to make these narratives weird, fantastical, or genre-blended rather than confined to realistic or issue-driven forms. Her own experience with disability appears to be a personal driver of this commitment.
Not the right fit
On Kendyll's list
Taste fingerprint
How to query Kendyll
She is currently closed and on leave with no stated return date — do not query until she publicly announces she has reopened. Submitting to a closed form is wasted effort and may count against you.
When she does reopen, lead with genre and setting in your first line. Her two self-described favorites — intricate fantasy and pre-1900 historical fiction — should be flagged immediately if your book falls into either.
If your project blends genres (e.g., historical fantasy, speculative literary fiction, mythic retelling), say so explicitly. She specifically calls out genre blends as intriguing, particularly when paired with lyrical writing.
Underrepresented cultural settings and #OwnVoices perspectives are a stated editorial priority, not a courtesy. If your manuscript represents a lesser-seen culture, mythology, or lived experience, make that clear early and directly.
Avoid querying anything that resembles her explicit exclusion list. The boundaries she draws are unusually precise — she names example titles. If your book is adjacent to cozy fantasy, classic-character retellings, commercial romance, horror, or satire, self-assess carefully before submitting.
Her comp set rewards writers who know recent 2020s literary fiction and dark fantasy. Referencing titles like Thornhedge, The Six Deaths of the Saint, or The School for Good Mothers in your query (if genuinely applicable) signals you understand her current taste, not just her general reputation.
Her academic background in European History means pre-1900 historical fiction will be read with a rigorous eye. Emphasize your research bona fides and be prepared to discuss historical accuracy in any follow-up correspondence.
She explicitly wants science fiction to be accessible to non-science readers. If querying SF, make clear in your pitch how you handle technical concepts — she is not looking for hard SF aimed at specialists.