Horror is her most loudly proclaimed priority right now, and she is especially hungry for sapphic and lesbian-centered stories. She wants unsettling, Gothic, and folkloric horror, plus social horror with sharp commentary. Space horror comping to Alien: Romulus or Ghost Station is on her radar, as is anything set in or under the ocean — a deep-sea first-contact scenario would thrill her. She is open to gory body horror with the visceral energy of The Substance, even though gore is not usually her default. She is specifically seeking BIPOC vampire horror with social commentary in the vein of The Wicked and the Willing, and notes she'd welcome vampire stories from BIPOC authors more broadly. Horror-romance hybrids that balance monster-fighting with genuine romantic tension are especially welcome. She is focused on commercial horror, not literary.

She is actively growing this list and is especially eager to sign queer authors, with particular enthusiasm for lesbians and women of color — she explicitly cites her own identity as a lesbian of color as context. She is drawn to romance with the high personal stakes and emotional intensity of K-dramas, and loves forced proximity and nerdy protagonists. A romance set among researchers in Antarctica would be a dream submission. Sports romance — specifically a rivals-to-lovers queer story — remains an unfulfilled wish, and as a Brazilian she would love an ownvoices F1 romance centered on a Brazilian driver contending with the weight of Ayrton Senna's legacy. She is not seeking small-town romance (she names this as a personal claustrophobia trigger).

Pace is the non-negotiable: every thriller or mystery she takes must move fast. She enjoys the tight, propulsive formula of commercial thrillers, as well as clever, unexpected concepts. She is actively looking for lesbian thrillers — particularly anything pitchable as a lesbian version of Master of the House — and for BIPOC-authored thrillers carrying the same breakneck energy as Dan Brown but with different cultural relationships and themes ('BIPOC Dan Brown' is her own phrase). She is explicitly not seeking psychological thrillers, upmarket, or literary mysteries; unreliable-narrator conceits or protagonists who may be imagining events are also a pass. Any law-enforcement or intelligence-community protagonist is a near-automatic decline.

She is selectively growing her fantasy list and leans toward two distinct sub-lanes. First, cozy or whimsical fantasy with warmth and charm. Second, and more urgently, steamy romantasy — this is described as a gap in her current list. She wants spice that is kink-positive, sex-positive, queer-inclusive, and free of gender-essentialist language; authors with genuine knowledge of BDSM beyond surface-level D/s dynamics will have her reaching for the manuscript immediately. A sapphic romantasy with an indie sensibility is her ideal. She is not the right fit for military SFF, stories centered on soldiers or warriors, or any romantasy where romance dynamics involve power imbalance through indenture or debt repayment.

Listed as an open category for both adult and YA. Space horror in particular overlaps with her horror wish, but broader science fiction is welcomed. Military SFF is a firm exclusion. No specific sci-fi wishlist details beyond the horror-adjacent space scenarios; the absence of further detail suggests this is a category she will consider but has not spotlighted.

A newly opened lane for her — she notes this is the first time she is seeking YA contemporary mysteries and thrillers. The same pace and commercial-not-literary requirements that apply to her adult thriller list apply here. Law-enforcement protagonists remain a pass.

Dark Academia is welcomed only from Global South writers, and from Black and Indigenous writers in the Global North. This is not a general open call for the subgenre — the gate is author identity and lived perspective, not just subject matter.