12 Agents Who Want Your Thriller and Suspense Novels
Where to Query This Week (5.21.25) | Plus, what agents *really* think about comps
Welcome to Sub Club’s Where to Query This Week!
When I started querying, I didn’t understand the whole reason for comps. I thought they were just a formality, and that if I just wrote a good enough pitch, an agent would get it.
But when I started asking agents about comps for a workshop I was teaching, I learned that comps might just be the most strategic line in your entire query. Using comparable titles in your letter isn't just filler. It’s positioning.
What Agents Really Think About Comps: Insights from Reps at Sterling Lord, Aevitas, and CAA
Comps as Market Signals
One of the biggest things I took away from
, Agent at Sterling Lord, was that comps tell potential agents that you understand the market. It’s not about being trendy—it’s about being intentional.She said:
“Firstly, you are showing the agent what is important about your book to you, and secondly, you are showing the agent that you read contemporary books in your category and understand the marketplace…I’m looking to make sure the author has read other books in their category and can use comps properly; when authors use comps that seem wildly far afield of the summary just described or are too popular and not specific, I think that maybe the author doesn’t fully understand the category in which their own book would be slotted into by the marketplace.”
In other words, don’t just say your book is literary or character-driven. Show where it fits on the shelf today. That alone can be the difference between a pass and a request.
Comps as Proof of Market Fit
Lauren Liebow at Aevitas emphasized that comps aren’t just for vibe—they’re about demonstrating that your book has a real audience. A good comp says, books like mine have sold, and here’s how mine stands out.
“Before using a specific comp title, drill down into what, exactly, other readers loved so much about that book and whether this new project has irrefutable similarities in that area. I’d recommend choosing comp titles that have had some success, such as literary awards or recognition in the media. That said, the best comp titles are the ones that display proof of an engaged audience for the topics or style of writing that a project embodies, while also highlighting the gaps that this new book will fill in the market.”
That balance between aligning with successful books and identifying what’s new is what gives agents and editors confidence that your story belongs on shelves.
Comps Show Positioning and Voice
Maggie Cooper from Aevitas explains that comps are shorthand for tone and structure.
“[Comps] help me to understand how the writer sees their work in the larger landscape. There’s a difference in positioning between a literary novel with a queer love story at its heart and a queer genre romance, and comps can be a really useful shorthand for writers to make it really clear what they are writing and how they see their work being positioned to publishers and ultimately readers.”
You’re not just pitching your plot, you’re showing agents how to sell your story—what readers will pick it up, what publishers will want it, and what kind of emotional or narrative journey they’re in for.
The Power of a Surprising Comp
Now, while this might feel formulaic or stiff, there is always a way to break the rules if you know how to earn it. Julie Flanagan from CAA shared how thinking outside the box with strategy can work in our favor. She said:
“I often see very rigid guidelines for querying in writing communities, and I’m going to be a little unorthodox here. A query can break all the rules—outdated comps, very little sense of plot—if it captures my curiosity. How does a query do this? Exceptional writing, which is hard to fake. A completely new concept. A sense of real verve on the page. A voice, a sensibility that is undeniable. Surprising comps. If you think The Exorcist and Barbie are the perfect comps for your book—and you convince me—then I’m all for it, even though those comps are both movies and one of them is old.
I understand why people follow general rules for queries, and they are largely helpful, but part of the goal is catching an agent’s attention. “
She also shared a line from a query she received (shared with permission) that knocked her socks off and propelled her to drop everything, read the manuscript overnight, and sign the author the next day:
REDACTED is a 66,000 word Adult Contemporary Fiction novel that will appeal to those who scream Chappell Roan’s “Good Luck Babe!” in the shower, were pissed they had to wait until season two to get to the cannibalism in Showtime’s Yellowjackets, got an MFA in insanity from Mona Awad’s Bunny, and were gay-ghost-sex inclusive for Johanna van Veen’s My Darling Dreadful Thing.
Of this line, Julie reflected:
“The comps here are all over the place, and they immediately intrigued me. This is a writer who understands her project. Not only that, she brings her own sensibility to comps—I see how her voice interacts with these comps. It gives me such an enticing sense of what the project will feel like. Even just reading this one sentence, I knew I had to read this novel.”
That one sentence—bold, specific, a little unhinged—showed voice, confidence, and clarity. And it worked. Sometimes, a surprising comp is the fastest way to show that your book is like nothing else but still has a reader. It’s all about positioning, baby!
Most important takeaway
No, comps aren’t just a checkbox. They’re an invitation for the agent to see your book’s potential, your vision, and your readership. The good news? You don’t have to get them perfect—you just have to make them make sense.
To make your comps convincing, be sure to:
Back your choice with confidence and evidence
Know and understand YOUR BOOK
Know and understand the genre you are writing in
Remember your comps are there to POSITION your book, not to compare explicitly
Good comp-ing, and good luck!
P.S. While you’re querying this summer (or refreshing your inbox for replies 👀), why not start your next book?! The Wild Draft is a 6-month novel-writing cohort to help you build momentum, finish a messy first draft, and stay creatively grounded with
! We start in June, and enrollment closes May 28 (one week from today!) Grab your spot while you can!12 Agents Who Want Your Thriller and Suspense Novels
Last week,
shared how she landed an agent after turning her novel into a thriller. We got a lot of positive feedback on that essay, so I thought this week, I’d feature some agents who are looking for thrillers and suspense novels.Let’s break down how these genres differ and are similar.
A thriller is a fast-paced, high-stakes story where the protagonist must stop a looming threat. The focus is on action, danger, and external tension. The reader often knows what the threat is before the protagonist does, creating dramatic irony.
Key traits: ticking clock, physical danger, twists, chase scenes
Examples: The Girl with the Dragon Tattoo, Gone Girl, The Silent Patient
Suspense has a slower burn and leans more psychological. Suspense novels build unease and dread, often through uncertainty, secrets, or paranoia. The threat may be less visible, but it’s always present.
Key traits: foreboding atmosphere, emotional stakes, psychological tension
Examples: Rebecca, The Secret History, The Talented Mr. Ripley
Many modern books blend the two: a suspenseful atmosphere plus thriller pacing. If your novel builds slow-burning tension and then accelerates toward high-stakes confrontation, it may fall squarely in this crossover space.
If you’re currently querying and want a curated list specially made for your manuscript, be sure to check out my Personal Agent List service. I just updated our offerings with THREE fresh options! If you need help with your query letter or just want to grow your list of queryable agents, I’m here for you!
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