Saint Gibson is a Speilburg Literary Agency agent hunting for emotionally bruising queer and polyamorous romance, atmospheric speculative fiction steeped in religious and occult themes, and progressive spiritual nonfiction — all with a strong preference for work that deconstructs genre conventions rather than reinforces them.
In brief
Saint Gibson's wishlist is unusually cohesive: religion, queerness, and the occult thread through every category they seek — from spiritual nonfiction to queer horror to high-fantasy with intricate theological worldbuilding.
No confirmed deal record is available for analysis, so stated preferences are the primary guide; this makes their wishlist one of the more detailed and specific among newer agents — use it closely.
Gibson explicitly excludes several major commercial romance subgenres (sports romance, military/law enforcement, sweet romance, secret babies), so writers in those lanes should not query regardless of other fit.
Their graphic novel interest is unusually broad and specific at once — fairytale retellings, superhero stories, and alternate histories are all welcome, anchored by named touchstones like MONSTRESS and THE WICKED + THE DIVINE.
Gibson does not represent Young Adult or Middle Grade under any circumstances — adult fiction only.
Lately
Gibson's wishlist foregrounds a specific tonal request for romance: they want their heart broken en route to the happy ending, and name multiple authors known for emotional intensity and explicit content as the benchmark for what they're hoping to find.
What Saint is looking for
Gibson's single biggest stated priority. They want emotionally demanding love stories — high heat, high angst, hard-won HEAs — with queer and polyamorous relationships at the center. Historical romance is especially welcome when it spotlights working-class people, sex workers, and other marginalized groups (not just aristocrats). Favored tropes include forbidden love, marriage in trouble, exes-to-lovers, and second-chance romance. Witty romcoms and steamy adventure-romance are also in scope. Kink is welcome as long as enthusiastic consent is central.
Gibson craves atmospheric, character-driven fantasy where place feels alive and magic feels visceral. Gothic subgenres are a particular draw, especially when they move beyond white, straight, European-manor defaults. High fantasy should foreground relationships and politics over action, with layered religious, magical, and sexual worldbuilding. Fantasy romance — particularly stories that blend lush emotional depth with speculative world-building — is enthusiastically welcomed. Occult fantasy (demon deals, secret societies, hereditary or self-taught witches) is catnip, provided it transcends standard urban fantasy conventions.
Gibson wants philosophical, character-centered SF over action-driven narratives. Existential science fiction, cosmic horror, and stories that interrogate religion, spirituality, or the nature of consciousness are the sweet spot. Hard SF and space opera are not a fit.
Gibson is drawn to horror that balances beauty with dread — quiet atmospheric terror, mind-bending psychological horror, religious horror, queer horror, and feminist horror. The work should be as much about feeling as fright. Hard exclusions: no horror set in psychiatric facilities and no horror centering suicide.
Gibson's graphic novel taste mirrors their fiction taste: gothic, queer, occult, and religiously inflected stories are all welcome. Fairytale retellings, superhero narratives, alternate histories, and quiet contemporary stories round out the scope. The bar is high — they cite some of the most critically acclaimed graphic works in recent memory as personal favorites.
Gibson seeks nonfiction with a progressive or interfaith perspective — memoirs of faith gained or lost, accessible theology that engages with contemporary events and pop culture, and explorations of syncretism. Well-researched magickal books (i.e., practical or theoretical occult writing approached with rigor) are also of interest. This is explicitly NOT inspirational or devotional in the conventional sense; Gibson wants work that wrestles seriously with religion's role in public and private life.
Not the right fit
Taste fingerprint
How to query Saint
Confirm the live submission form status at Speilburg Literary Agency before querying — no verified open/closed date is available.
Lead your query letter with the category and relevant comp authors Gibson named; they have named specific authors (KJ Charles, Cat Sebastian, Sierra Simone, Katee Robert, Jacqueline Carey) — if your book reads like one of them, say so directly.
If your work is queer and/or polyamorous, foreground that immediately. It is Gibson's most-stated priority across multiple categories.
If your manuscript engages with religion, occult themes, or haunting — even as a thread rather than the main plot — mention it. These elements appear in Gibson's wishlist across every single genre they represent.
Do NOT query Gibson with YA or MG under any circumstances, even if the content feels mature. They have stated this is a hard boundary.
For romance, clearly signal heat level and tropes upfront. Gibson is kink-friendly but wants consent foregrounded; if your book features BDSM or non-traditional relationship structures, don't bury that.
For horror, specify what your horror is NOT as much as what it is — Gibson's exclusions (psychiatric settings, suicide) are firm, and demonstrating awareness of them signals you've done your research.
For graphic novel submissions, note the format clearly at the top of your query and, if possible, include sample pages or a link to sequential art.