Mira Landry is a globally-traveled associate agent at Corvisiero Literary Agency who champions upmarket and literary adult fiction alongside wide-ranging nonfiction, with a particular passion for Indigenous and underrepresented voices, sensory-rich prose, and stories that interrogate culture and society.
In brief
Mira's wishlist is unusually specific about setting and cultural lens — she names concrete geographies (Pacific Northwest, Arctic Canada, Philippines, Croatia, Ireland) and repeatedly flags Indigenous/First Nations work as a top priority across every genre she reps.
Her nonfiction appetite is broad but platform-dependent: she expects established authors with an audience, and her interests cluster around climate, inclusive feminism, anti-racism, behavioral science, and sports — a coherent 'informed citizen' through-line.
She gravitates toward upmarket and literary fiction with book-club legs rather than pure genre entertainment; even her genre picks (sports romance, horror, dark academia) carry a literary, thematic quality.
No deal record is available to confirm specific sales or publisher relationships, so her wishlist and stated priorities are the primary signal for what she is actively building.
She co-hosts a podcast called Writers Who Read that applies what she calls 'Literary Forensics' to recent novels — writers who have listened to it before querying will have a meaningful edge in signaling craft alignment.
Lately
Mira co-hosts a podcast called Writers Who Read, in which she and a co-host apply a framework she calls 'Literary Forensics' to recently published novels — essentially dissecting craft choices in current books. Writers who engage with this material before querying will arrive with a shared vocabulary for discussing technique.
What Mira is looking for
Mira's single loudest ask across the entire wishlist. She welcomes Indigenous and First Nations voices in virtually any fiction genre — magical realism, horror, romance, literary, sci-fi, urban fantasy — and explicitly invites these writers to query regardless of subgenre. This is not a niche preference but a stated top priority she returns to repeatedly.
Her core fiction home. She wants adult work that sits at the upmarket-to-literary end of the spectrum, ideally with book-club conversation potential. Strong interiority, sensory immersion, well-developed character arcs, and thematic weight about society or culture are non-negotiable. Pure commercial genre fiction without a literary dimension is less likely to land.
She describes wanting lush, beautiful upmarket speculative fiction that plays with time, nature, or witchcraft. The touchstone she invokes is Alice Hoffman's sensibility — magic that feels grounded, emotionally resonant, and psychologically textured rather than system-heavy.
She wants suspense that is dark, sensory-driven, and structurally surprising — work that defies genre expectation rather than confirming it. The name she cites is Megan Abbott, signaling a preference for psychological dread, complex female interiority, and prose that carries its own menace.
She is drawn to stories set mostly in current reality with a speculative or science-based plot element — think mission-driven thrillers where real space science is the engine, not the backdrop. The films Armageddon and Contact capture the vibe she is after: grounded stakes, accessible science, and strong human drama. A love-story subplot is a welcome bonus.
She wants fresh takes from underheard or non-western perspectives with a genuinely original voice. She is explicitly not looking for retreads of familiar dark-academia tropes — the entry ticket is a distinctive prose style and a vantage point the genre has not yet occupied.
Horror rooted in cultures and traditions outside the western canon, ideally carrying modern thematic weight. A woven love story is a strong plus. She is after horror that reflects something real about contemporary life, not genre exercise.
Sports romance is an explicit wish, with LGBTQ+ centering listed as ideal (though not a requirement). She specifically calls out subverting toxic masculinity as a thematic goal — which suggests she wants books that use the sports world to say something, not just as backdrop.
She wants magical realism that leans psychological and unsettling, featuring unreliable and/or genuinely unlikable narrators. The emphasis on 'twisted' suggests she is not looking for gentle, whimsical magical realism but for work where the uncanny destabilizes the reader's trust in the narrative voice.
She lists unrequited love in women's fiction as a specific craving — with the crucial note that she wants it to resolve in the protagonist's favor, not through romantic fulfillment of the unrequited feeling but in a way that serves the character's best interest. A narrow but genuine sub-niche.
A more open-ended ask: she describes a vibe of bright, bold colors, off-beat characters, and unpredictable energy — something like wandering through a pop-art show or a wax museum. This seems aimed at writers with an eccentric, highly stylized sensibility that resists easy categorization.
She reps a wide sweep of nonfiction. Her stated priorities include climate, sustainability, and environmental restoration; behavioral economics and psychology; inclusive feminism (abortion rights, trans rights, politics, medicine); anti-racism especially in education and medicine; sports/athletics/fitness (explicitly not diet or weight-loss); new developments in medicine and health; and global conflicts and politics presented accessibly. All of these lean on a platform requirement — she expects established authors with an audience.
She specifies two memoir lanes: writers from insular or lesser-known communities, and female athletes or women working in STEM fields. Platform is listed as a requirement for the athlete/STEM track. She is not looking for parenting, motherhood, or pregnancy memoirs.
She represents these forms across her nonfiction list, with a particular call-out for art-related subjects — writing craft, creative development, artistic self-help. Platform expectation applies across the board.
Not the right fit
Taste fingerprint
How to query Mira
Verify the live submission form at Corvisiero Literary Agency's website before querying — her status is unverified and may have changed.
If you are an Indigenous or First Nations writer, say so early and clearly in your query letter. She has elevated this as her top ask across every genre she represents.
Name the specific setting of your story if it falls in any of her listed geographies (Ireland, Pacific Northwest, Alaska/Yukon/Arctic Canada, Philippines, Croatia, South Africa, Turkey) — she called these out by name, which means geography is a genuine hook for her.
For fiction, demonstrate literary sensibility even in genre work. She is not looking for category-pure thriller or romance — she wants upmarket or literary-leaning projects. Show craft awareness in how you describe your book.
For nonfiction, lead with your platform. She expects established authors with an audience and lists it as an ideal across all nonfiction proposals. Quantify your platform in the query.
Listen to at least a few episodes of her podcast Writers Who Read before querying. Her 'Literary Forensics' framework reveals exactly how she reads and what she prizes — you can mirror that language authentically in your pitch.
If your fiction has a love story or romantic subplot, mention it. She notes a love-story thread as a bonus in multiple categories (space-sci-fi, non-western horror), suggesting it is a genuine pull for her across genres.
Avoid pitching parenting, pregnancy, motherhood, slasher horror, erotica, middle grade, or children's books — these are flat exclusions, not conditional ones.
For nonfiction on climate, anti-racism, or inclusive feminism, be specific about your angle and its currency. She names these as priorities, which means competition in her inbox is real — a crisp, differentiated hook matters.