Matthew Carnicelli is the president of his own boutique agency and a former major-house editor who specializes in intellectually rigorous, idea-driven nonfiction — particularly history, politics, biography, health, and business — while also selectively championing literary fiction and graphic novels.
In brief
His deal record reveals a heavy lean toward serious academic and journalist-authored nonfiction — history, civil rights, education policy, cultural studies — published with university and prestige trade presses (Oxford, Yale, Columbia, Beacon, Bloomsbury, Liveright). Writers with scholarly credentials pitching substantive nonfiction are his sweet spot.
He has demonstrable repeat relationships: Roland Lazenby sold two major sports biographies through him (Jordan, Kobe), Derf Backderf sold two graphic memoirs (Dahmer, Kent State), Noah van Sciver has two graphic nonfiction titles, Justin Gifford sold two African-American biography/cultural titles, and Gino Wickman has multiple business books — signals that he builds long-term author partnerships.
BenBella appears as a frequent landing spot for his business titles, while Abrams is his go-to for graphic novels — both relationships appear durable and active in his most recent deals.
Though he lists literary fiction and LGBTQ fiction among his interests, his confirmed fiction sales are sparse compared to his nonfiction output; fiction writers should approach with realistic expectations and strong credentials.
His editorial background (Dutton, Contemporary Books, McGraw-Hill) gives him genuine subject-matter depth in health/wellness, business, and narrative history — he can develop a proposal, not just shop one.
Lately
He pointed writers toward a professional resource for querying and signaled that he remains engaged with the submissions pipeline.
What Matthew is looking for
This is his deepest vein — civil rights history, American political and social history, and deeply researched popular history with a strong authorial voice. He gravitates toward academics and journalists who can write for a general audience without sacrificing rigor. Recent deals with Yale, Columbia, Oxford, and Beacon underscore that he has real placement power in this space.
He represents both full-scale biography of major figures (sports, politics, culture) and personal memoir from writers with distinctive voices. Sports biography is a particular strength backed by his Roland Lazenby track record. He equally values cultural biography rooted in African-American history and civil rights narratives.
He has a well-established track record placing practical business and leadership books, particularly with BenBella. His ideal project in this space is one anchored by a clear, original framework rather than a generic advice book — evidence is his long-running relationship with Gino Wickman and his Entrepreneurial Operating System titles.
A genuine passion area with roots in his editorial years at Contemporary Books and McGraw-Hill. He favors health and wellness books that blend science with practical application, and books that address aging, movement, and vitality in fresh ways. Strong credentials — medical, research, or experiential — matter.
His sports interest skews toward deep narrative biography and cultural analysis of sports rather than how-to or coaching books. He built a track record here through Roland Lazenby's landmark basketball biographies and his work with a variety of sports-adjacent authors during his editorial years.
He has a specific and proven interest in long-form graphic nonfiction and memoir — not genre comics or superhero work. His two signature authors here are Derf Backderf (graphic memoir rooted in real events) and Noah van Sciver (historical and cultural subjects rendered in comics form). He is drawn to graphic projects with serious documentary or journalistic ambitions.
He welcomes literary fiction but his confirmed sales in this category are limited relative to his nonfiction output. He has placed LGBTQ literary fiction (William di Canzio's ALEC at FSG) and general literary fiction, but writers should understand this is a secondary focus. The bar is high and he likely takes on very few fiction clients.
Long-standing interest in books by journalists, political insiders, and commentators — particularly those that illuminate how American politics actually works. His editorial background included work with high-profile political figures, and he has sold books by journalists with national platforms.
Not the right fit
On Matthew's list
Taste fingerprint
How to query Matthew
Send queries to queries@carnicellilit.com — this is the designated submissions address, distinct from his personal email.
He is a former acquisitions editor with deep subject-matter expertise; treat him as an intellectual peer in your pitch, not just a gatekeeper. Demonstrate that your book has a clear, original thesis or framework.
For nonfiction, credentials matter significantly — his client list skews heavily toward PhDs, journalists, and credentialed practitioners. Lead with your platform and expertise early in the query letter.
His strongest placement relationships are with serious trade and university presses (Oxford, Yale, Columbia, Beacon, Bloomsbury, Liveright, BenBella). Frame your book as one that belongs in that company, not as a mass-market title.
If querying a graphic novel, emphasize the documentary or journalistic ambition of the project — his two graphic novel authors both work in nonfiction and historical memoir territory. Pure fiction or genre comics are unlikely fits.
For literary fiction, your query letter needs to signal voice and literary seriousness above all else; he takes very few fiction clients, so a compelling writing sample is essential.
He has a long track record of building multi-book author relationships — if you have a larger body of work or a clear second-project vision, mentioning that pipeline can only help.
Always verify current submission guidelines on his agency website before querying, as specific requirements may be updated.