Sandra Proudman is a Literary Associate at Gallt & Zacker Literary Agency whose list centers on speculative, horror, and humor-driven children's and adult fiction, with a deliberate mission to champion marginalized and underrepresented creators—especially those from Middle Eastern, South Asian, South American, and Indigenous backgrounds.
In brief
Proudman's wishlist and taste profile skew heavily speculative across every age group—horror, graphic novels, and magical realism dominate her stated interests and her curated reading lists, making her a poor fit for purely realistic or contemporary work.
She is an author herself (multiple titles in 2024–2025), which means she brings first-hand craft knowledge to editorial feedback—a genuine differentiator for clients who want an agent who understands the writing process from the inside.
She is actively selective in Middle Grade prose; writers in that category are explicitly directed toward her GZLA colleagues first, making MG graphic novels (speculative) the narrow exception she'd still consider.
Her personal media diet—science fiction films and prestige TV (The Expanse, Foundation, Annihilation, Prometheus)—signals she appreciates high-concept, idea-driven speculative work, not just genre-comfort reads; writers pitching 'elevated' SF should note this.
A DVpit post from October 2025 confirms she periodically opens a narrow query window for marginalized creators even when her general form is closed—following her closely on social media is essential for catching these opportunities.
Lately
During DVpit—a pitch event for marginalized creators—Proudman announced she was not open to general queries but would actively review pitches throughout the week. Writers whose pitches she favorited were invited to submit a query plus three chapters, or a dummy, proposal, or portfolio through her form link.
There's a really amazing website called an online form that's completely free and lets you see what agents and editors are looking for. Nobody is typically asking for things they don't think they can sell, so it's a window into what the buzz is — what agents are hearing from editors and what editors are hearing their imprints want more of. You can use that to notice trends and then infuse them into projects you already have.
Publishers Weekly sends free emails showing what editors have recently acquired. The more you read those announcements, the more you start noticing trends — and you can track the scheduled publication dates to see when a trend might be going stale. If everybody already has a romantasy book coming out in 2024, and you're just starting to write yours, by the time it's ready two years later editors may already have what they need.
Everybody wants to be the exception, but most people who actually get published are simply the rule — and there's nothing wrong with that. Publishing is a business and people take the safer bet more often than not, especially right now in categories like middle grade that are really struggling. You don't have to write something so wildly different to get noticed. Most books that make it through acquisitions are just good, easy-to-follow stories that people can enjoy.
Middle grade is struggling tremendously right now. Since Barnes and Noble changed its acquiring model, they're essentially not stocking middle grade anymore, so the category has really been hurting. Agents and editors are taking the safer bet there more than anywhere else.
Comp titles hold some weight, though less so when you're querying agents than when you're on submission to editors. Don't be afraid to use a classic comp — when you look at Publishers Weekly deal announcements, a lot of the comps aren't recent at all. What matters more is that the comp is strong and commercial. If you reach the querying or submission stage and realize your comps don't feel eye-catching, you can go back and deliberately infuse your project with a well-known property — make it a Pride and Prejudice retelling, for example — so that your comp title itself opens people's eyes.
You're always in control of your project and you can change it at any point — even mid-submission. If you're in the middle of a first round with editors and you start seeing a new buzz word coming up everywhere, you can have a conversation with your agent about whether to infuse that element before a potential second round. Don't be afraid to go back and revise even when you already think the project is solid; there are always small things you can add to give it a higher edge.
What Sandra is looking for
Proudman is looking for author-illustrators specifically—not writer-only picture book submissions. She gravitates toward character-driven stories with warmth and humor, and is enthusiastic about STEAM-integrated content where learning is woven naturally into the narrative. Think playful, high-personality work with a strong visual sensibility.
She is explicitly very selective in Middle Grade overall and directs most MG queries to her colleagues at GZLA. The one lane she'll entertain: speculative graphic novels. If your MG graphic novel has a dark, fantastical, or otherworldly edge, she's interested. Prose MG is essentially off the table for her right now.
YA romantic comedies are one of her two top YA priorities. She doesn't elaborate extensively on subgenre, so the emphasis appears to be on voice, heart, and genuine comedic timing rather than a specific setting or cultural backdrop—though her diversity mandate applies here as anywhere.
The other top YA priority. She welcomes the full horror spectrum, including body horror, signaling a high tolerance for dark and visceral content. Writers should not self-censor on intensity. Thrillers with speculative underpinnings are also welcome. She is not squeamish about darkness in YA.
Her clearest adult-fiction priority. She wants atmospheric, culturally rooted horror with literary ambition—the kind of novel that uses setting and heritage as engines of dread. Gothic sensibility, haunted-house premises, and folkloric terror are all in scope. Latin American and similar cultural contexts appear to particularly resonate based on her named touchstones.
Beyond horror, she's open to adult speculative work that prioritizes emotional resonance and beautiful prose. High-concept science fiction and magical realism both fit this lane. The bar is high: she's looking for something that moves her deeply, not just competent genre work.
Diversifying her list is a stated core mission, not a side preference. She is actively and especially seeking writers from Middle Eastern, South Asian, South American, and Indigenous backgrounds. This applies across all age groups and formats she represents. Own-voices projects aligned with these backgrounds receive elevated consideration.
Not the right fit
On Sandra's list
Taste fingerprint
How to query Sandra
Her general submission form was closed as of late 2024 with a projected reopening around summer or early fall—confirm the live form status before attempting to query.
She periodically opens narrow windows for marginalized creators through events like DVpit even when generally closed; following her social media closely is the most reliable way to catch these opportunities.
When submitting, include trigger warnings in your query letter—she specifically requests this and notes she appreciates the heads-up regardless of her own tolerance level.
Lead with cultural identity and own-voices context early in your query if applicable; her diversity mandate is genuine and central, not performative, and she's explicitly named specific backgrounds she's prioritizing.
For adult horror, lean into atmosphere, cultural specificity, and a strong sense of place—her touchstone titles are both set in Latin American contexts with gothic dread woven into the setting itself.
For YA, name your genre clearly up front: she has two very specific lanes (romcom and horror/thriller) and anything in between is less likely to land.
MG writers: unless you are pitching a speculative graphic novel, query her GZLA colleagues first—she has stated she is being very selective in MG and this is not likely to change soon.
Picture book writers who are not also the illustrator should not query her; this category is open to author-illustrators only.
Her own background as a published author of horror and speculative fiction means she will recognize craft quickly—don't pad the query; sharp, specific writing speaks louder than lengthy description.