She wants beautifully written, voice-led stories with strong hooks that feel simultaneously of-the-moment and built to last. Her sweet spots include lyrical, immersive fantasy with the kind of crossover book-club appeal that pulls in readers who don't usually reach for genre; literary fiction with a fabulist or speculative undercurrent; and high-concept upmarket fiction driven by a killer premise. She's also enthusiastic about swoony romantasy with crisp, propulsive prose — the writing needs to be tight, not indulgent.

She's actively looking for fantasy that winks at its own conventions — comedic, surprising, and self-aware without becoming parody. Think ensemble casts, irreverent narrators, and plots that zig where you expect a zag.

An enthusiast, not a generalist: she explicitly names Dungeon Crawler Carl as a touchstone and lists specific gaming franchises she loves (Hollow Knight, Fire Emblem, Legend of Zelda, Stardew Valley, Spiritfarer, Assassin's Creed). Works that feel like a love letter to gaming culture — with the mechanical cleverness the genre demands — are exactly what she wants.

Female-centric suspense with genuine twists and compulsive pacing is a clear priority. She also wants fast-paced thrillers with a light speculative edge, and atmospheric, socially incisive horror. For horror especially, the subtext should do real work — she's drawn to narratives that use dread to illuminate something true about the world.

She's energized by myths and legends that haven't been exhausted — non-western source material is especially welcome. She is candid that Greek myth retellings aren't the right fit, but she still loves fairy tale adaptations. She also has genuine appetite for singular, hard-to-categorize strange fiction.

Memoir and narrative nonfiction about food and drink — the kind that makes you want to quit your job and apprentice in a kitchen or vineyard. This is not the space for cookbooks; she wants writing-led immersive storytelling.

She's drawn to narrative history that reads with novelistic momentum (Erik Larson is her stated model), and to pop science that goes deep on a single fascinating subject. Essay collections tackling urgent cultural topics are also on her radar, as is cultural history and analysis of film and TV with staying power — she mentions dreaming of an oral history covering Disney's transitional period between the Renaissance and Revival eras.

She wants contemporary self-help aimed at millennials and Gen Z navigating post-pandemic reality — communication, adult friendship, social reintegration, and rebuilding connection after extended isolation.

She wants YA that earns its category by doing something genuinely surprising. High-stakes fantasy that plays with beloved tropes while still delivering fresh execution; tightly wound thrillers and mysteries; atmospheric horror; and voice-driven contemporary that doesn't look away from hard truths. She has a particular pull toward the strange and the funny in YA.

She gravitates toward MG that moves her emotionally — ideally both laughing and crying — and toward lyrical fantasy that makes magic feel genuinely real. Heavily illustrated humorous MG, multi-timeline structures, mysteries, LitRPG, and puzzle-driven stories are all explicitly on her list. She also values 'classic-feeling' MG with the kind of staying power that lasts generations.

She is open to picture books with strong kid appeal, but this is a selective category for her — not a broad open call. Her confirmed recent sales include picture books published with Disney and Chronicle, suggesting she has active relationships in that market. Note: this applies to author-illustrators and authors; check her submission guidelines carefully for any specific format requirements.