Tasneem is actively building a poetry list and points writers to her existing clients Casey Aimer and Ellen Chang-Richardson as benchmarks for the kind of work she wants. She is specifically drawn to genre-inflected poetry — verse that borrows the tropes and conceits of a particular literary genre (fantasy, sci-fi, romance, etc.) as a framework for meaning-making — and is especially excited by visual experimentation: unconventional layouts, white space, and formatting that is integral to the poem's effect, not decorative.

She wants picture books that are funny, sweet, or both — nothing po-faced. Particular enthusiasm for books with factual backmatter that stokes children's curiosity about the real world. She is drawn to stories that find adventure in the ordinary and celebrate small, personal accomplishments rather than grand heroics — an ethos she connects to the spirit of the documentary series Old Enough.

Graphic novels are a strong suit: everything from her genre sections applies here, plus two specific desires. First, something politically and socially incisive that is simultaneously an ironic, satirical send-up of capitalism, privilege, or class — sharp criticism wrapped in gleeful parody. Second, slice-of-life stories with a slow-burn undercurrent of mystery (supernatural, extraterrestrial, crime — any flavor) that intensifies as the story progresses rather than resolving neatly. She cites Dandadan and Grave Seasons as the vibe she's chasing for the latter.

Tasneem's contemporary wishlist is where her anime and fan-culture roots shine most clearly. She wants stories centered on games — physical or digital — made possible by new technology, where the community of players is as important as the game itself. She is hungry for fiction that captures the disorienting in-between of early adulthood: the intoxicating freedom and the crushing weight of new responsibility landing at the same time. She also lights up for protagonists with hyper-specific, niche obsessions — the more particular the better. Sports-anime energy (intense training arcs, team camaraderie, rivalry-turned-respect) translates seamlessly into the kind of contemporary fiction she'd love to sell.

She gravitates toward folklore and fairy-tale retellings drawn from lesser-known traditions, including stories featuring mythical creatures outside the Western canon. Grounded, contemporary-adjacent fantasy — where the magical world brushes up against the real one — is a particular draw. She has a stated and growing interest in LitRPG (stories that incorporate role-playing game systems and mechanics as a narrative engine), which is relatively underrepresented on agency lists and signals an opening for writers in that space.

Tasneem is captivated by speculative fiction that takes marginalized perspectives as its lens for examining what humanity means in a changing world. Afrofuturism is explicitly named, alongside the full spectrum of 'punk' subgenres (cyberpunk, steampunk, solarpunk). She wants utopias that are secretly dystopias — the polished surface with the rot underneath. And she has an unambiguous love for BIG MECH SUITS: Pacific Rim and Gurren Lagann are her stated touchstones, signaling that she wants the spectacle, the scale, and the emotional stakes that come with that tradition.

Romance within genre fiction is a current obsession, but with one firm condition: it must be the primary force driving the narrative, not a side thread or reward at the end of a different plot. She is specifically excited about romance embedded in fantasy, sci-fi, or other genre frameworks — not contemporary romance on its own. The genre context is load-bearing.