A London-based Watson Little agent specialising in commercial fiction for MG, YA, and adult readers, with a pronounced appetite for romance, romantasy, and underrepresented voices across all genres.
In brief
Carroll's submission form was confirmed closed as of 1 May 2026 — verify the live form before attempting to query.
Her stated priorities lean heavily into romance and romantasy, but her current client roster reflects a much broader commercial-fiction footprint: women's fiction, saga, and cosy contemporary feature prominently among existing clients, signalling she has deep experience placing mainstream commercial adult fiction.
She has a notably international outlook, with a recurring emphasis on non-Western cultures, mythology, and folk traditions — books rooted in underrepresented backgrounds are not merely welcomed, they are actively prioritised.
Middle grade is a genuine passion, not an afterthought: she invokes specific touchstone authors when describing what she wants, suggesting she has a clear and opinionated sense of the space.
Her roster includes several estate clients (Margaret Mahy, Eilís Dillon, Jean and Gareth Adamson), pointing to long-term agency relationships and a care for literary legacy alongside new commercial acquisitions.
Lately
Carroll introduced herself publicly as a literary agent at Watson Little representing commercial fiction across MG, YA, and adult fiction, plus select non-fiction for all ages, and directed writers to her agency page for full submission details.
What Megan is looking for
This is Carroll's loudest current priority. She wants romance across a wide tonal spectrum — bright and comedic romcoms, emotionally intense dark romance, sweeping multi-generational love stories, high-concept hooks, and fantasy-inflected romance (romantasy). Classic tropes such as enemies-to-lovers, friends-to-lovers, forbidden love, and love triangles are all welcome, but her clearest differentiator is her insistence on underrepresented characters and cultures at the centre rather than on the margins. For romantasy specifically, she needs the world-building to be genuinely layered and the magic system to feel original — the romance must remain the emotional engine, not a garnish.
Carroll is drawn to fantasy that invests deeply in world-building and unique magic systems. She is especially interested in novels rooted in non-Western cultures and in retellings that draw on lesser-known mythologies and folk traditions rather than the well-worn Norse or Arthurian canon. Pure fantasy without a romantic thread is considered, though romantasy — where the love story is central — is her sharper focus.
In young adult fiction, Carroll is seeking contemporary stories that hold humour and romance at their core — emotionally resonant, fun reads that speak directly to what teenagers are actually living through. Strong, distinctive concepts and pitches are essential. She is equally interested in YA thrillers and horror, suggesting she welcomes darkness provided the voice and concept are compelling. These categories represent a meaningful part of her active wish-list.
Carroll will consider YA epic fantasy, but only when a romantic thread runs through the narrative. Writers working in pure secondary-world YA fantasy without a romance at the heart should look elsewhere.
Carroll has a specific and enthusiastic vision for middle grade: funny, contemporary stories with a voice sharp enough to feel genuinely fresh to modern young readers. She references Louise Rennison and Karen McCombie as tonal north stars for voice-driven comedy, and she has a standing desire for something as delightfully strange and original as Lemony Snicket — off-kilter, genuinely unique premises. Original adventure stories work in both fantastical and realistic settings.
Carroll considers non-fiction across age ranges, but it is clearly secondary to her fiction list and she gives no detailed guidance on what she seeks within it. Writers with non-fiction projects should ensure the work is commercially positioned before approaching.
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On Megan's list
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How to query Megan
Her submissions are currently closed (confirmed 1 May 2026) — check her agency page directly before doing anything else, as windows can reopen without public announcement.
When she reopens, submit through Watson Little's online form rather than by email; the agency runs a structured submission process.
Her diversity commitment is explicit and structural, not aspirational — if your protagonist or story is rooted in a Black, Asian, or LGBTQIA+ experience, say so clearly and early in your query letter.
For romance and romantasy, name your tropes upfront (enemies-to-lovers, dark romance, etc.) and then immediately signal what makes your take culturally or conceptually distinct — the familiar trope paired with a fresh cultural lens is precisely what she is describing.
For middle grade, lean into voice on the page: her touchstones are comedic, character-driven writers. A flat opening page will not survive long.
Do not query her with adult crime, adult thriller, science fiction, or picture books — these are explicitly off her list. If your project is YA thriller or horror, that IS appropriate.
If your fantasy is set outside the Western European tradition — particularly if it draws on under-documented mythology or folk traditions — flag that in the first paragraph of your pitch.
She has been at Watson Little since 2014 and is assisted by Ayesha Mukherjee — if you receive a response from the assistant, treat it as coming directly from Carroll's desk.