A children's-book specialist at KT Literary with deep editorial roots at HarperCollins, Laurel Symonds hunts for upbeat, escapist stories—from picture books through crossover YA—with a particular love for illustrated works, fairytale retellings, historical romcoms, and anything involving witches, ballgowns, or boarding schools.
In brief
Her sales record skews heavily toward middle-grade and YA fiction, with a pronounced track record in mysteries (Fleur Bradley's Barclay Hotel/Raven Island series, Nick Brooks's dark-academia thriller), YA retellings (Christine Calella), and YA romance (Aashna Avachat's international Love in Translation series) — these are her actual sweet spots, not just stated wishes.
She has a demonstrated repeat-client pattern: Angela Ahn (at least two MG titles), Fleur Bradley (at least two MG mysteries), Aashna Avachat (at least two YA romances), Nick Brooks (at least two YA thrillers), Christine Calella (at least two YA titles), and Michal Babay (at least two picture books) — she clearly builds long-term author partnerships.
Her editorial background at HarperCollins Children's Books, combined with bookselling and library experience, makes her unusually attuned to what actually reaches kids — a practical advantage she offers clients navigating the full publication process.
Her stated enthusiasm for 'upbeat, escapist, and ultimately hopeful' projects (articulated during her spring 2026 query window) is borne out by her list: even her thrillers (Promise Boys, Daybreak on Raven Island) trend toward propulsive, satisfying resolution rather than bleak or literary fiction.
Her query window for 2026 was explicitly bounded — April 15 to May 15 — and her form was confirmed closed as of May 15, 2026. Writers should monitor her channels for the next announced window rather than assuming she is open year-round.
Lately
This is not a joke: I will be open to queries from April 15 to May 15, 2026. I’m looking for projects that are upbeat, escapist, and ultimately hopeful! Especially in these categories: (1/3)
She publicly announced a strictly bounded query window for spring 2026, open from April 15 through May 15, and specified she was looking for projects that are upbeat, escapist, and built around hope — language consistent with her broader aesthetic but worth noting as her most recent stated priority framing.
What Laurel is looking for
She wants MG historicals set before 1970 and drawn from underrepresented perspectives, particularly in time periods that translate well into classroom use. Think the tone and cultural specificity of Prairie Lotus. This is among her most explicitly prioritized MG categories.
Contemporary MG with the warmth and voice-driven appeal associated with authors like Kelly Yang and Corey Ann Haydu. She values character interiority and emotional resonance alongside accessible, fun plots.
She actively seeks puzzle-driven or mystery-forward MG — clever, modern descendants of The Westing Game. Her actual sales record in MG mystery (Fleur Bradley's two books) confirms this is a genuine strength, not just a wish.
Fairytale, folktale, and classic literature retellings for the MG audience. She loves the bones of familiar stories reimagined with fresh perspectives or settings.
She is specifically looking for bingeable, commercially driven series with relatively lean page counts aimed at the upper-MG/lower-YA reader — the sweet spot that the early Princess Diaries novels and the Babysitter's Club TV reboot occupied. The tone should be fun, propulsive, and broadly appealing.
She wants romantasy or fantasy that is accessible rather than dense-worldbuilding-heavy, set in royal court or academic environments. Her 'always' list (witches, boarding schools, ballgowns, princes in disguise) maps directly onto this category. Her existing client Christine Calella's YA retelling work shows the kind of court-adjacent fantasy she gravitates toward.
She is particularly drawn to historical YA from underrepresented perspectives (naming The Davenports, A Gentleman's Guide to Vice and Virtue, and work by Stacey Lee as reference points) and to historical romcoms set in the Regency or Victorian periods. The combination of romance, wit, and period atmosphere is her ideal.
She wants propulsive, satisfying YA mysteries — not grim or unresolved, but clever and fun. The Inheritance Games is her named reference point. Her MG mystery sales suggest she sells in this territory with confidence.
Upbeat paranormal or inventively genre-blending YA. The emphasis on 'upbeat' is consistent across her wishlist and her recent public signal — darker or grittier paranormal is unlikely to suit her.
She has a specific niche interest in YA contemporary set in college environments with genuine YA appeal — a visiting weekend, summer intensive, or special event that creates a contained, high-stakes social world. This is a narrow but real interest.
Fairytale, folktale, and classic literature retellings for YA. Her client Christine Calella's Cinderella-riff Liar's Kingdom is an example of the kind of familiar-story-reimagined work she has actually taken on.
Her sales record confirms YA romance is a genuine throughline — Aashna Avachat's international Love in Translation series (Love Craves Cardamom and the forthcoming How to Fake a Love Story) demonstrates she actively builds romance-focused YA careers. Swoon-worthy, emotionally layered romances with cultural specificity are well within her wheelhouse.
She welcomes graphic novels across a range of contemporary themes and perspectives — but ONLY from author-illustrators. She does not take text-only graphic novel projects. The gate here matters: do not query if you are a writer seeking an illustrator collaborator.
She represents picture books and has repeat picture-book clients (Michal Babay). Her taste runs toward warm, specific concepts with strong visual potential.
She is open to nonfiction for young readers but emphasizes she wants a genuinely fresh angle on familiar territory — a unique take rather than a straightforward overview. Illustrated nonfiction aligns with her broader illustrated-works emphasis.
She takes a small number of adult projects, but ONLY from authors who are already her clients. This is not a door open to new adult writers — it is an accommodation for existing relationships on her list.
Not the right fit
On Laurel's list
Taste fingerprint
How to query Laurel
She is currently closed to queries as of May 15, 2026 — do not submit until she announces her next open window. Her spring 2026 window was time-limited (one month), so watch her public channels for the next announcement.
Her most recent framing word is 'upbeat' — your query letter should make the emotional register of your book clear. If the book is dark or unresolved in tone, it is almost certainly not for her.
She responds to specific aesthetic touchstones: witches, boarding schools, ballgowns, royals in disguise, sisterly dynamics, Pacific Northwest settings. If your book genuinely contains any of these, name them in your query — they are not generic flattery but documented enthusiasms.
For MG mysteries and YA retellings especially, comp to her own client work (Fleur Bradley, Christine Calella) if the fit is genuine — it signals you have done real research.
Graphic novel writers must be author-illustrators. Do not query if you are a writer seeking an illustrator partner for a graphic novel — this is a hard gate, not a preference.
Adult project writers should not query: she only takes adult work from existing clients.
Her editorial background means she engages deeply with craft. A query that demonstrates structural awareness or voice control will resonate more than a pure plot summary.
Pacific Northwest settings or themes are a genuine personal enthusiasm — if your book is set there, mention it naturally in your pitch.