Morgan Hughes is a FinePrint Literary Management associate agent laser-focused on children's and young adult fiction—especially MG fantasy, mysteries across age categories, and voice-driven YA—with a secondary interest in commercial adult romance and book club fiction, always seeking marginalized voices and characters.
In brief
Hughes's wishlist and submission categories skew heavily children's and YA: MG fantasy, MG/YA mysteries, and YA romantasy are the clearest priorities for 2026, with a stated pivot toward growing that children's and NA list.
Despite broad category listings, Hughes explicitly flags adult romance as limited and adult romantasy as a secondary pursuit—writers with adult projects face a higher bar than MG/YA writers.
The March 2025 query recap (1,078 queries, 5 requests, 1 offer) signals an extremely selective full/partial request rate of under 0.5%—the bar is high, and concept differentiation is essential.
Every category Hughes pursues carries a standing requirement: marginalized voices and characters are not optional—they are a baseline filter, not a bonus.
The submission form was confirmed closed as of March 31, 2026; writers should verify the live form status before querying, as this is the authoritative source and may change.
Lately
In a January 2026 wishlist update, Hughes announced a deliberate shift toward building their children's and NA list for the year ahead, naming MG fantasy with series potential and mysteries at both the MG and YA levels as the clearest targets. Adult romance was downgraded to 'still considered' rather than a focus area, with a strong preference for high-concept contemporary with speculative elements.
What Morgan is looking for
This is Hughes's most-stated 2026 priority. They want grounded, accessible fantasy with series potential—think immersive world-building that doesn't alienate younger readers. Lower MG chapter books should feel tonally comparable to The Underland Chronicles (Suzanne Collins) or the Charlie Bone series (Jenny Nimmo). MG graphic novels in this space are welcome, especially mysteries or heists.
Hughes is actively hunting MG mysteries and relationship-driven contemporary stories—particularly those centered on non-romantic bonds: mother-daughter dynamics, sisterhood, female friendships. Voice is critical; narratives should feel immediate and authentic to how kids actually speak and think. MG graphic novel mysteries or heist stories are explicitly on the wishlist.
Hughes wants accessible fantasy and romantasy at the YA level—grounded rather than sprawling high fantasy. Love triangles are a genuine enthusiasm, not just tolerated. Villain POVs in the vein of morally complex antagonists are appealing. YA dark academia graphic novels with a fantasy bent are also on the radar. Adult romantasy is considered on a very limited basis and should skew crossover rather than true adult.
Hughes specifically wants YA thrillers and mysteries with distinctive, unexpected settings. Whodunnits with a Clue-style ensemble or puzzle-forward mechanics—where readers can actively participate in solving the mystery—are a top priority. The hook must be fresh; setting and structure should do real work.
Swoony YA romances are welcome, but the hook must be genuinely distinctive—Hughes is not looking for formula. The Summer I Turned Pretty energy (emotional, relationship-driven, layered) is a stated touchstone. Love triangles and rival-to-lovers dynamics are explicitly enjoyed.
Hughes describes being most open in the NA category in 2026 but requires at minimum a romance B-plot—pure literary NA without romantic stakes is unlikely to connect. Campus and college settings, study-abroad travel-and-wanderlust storylines, and NA romantasy are all fair game, though NA is pursued on a limited basis overall.
Adult romance is still considered, but Hughes is narrowing focus: high-concept contemporary is the target, ideally with a magical or speculative thread woven in. Emotionally devastating-and-redemptive arcs are the stated goal. Light-hearted rom-coms, paranormal romance, forbidden-love dynamics, and fresh trope execution are also of interest. Book club fiction must bring a high concept. Adult romantasy is explicitly limited—grounded or lite fantasy only, nothing that reads as true high fantasy.
Hughes accepts picture books only from author-illustrators—writers who are not also illustrating their work should not submit. Within that gate, Hughes gravitates toward sweet, lyrical prose and smart, age-appropriate humor.
Not the right fit
On Morgan's list
Taste fingerprint
How to query Morgan
Confirm the submission form is open before preparing materials—it was closed as of March 31, 2026, and status may change without announcement.
Lead your query letter with the marginalized voice or character at the center of your story; this is a baseline requirement across all categories, not a differentiator, and burying it signals a poor fit.
For MG and YA, name a specific comparable title Hughes has cited (e.g., The Inheritance Games for puzzle mysteries, City of Bones for YA fantasy) if the comparison is honest—it signals you understand their taste in concrete terms.
If querying adult romance or adult romantasy, be explicit about why your book is 'high concept' and how any speculative or magical element functions in the story—vague gestures at 'a little magic' will not clear the bar.
Picture book submissions must come from author-illustrators; mention your illustration credentials or portfolio early, since this is a gate condition, not a preference.
Given a sub-0.5% request rate observed in early 2025, invest heavily in a distinctive hook and a first page that delivers on voice immediately—concept alone is insufficient.
NA submissions should foreground the romance plot or subplot explicitly, since Hughes requires at minimum a romantic B-plot in the category.
Avoid leading with genre labels alone (e.g., 'YA fantasy'); instead anchor the pitch in the specific emotional experience, relationship dynamic, or mystery mechanic that makes the book unique—Hughes responds to emotional specificity.