20 Agents Looking for Literary and Upmarket Fiction
Where to Query This Week (5.7.25) | Plus, a line by line breakdown of a query letter that has landed 15 full manuscript requests (so far!)
Welcome to Sub Club’s Where to Query This Week!
Before we get started, I wanted to let you know we’ve made some exciting updates to our Personalized Agent List offering. I’ve noticed a lot of you have questions or concerns about your query letter, in addition to wanting help finding agents, so we now offer three flexible options. Whether you’re just looking for detailed feedback on your query letter or you’re ready for a full list of handpicked agents, there’s something for every stage of the process.
Today, we have a very special guest. I met Suzanne Grove through Write or Die Magazine. Her short story was the first we ever published, and Tamar—our fiction editor—and I loved it so much we asked Suzanne to be part of our team.
Since then, Suzanne has become such a cherished writer friend. We text about writing, specifically querying all the time—she is currently querying, working to find an agent for her gorgeous literary novel. Even though the process is slow and grueling, she has a remarkable request rate. Her query letter is doing its job! So, of course, I asked Suzanne to offer some of her expertise.
Below, she shares the exact query letter that helped her land over 15 full manuscript requests, breaking it down line by line. For writers who learn best by example— especially those querying literary or upmarket fiction—Suzanne offers a generous, detailed look into how she structured her pitch, what each section accomplishes, and why it worked.
A Sample Query Letter, Annotated by Suzanne Grove
Because I am already testing the limits of the allotted word count (what else is new), I'll keep this introduction brief: I'm a person who learns best by example, who best understands and absorbs information by seeing it applied in the real world.
When I first began my querying journey, I easily discovered hundreds (maybe thousands?) of essays, interviews, and podcast discussions related to the query letter. However, I experienced tremendous difficulty in locating ANY sample letters, especially for the literary and upmarket genres. Alongside my passion for writing and reading sits my passion for editing fiction and helping new voices enter the literary landscape. Therefore, I thought it might be helpful to contribute an example query letter with the hope that it helps other writers with similar learning styles.
My manuscript is currently out with agents, and the query below helped me to get more than 15 full requests from two small rounds of querying. While I don't yet know the fate of this book, I do believe my annotations might give other writers the same luck.
If you use this essay to help you write a query, reach out to me! Community is everything, and because my love of writing is only matched by my love of reading, I'll want to hear all about your book.
Agent Name,
I am seeking representation for THE GRIEF HALLUCINATIONS [1], a work of upmarket fiction complete at about 75,000 words. I discovered your name after learning that you sold several novels to EDITOR, who has acquired some of my favorite titles over the past five years. Additionally, I believe my manuscript speaks to your desire for voice-driven fiction with high emotional stakes and a speculative bent. [2]
While filming the popular streaming series that made her famous, actress Madison Campbell struggles with debilitating imposter syndrome and the annihilation of her private life, especially her relationship with her on-screen love interest and real-life partner, Austin Baker. [3] When Austin dies in a tragic accident on location, Madison not only faces immense grief, but also the consequences of being a celebrity in the aftermath of such a public tragedy. [4] In order to disappear from the spotlight, she retreats to the remote estate belonging to her cousin Brett Palmer, a writer who has been hiding out since her career became embroiled in controversy. [5]
After an awkward reunion, the two women forge a bond via the consumption of hallucinogenic flowers found on the estate’s property. But what begins as an escape for Madison turns into obsession when the side effects include hallucinations of Austin. Convinced she has not experienced a drug-induced vision but rather tapped into another reality, Madison offers to use her celebrity status to assist with Brett’s latest project—if Brett will help to locate more of the flower. In the weeks that follow, Brett’s hidden motives and Madison’s fading grip on reality push both women toward destructive behaviors that might cost them their artistic careers—and their lives. [6]
The novel’s surreal exploration of grief sits alongside Laura van den Berg’s The Third Hotel and Melissa Broder’s Death Valley, while the portrayal of artistic rivalry will appeal to readers of A Novel Obsession by Caitlin Barasch. [7]
I am a three-time Pushcart Prize nominee, current fiction editor for Write or Die Magazine, and former associate editor for CRAFT. My fiction and poetry appear or are forthcoming in The Adirondack Review, Barren Magazine, The Carolina Quarterly, No Contact, No Tokens, The Penn Review, Porter House Review, Raleigh Review, XRAY, and elsewhere. I’ve also received an honorable mention for my fiction appearing on Farrar, Straus, & Giroux's Work in Progress website. I reside in Pittsburgh, PA, where I am at work on my next manuscript. [8]
I've placed the first twenty pages below, and I'd love to share the full manuscript with you.
Thank you for your time and consideration.
Sincerely,
Suzanne Grove
[1] Of course, my first note is NOT technically a note related to your query letter, but rather a quick and dirty tip on titles! I love daydreaming about titles, constantly workshopping them for projects that don't even exist. I've become known for interjecting in the middle of conversations (both in person and via text) in order to isolate random phrases and alert my friends that they've just inadvertently created a brilliant title. I suppose this fondness reflects my love for language and the absolute thrill I experience when I arrange and rearrange words on the page. Yet, I understand the frustration that can arise when attempting to find the perfect fit for your manuscript, especially considering that titles do so much work, from setting the tone and hinting at conflict to creating anticipation and first impressions for agents, editors, and readers.
I've previously published craft essays on opening hooks in which I explore my realization that the most alluring first sentences and paragraphs often boil down to this: QUESTION + EMOTION. I believe the same is true for titles. I could write 1,000+ words on this topic alone, but, again, I'll keep it brief. My favorite titles both raise a question for the reader and imply or hint at the emotional stakes.
Some examples?
Goodbye, Vitamin by Rachel Khong. Goodbye is such an emotionally fraught word. Who is saying goodbye? Why, and for how long? And why a vitamin? Is this connected to health? Once you read this novel—you must—you'll understand the significance of this title
Acts of Desperation by Megan Nolan. An act of desperation is, by nature, probably highly charged and emotional. Who is acting? What are they desperate for, and why???
Nobody Is Ever Missing by Catherine Lacey. She pulls this title from a John Berryman poem, but, still, the idea of someone missing, or missing someone, is packed with emotion, and this statement alone begs questions about its meaning.
Dead in Long Beach, California by Venita Blackburn. I love specificity in titles, and we get that with the location. But also, who is dead? How? Why? The jacket description for this book is perfect, as well. I knew I had to add it to the TBR pile, immediately.
Of course, this is subjective craft advice and not meant to be prescriptive! Plenty of gorgeous titles don't necessarily follow this formula, but I hope this idea might be helpful for anyone struggling right now.
[2] I have two final notes for this opening paragraph, one related directly to your letter and one that offers a querying tip.
First, I don't believe you must personalize your letter in order to get requests. I have several writer friends who found their agents without any specific personalization, and I think it can be quite obvious when you're straining to make a connection. The important element here is that you've genuinely put some thought into the agent you're querying and fully explored everyone at the agency to determine the best fit, rather than sending haphazardly to everyone.
Second, one of my favorite ways to locate agents is to use Publishers Marketplace to search for editors first, rather than agents. I noticed a trend of the same five or so editors acquiring my favorite novels over the years, and often those books share similar elements or ~vibes~ with my own writing (for example, Sarah Bowlin, who was an editor at Henry Holt & Company but is now an agent at Aevitas). So I began looking into the agents with whom those editors regularly work. The agent-editor relationship is important, and they often come to deeply know and understand each other's tastes. Research the editors who acquired a handful of your favorite books and comp titles, and see which agents negotiated the deal.
[3] I begin this plot paragraph by jumping right into condensed information about my protagonist with a particular focus on her status quo and internal/external conflicts as the novel begins. Really, the entire manuscript deals mainly with the elements in this first sentence: her love for Austin and her struggles as an artist. Part of her internal character arc revolves around this imposter syndrome and questions of worth and achievement as an artist. Meanwhile, the intensity of her love drives the core action throughout the rest of the plot. What is your protagonist's status quo? What internal and/or external conflicts do they face as the novel begins? What do they desire? Tell us here.
[4] A shift. This is the inciting incident that sets the remainder of the story in motion. Austin's death completely upends Madison's life, serving as her central motivation and informing nearly all of her actions from this point forward. What is your inciting incident? What event prevents your character from ever returning to life as they know it? Show us this disruption.
[5] A reaction—a choice—that propels the narrative into Act II. Madison is so overwhelmed with grief and the public's reaction to Austin's death (surprise! The tabloids find a way to blame her and create controversy) that she must find some kind of escape, even if that just means traveling across the country to get away from her current surroundings. Also, her fraught and competitive relationship with her cousin mirrors her internal conflict, bringing out those previously mentioned questions about artistic worth.
You'll notice that beneath the surface, there are also some questions raised that will (hopefully) intrigue readers: How did Austin die? What is the public’s reaction? Why is Brett hiding out? What kind of controversy? I only noticed these questions after writing my letter, and I think they will come naturally as a byproduct of your plot. So, what decision does your character make after the inciting incident? How does it inform the trajectory of the rest of your novel? Let us see this move into Act II.
[6] This second and final plot paragraph succinctly sums up the rest of the novel, offering up the core of the premise without giving away the ending, which is something you'll want to outline in a summary, if requested. Here, I introduce the novel's speculative elements—the psychedelic flowers and Madison's hallucinations—which offer a solution to her grief, thus becoming the goal she will pursue throughout the rest of the manuscript. She believes she can reunite with her dead lover, and we understand the underlying motivation and its associated high stakes. As readers, we can also intuit that the remainder of the plot will focus on her search for the flowers.
Additionally, we're given a hint as to the secondary character's hidden motives for assisting in this journey. This raises more questions, alongside the larger question of how Madison will navigate her loosening grip on reality.
Ultimately, your plot, no matter how subtle or quiet, will raise a single question: Does your character get what they want? In this part of your plot paragraph, show us the action that drives the majority of the novel. What is your character attempting to achieve? Think of Ottessa Moshfegh's narrator in My Year of Rest and Relaxation. We know what she wants and we experience her attempts to fulfill this desire. Remind us of the internal character arcs and the stakes, i.e. what your character stands to lose.
Also, a quick tip: When you’re making your final passes and edits before querying, keep a notebook or open doc by your side and type/write down every major beat of your story. No need to make this fancy. You just want to simply and succinctly capture the action of your story. This will help tremendously when you write your query letter, but also when you write your synopsis, which I think we all dread.
[7] Ah, comps. I'm going to stick with the common advice here: Utilize books published within the last three to five years that share some sort of element with your book. Remember, this will allow agents, editors, and ultimately readers to understand your novel's position in the marketplace. After all, publishing is ultimately a business, and a query letter is not only an artistic document but also a marketing document.
One suggestion I don't see shared enough? Talk to your local librarians or booksellers. Nearly all libraries offer time slots to meet one-on-one with someone, and you can use this service to gather book suggestions for your comp titles. Most booksellers will be equally as excited to discuss! Many writers like to put their comps in that initial paragraph, but I like it here. That's just personal preference.
[8] Finally, my bio. PLEASE do not stress if you don't have any publishing credits to your name. Your manuscript will speak to your talent and the voice and story you have to offer the world. A brief, three-sentence bio is just as lovely as a longer paragraph. Here, instead of publishing credentials, you might want to share where you earned your MFA or other degrees, let agents know you're working on another manuscript, or share a personal connection to the material—anything that lets the agent know you have some insight into the subject matter.
For example, the new manuscript I'm currently working on is sort of literary X-Files meets Meredith Westgate's The Shimmering State via Emma Cline with hypnosis and communes and divorce and monsters all set against the backdrop of a housing development, where the main character works selling new homes to prospective buyers. I spent a few years working in marketing for new home builders, and the horror of the quiet suburbs partially inspired the book. If I were querying that novel, I might let agents know about my time in that position and how it informed the knowledge in the novel.
Suzanne Grove is a fiction reader and editorial consultant for Write or Die Magazine, in addition to serving as the associate editor for CRAFT. Her fiction and poetry appear or are forthcoming in The Adirondack Review, Barren Magazine, The Carolina Quarterly, No Contact, No Tokens, Okay Donkey, The Penn Review, Porter House Review, Raleigh Review, XRAY, and elsewhere. She also received an honorable mention for her fiction appearing on Farrar, Straus, & Giroux's Work in Progress website.
20 Agents Looking for Literary and Upmarket Fiction
Okay, so what the heck is the difference between these two genres?
Literary fiction prioritizes character depth, emotional complexity, and beautiful or innovative prose. It often explores big themes like grief, identity, or morality, and leans more on internal conflict than fast-paced plot.
Upmarket fiction sits between literary and commercial—it combines strong writing and layered characters (like literary fiction) with a more accessible voice and a compelling, often high-concept plot (like commercial fiction). Think: book club favorites with both heart and hook.
The difference? Literary fiction leans more “artful,” upmarket leans more “readable”—but both value good storytelling.
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