Roseanne Wells is a Lucinda Literary Agency agent who spans children's books, adult fiction, and narrative nonfiction, with a particular appetite for diverse voices, genre-blending, and stories that sit at the edge of genre conventions.
In brief
Wells operates across a genuinely wide range — children's (MG, YA, graphic novels, nonfiction picture books), adult SFF and crime fiction, and narrative/pop-culture nonfiction — making them one of the more catholic-taste agents actively courting diverse and underrepresented authors.
The wishlist leans heavily toward voice-driven, structurally inventive work; Wells name-drops unreliable narrators, unique narrative structures, and ensemble casts as specific draws — writers should foreground craft and voice in their pitch, not just concept.
Wells is explicit that they want authors who could deliver a TED Talk on their subject — platform and a compelling hook are non-negotiable for nonfiction submissions.
For fiction, the con/heist and smart-detective lanes are unusually specific: Wells calls out art, jewelry, and tech as preferred heist backdrops and wants morally ambiguous protagonists over squeaky-clean ones — cozy-mystery writers should look elsewhere.
No public sales record was available for analysis; all characterization here is drawn from Wells's stated wishlist. Confirm current query status directly before submitting — the last observed status is unverified and may be significantly out of date.
Lately
Wells describes an active interest in diverse and underrepresented authors across every category they represent, framing it as a standing priority rather than a nice-to-have — this applies to adult, YA, MG, and graphic novel submissions equally.
What Roseanne is looking for
Wells is drawn to nonfiction that braids a compelling personal journey with a big idea — think popular history, popular science, memoir-with-thesis, humor, food writing, and pop culture. The work must have a distinctive hook and a takeaway readers can articulate. Wells uses the TED Talk test: if the author couldn't hold a room for 18 minutes on this subject, the book isn't ready. A strong platform is expected. Illustrated or graphic-element nonfiction is also welcome, as are fresh angles on familiar subjects. Food writing should have rigor and a singular voice, not generic recipes.
Wells explicitly lists SFF as an eager priority for adult fiction. No single sub-genre is named, so the full genre spectrum appears open — the key signals are genre-blending, diverse and underrepresented authors, and strong voice.
Wells has unusually specific taste here: con and heist stories work best when centered on art, jewelry, or technology, and the protagonist should be charismatic but morally complicated — someone operating just outside the law by choice, with their own ethical code. Smart detective fiction is welcome, but Wells skews toward the cerebral and plot-complex end of the dial rather than the cozy end. Charming, witty, slippery characters are the draw.
All YA genres are open — fiction and nonfiction alike. Wells is most energized by books with a singular voice and a strong central character or ensemble, unreliable narrators, and narrative structures that serve the story rather than defaulting to convention. Diverse voices and marginalized stories are a standing priority. Both contemporary and speculative YA appear welcome based on the named touchstones.
Wells has a strong MG sensibility, citing a taste for the absurd and weird paired with big ideas, mystery-adventure, and nonfiction MG. Genre is wide open; what matters is a distinctive voice and a vivid main character. Mystery and adventure threads are clearly welcome. Nonfiction MG with an accessible, narrative approach also fits.
Wells actively seeks graphic novels, with a particular enthusiasm for queer stories and nonfiction subjects in graphic form. The taste runs toward imaginative, inclusive narratives over mainstream superhero content.
Wells is open to nonfiction picture books in STEAM (science, technology, engineering, arts, and math), history, and biography. This is a conditional lane — the nonfiction-only qualifier is firm. Note the important gate: Wells is NOT interested in picture books from author-only submissions in the fiction/rhyming space; picture book manuscripts should arrive as a single complete manuscript, and additional samples may be requested.
Not the right fit
Taste fingerprint
How to query Roseanne
Confirm Wells is currently open to queries on Lucinda Literary Agency's website before submitting — the last observed status is from 2011 and should not be relied upon.
Submit a one-page query letter plus the first 20 pages of your manuscript (fiction) or a full book proposal (nonfiction). Picture book authors send one complete manuscript.
Do not query by postal mail under any circumstances — it will not be considered.
For nonfiction, lead with your hook and your platform credentials in the very first paragraph. If you can't describe what your TED Talk would be, restructure your pitch before querying.
For fiction, foreground voice and character moral complexity. Wells responds to protagonists who are slippery, charming, and operating in ethical gray zones — make that clear early.
If submitting a graphic novel, flag the queer or nonfiction subject angle upfront; that's where Wells's enthusiasm is sharpest.
Mention genre-blending or structural innovation explicitly if your manuscript has it — Wells signals this as a draw across categories, so don't bury it.
Diverse and underrepresented authors and marginalized stories are a stated priority across all categories — writers from those communities should feel actively encouraged to submit.
Do not query with a cozy mystery, a rhyming picture book, or academic nonfiction; these are explicitly outside Wells's interests.