Rodgers wants fantasy built on coherent, intricate systems — magical, political, or social — where the story is not simply a quest but a pressure cooker for characters' beliefs and values. Moral ambiguity and moral quandaries are recurring keywords. They are especially drawn to epic fantasy, cozy fantasy, and space opera alike, signaling range rather than a single flavor. Non-Western settings and protagonists from marginalized groups are explicitly prioritized. Female protagonists and characters whose identities include queer, nonbinary, genderfluid, trans, ace, or aro experiences are particularly welcome. Favorite personal reads — N.K. Jemisin's The Fifth Season, Arkady Martine's A Memory Called Empire, Everina Maxwell's Ocean's Echo — clarify the register: ambitious, idea-driven, character-rich.

Space opera and military SF sit alongside near-future and speculative work in Rodgers's SFF appetite. They name space and spaceships as a genuine enthusiasm — the tone of Battlestar Galactica and Firefly is a useful compass: morally weighted, ensemble-driven, human-scale even in vast settings. Technology's effect on what it means to be human is a recurring thematic lens. Smaller-scale stories focused on a tight cast, rather than galaxy-spanning stakes, are explicitly welcomed alongside large-scale epics. Non-linear or epistolary structure is a plus.

Rodgers is looking for horror that earns a genuine physical startle — the kind that makes a reader drop a book. The benchmark is work that sits slightly off-center: mostly contemporary with a supernatural undercurrent, or more overtly speculative but grounded in human dread. They cite Bird Box, Get Out, A Quiet Place, and The Haunting of Hill House as the emotional standard. Shirley Jackson's We Have Always Lived in the Castle also appears on their personal favorites list, suggesting literary and atmospheric horror resonates as much as visceral terror.

YA across all the speculative and genre categories is explicitly on Rodgers's list. Non-traditional narrative structures — epistolary, found-document, non-linear — are a particular draw in this space. YA horror and YA SFF with marginalized protagonists and non-Western settings align with their stated priorities. Personal favorites like The Hate U Give (Angie Thomas), Wintergirls (Laurie Halse Anderson), and The Girl of Fire and Thorns (Rae Carson) illustrate a taste for both social-realist YA and YA fantasy with vivid, specific protagonists.

Rodgers is drawn to romance featuring equal power dynamics and mutual respect between leads — they are explicit that this matters to them. Preferred tropes include friends-to-lovers, marriages of convenience, and arranged marriages. Awkward, endearing protagonists are a stated delight. Heat level is not a barrier. The romance interest appears secondary to the SFF and horror priorities based on how it is weighted in their materials, but it is a genuine interest.

Rodgers accepts non-fiction specifically from and for the fiber-arts community: knitters, crocheters, spinners (wool fiber, not cycling), and quilters. This covers pattern collections, craft memoirs and reflections, and adjacent non-fiction. They cite the Yarn Harlot as a touchstone for the reflective-craft-writing tone they find compelling. This is a narrow, specialized lane, but Rodgers's own knitting hobby — mentioned on their agency bio — signals authentic personal investment rather than opportunistic category coverage.