Today I’m thrilled to have agent Jackie
Garcia-Morales here. She is an associate literary agent at Storm Literary.
Query and Critique Giveaway Status Update: Jackie is offering a free picture book or graphic book through middle grade query critique giveaway. See the Giveaway Details for more info. She is also offering a special link for Literary Rambles followers to query her through DECEMBER 15: https://QueryTracker.net/query/JackieGarciaMorales/LiteraryRambles
Hi Jackie! Thanks so much for joining us.
About Jackie:
Query and Critique Giveaway Status Update: Jackie is offering a free picture book or graphic book through middle grade query critique giveaway. See the Giveaway Details for more info. She is also offering a special link for Literary Rambles followers to query her through DECEMBER 15: https://QueryTracker.net/query/JackieGarciaMorales/LiteraryRambles
Hi Jackie! Thanks so much for joining us.
About Jackie:
1.
Tell us how you became an agent, how long you’ve been one, and what you’ve been
doing as an agent.
I had the pleasure of interning at Writers House in 2025, where I developed a deeper understanding of the agenting process. Following that, I joined Storm Literary Agency in February 2026 and now serve in two complementary roles: Associate Literary Agent and Foreign Rights Agent.
Before moving into agenting, I worked in trade publishing across sales, promotion, publicity, and marketing. That experience shapes how I evaluate projects, consider their positioning, and identify opportunities for creators and their work.
As an associate literary agent, I am thoughtfully growing a list of authors, illustrators, and author-illustrators whose work I believe I can champion in the current market. As a foreign rights agent, I also pursue international opportunities for Storm clients and their work. Both roles require strategic thinking about how a project can reach the right editors, publishers, territories, and ultimately, readers.
About the Agency:
2. Share a bit about your agency and what it offers to its authors.
Storm Literary Agency is a boutique agency devoted to the long-term success of its clients. We represent authors, illustrators, and author-illustrators working across a wide range of genres, formats, and age categories.
One of the things I value most about Storm is the depth of experience across the team. Each agent has an individual list and distinct areas of expertise, but we can also draw upon one another’s knowledge and collaborate to maximize opportunities for our clients.
Our support extends well beyond submitting a single project. Depending on a client’s work and goals, that may include editorial development, career strategy, contract negotiation, domestic and international rights, and continued advocacy as their body of work grows. We want creators to build balanced, sustainable careers with a knowledgeable and supportive team behind them.
What She’s Looking For:
3. What age groups do you represent—picture books, MG, and/or YA? What genres do you represent, and what are you looking for in submissions for these genres?
I seek to represent authors, illustrators, and author-illustrators working across children’s and adult categories.
In illustrated children’s literature, I am especially interested in illustrators and author-illustrators who hope to build versatile careers across picture books, chapter books, graphic novels, and other visual formats. I am drawn to distinctive artwork, strong visual storytelling, and portfolios that demonstrate both a recognizable point of view and an understanding of the market.
In middle grade, young adult, YA crossover, and New Adult, my tastes lean toward commercial stories with strong hooks, memorable voices, and meaningful emotional cores. I am especially drawn to mystery, suspense, epic adventure, complicated relationships, and stories that are hard to put down.
For adult nonfiction, I am interested in knowledgeable writers who can make complex, unconventional, or specialized subjects engaging and accessible to general readers. My interests broadly encompass science, health and wellness, the natural world, spirituality, and unexplained or thought-provoking phenomena. I may also consider select lifestyle projects.
Across every category, I am looking for books and artwork with a clear audience, confident execution, and a compelling reason to exist in today’s market.
4. Is there anything you would be especially excited to seeing in the genres you are interested in?
I am most excited by work that has a strong, easily communicated premise but still offers emotional depth, substance, or something meaningful for the reader to carry away.
For younger readers, I love humor, imaginative mysteries, high-stakes plots, STEM and STEAM concepts, and culturally grounded stories that center the child’s experience rather than prioritizing a lesson. I am especially drawn to unusual protagonists, clever problem-solving, friendship dynamics, and children discovering their own agency or power.
For older readers, I enjoy edge-of-your-seat storytelling, genre blends, psychological tension, layered motives, complicated relationships, antiheroes, and morally gray characters on quests who make readers question where the story goes next.
Across age categories, I respond strongly to confident voice, witty or fast-paced dialogue, carefully planted clues, atmospheric writing, unexpected twists, and stories that balance entertainment with a deeper emotional or intellectual layer. I am also always interested in compelling, well-researched nonfiction and striking visual work that tells a story of its own.
Some of my random specific asks are:
What She Isn’t Looking For:
5. What types of submissions are you not interested in?
I am not currently considering text-only picture-book authors, rhyming picture books, or authors whose work is limited exclusively to chapter books or middle grade.
I am also not the best fit for period or historical fiction, poetry anthologies, short-fiction collections, high fantasy, portal fantasy, fae or vampire stories, or books centered on a monster-school premise.
I am generally not interested in highly political books or work that is primarily religious and intended to proselytize. I am also not the right fit for stories containing explicit sexual assault, endings in which the main character dies, or work that teaches its message in a belittling or overly didactic way.
Although I appreciate animal characters in the right project, I generally prefer human protagonists in fiction. I am also cautious about queries that draw heavily from the identities, cultural experiences, or meaningful motifs of real communities when the creator does not have the relevant lived experience or demonstrated expertise to approach them responsibly.
Writers should review my current wish list on the Storm Literary Agency website or my personal website before querying. A broad category appearing on my list does not mean every type of project within that category will be right for me.
One practical note: if a category is not available on my QueryTracker form, I am currently closed to it, even if it appears on my longer-term wish list.
Agent Philosophy:
6. What is your philosophy as an agent both in terms of the authors you want to work with and the books you want to represent?
I view the creative-agent relationship as a professional partnership built on trust, communication, flexibility, and shared long-term goals. Writers and illustrators who are still learning how that relationship works should speak with other represented creators and consult reputable industry resources before seeking representation.
Because I come from a trade-publishing background, I value creators who understand the industry or are actively learning about it. I do not expect anyone to know everything before signing with an agent, but I do want clients who respect publishing’s realities: long timelines, a competitive market, the need for resilience, and the importance of receiving feedback thoughtfully.
I want to work with creators who care deeply about their craft, communicate openly, and remain receptive to thoughtful feedback. They should also feel comfortable explaining which elements of their work are especially meaningful to them and recognizing when a strategic pivot may serve the project or their broader career.
I also believe creators should develop their own platform presence over time. That does not mean everyone needs an enormous social-media following. It means finding thoughtful, sustainable ways to connect with readers, peers, educators, booksellers, librarians, or others relevant to their work. An agent is an advocate and strategic partner, but a lasting career is something we build together.
My role is not to take control of a client’s work or career. It is to offer informed guidance, protect their interests, advocate for their goals, and help them recognize or access opportunities they might not have reached alone.
The books and artwork I represent should have something meaningful at their center while also understanding and connecting with their intended audiences. I am looking for stories, projects, and art I can champion enthusiastically and position clearly in the marketplace.
Editorial Agent:
7. Are you an editorial agent? If so, what is your process like when you’re working with your authors before submitting to editors?
I consider myself moderately editorial, although the level of editorial involvement depends on the project and what it needs.
In my view, signing with an agent should not be the starting point for learning one’s craft. I am not a writing coach, introductory craft teacher, or art instructor. I am seeking writers and illustrators who have already invested in developing their skills and who are committed to continuing that growth throughout their careers.
That professional development can look different for every creator. It might include classes, critique groups, portfolio reviews, SCBWI webinars, wide reading and visual study within the category, trusted readers or art directors, careful study of comparable books and portfolios, or meaningful participation in the creative community to the best of one’s capacity.
Before submission, I review manuscripts and portfolios work through both craft and market lenses. For manuscripts, my feedback may address pacing, structure, characterization, audience, positioning, or clarity. For illustration portfolios and book projects, I may consider visual storytelling, consistency, range, character development, market fit, and how effectively the work communicates its intended audience and format.
I am kind but frank. When I believe something is weakening a manuscript, portfolio, or project, I will explain what I am seeing, why I think it matters, and what possibilities we might explore. I encourage clients to remain flexible without compromising the elements that are truly meaningful to them.
Ultimately, I would rather a client receive difficult but constructive feedback from me while we still have the opportunity to address it than encounter the same concern for the first time from an editor.
Query Methods and Submission Guidelines: (Always verify before submitting)
8. How should authors query you and what do you want to see with the query letter?
When I am open, creatives should query me exclusively through the QueryTracker. They should always verify my current status and submission guidelines immediately before submitting because my open periods, wish list, and requested materials may change.
I know there is considerable pressure to personalize every query with several lines about the agent. As someone who has also queried as an author, I do not expect everyone to produce a dissertation proving how thoroughly they researched me. Your time is valuable too!
The most meaningful form of personalization is sending work that genuinely aligns with my wish list and respecting the stated submission process.
In a query letter: I want the project’s essential information presented clearly. Title, age category, genre, word count, and whether it is a standalone or has series potential. I also want a compelling elevator pitch, relevant comparison titles, and a true synopsis that includes the ending rather than a teaser that withholds it. For short work, I ask for the full manuscript. For longform work, I ask for 50 pages or a proposal.
In opening pages, I am looking for confidence and control. I love a hook in the first line. I love being placed right in the action or the hypothesis. Always show, don’t tell! Shared pages should give me a reason to care, create curiosity, and establish a clear sense of voice and direction.
I value a strong, relevant biography section as well. Help me understand why you are the right person to create this book or body of work. Share the experience, expertise, lived connection, professional background, publication history, client work, platform, or credentials that meaningfully contextualize you and the project. Don’t be afraid to brag.
9. Do you have any specific dislikes in query letters or the first pages submitted to you?
Although it is not an automatic deal-breaker, I strongly recommend learning the standard presentation expectations for your submission type. A manuscript or portfolio does not need elaborate design, but professional, readable presentation demonstrates familiarity with industry expectations.
In the query itself, I prefer clarity over cleverness. Do not bury the premise beneath a long introduction or rely entirely on vague promotional language. Phrases such as “nothing is what it seems” or “everything changes forever” tell me very little unless they are followed by concrete information about the characters, conflict, and stakes.
Personal details can be charming, but a bio focused primarily on pets or unrelated hobbies does not help me understand your creative background or connection to the work, or if you are marketable as a whole. Prioritize information that is relevant to you as a professional and to the project you are submitting.
Typos happen, and an occasional mistake will not cause me to reject an otherwise compelling project. What matters more is whether the submission is thoughtful, professional, appropriate for my list, and responsive to the stated instructions.
Response Time:
10. What’s your response time to queries and requests for more pages of a manuscript?
I ask querying creators to allow approximately four to six months for a response.
My QueryTracker form asks whether the creator would prefer the submission to be automatically declined after six months so they can move forward rather than wait indefinitely. Requests for additional material may come much sooner, depending on the project and my reading schedule.
If another agent offers representation while I am considering the work, the creator should follow the notification instructions included in the form.
Self-Published and Small Press Authors:
11. Are you open to representing authors who have self-published or been published by smaller presses? What advice do you have for them if they want to try to find an agent to represent them?
Absolutely. I believe strongly in supporting independent authors and small presses. A history of self-publishing or working with a smaller publisher does not prevent someone from pursuing literary representation.
My first piece of advice is to be clear about what you are asking an agent to represent. Are you querying a new, unpublished manuscript for traditional publication? Are you seeking audio, translation, or other subsidiary-rights opportunities for a successful self-published book? Are you traditionally published but currently unrepresented and looking for support with audio, translation, or other world rights? These are different requests and require different information.
For a new manuscript, query it clearly as a new project and include your previous publishing experience in your bio. For an already self-published title, be prepared to provide meaningful sales figures, formats, pricing, publication history, distribution information, reviews, audience growth, and a clear account of which rights remain available.
On a case-by-case basis, I may consider successful self-published authors seeking audio or translation opportunities, as well as traditionally published but unrepresented authors seeking audio, translation, or other world-rights support. The book’s performance, available rights, and the creator’s long-term goals all factor into whether that partnership makes sense.
Do not hide your publishing history. Explain it accurately and confidently. Help the agent understand what you accomplished, what you learned, and what you hope to achieve next.
Clients:
12. Who are some of the authors you represent?
I am honored to represent a select cohort of amazingly talented illustrators. However, I don’t want to steal their thunder before they formally announce their agented status to the public. Thus, instead of listing them here, I’ll direct you to peek at the Storm website over the next few weeks to see the list of people I represent!
Interviews and Guest Posts:
13. Please share the links to any interviews, guest posts, and podcasts you think would be helpful to writers interested in querying you.
You can learn more about my background, publishing philosophy, manuscript and illustration interests, and current work through:
· JackieGarciaMorales.com
Again, because interests and availability can change, writers should prioritize my current Storm profile, website, and QueryTracker form over older interviews or social-media posts.
Links and Contact Info:
14. Please share how writers should contact you to submit a query and your links on the Web.
When I am open to submissions, creators should query me exclusively through the QueryTracker form linked from my Storm Literary Agency profile and website. I do not accept queries through personal email, agency email, social media, or direct messages.
Storm asks authors and illustrators not to submit to more than one Storm agent at the same time, so anyone considering querying our team should carefully determine which agent is the strongest match before querying.
You can find me through:
· Storm Literary Agency
You’ll also find me (less actively) here: LinkedIn | BlueSky | Newsletter
Additional Advice:
15. Is there any other advice you’d like to share with aspiring authors that we haven’t covered?
Always. Here are a few things I’ve learned that I keep in my back pocket as an author myself:
Take craft seriously. Read extensively within your category, seek thoughtful feedback, revise carefully, understand the market, and remain willing to learn. Understand that, at some point, however, you must allow the work to leave your hands.
Querying requires courage because it means inviting someone else to respond to something you have worked hard to create. The rejections that follow are unavoidable, but it is not always a judgment of your talent or potential. A manuscript, portfolio, or project may not fit an agent’s list, the market may be crowded, the timing may be wrong, or the agent may simply lack the right vision or relationships for that particular work.
Remain open to feedback, but do not reshape yourself or your work in response to every individual opinion. Look for patterns. Protect what is meaningful to you. Learn to distinguish between a change that serves the book or artwork and one that removes the reason you created it.
As a professional, I also encourage creators to think beyond a single manuscript, portfolio piece, or project. Develop new ideas, explore your range, and consider the body of work and career you hope to build. A sustainable publishing career rarely rests on one project, one submission round, or one opportunity.
Lastly, always remember that publishing can move slowly, and the need for growth never truly ends. Build a professional presence that feels authentic and sustainable, remain resilient, learn to pivot with purpose, and keep creating as you adapt and evolve.
Thanks for sharing all your advice, Jackie!
Have any experience with this agent? See something that needs updating? Please leave a comment or email me at natalieiaguirre7@gmail.com
Note: These agent profiles and interviews presently focus on agents who accept children's fiction. Please take the time to verify anything you might use here before querying an agent. The information found here is subject to change.
Jackie
is generously offering a query critique free picture book or graphic book through middle grade to one lucky winner. To enter, all you need to do is be a
follower (via the follower gadget, email, or bloglovin’ on the right sidebar)
and leave a comment through August 29th. If you do not want to enter the contest
or don’t write picture books or middle grade grade graphic novels, that’s okay.
Just let me know in the comments. If I do not have your email (I can no
longer get it from your Google Profile), you must leave it in the comments to
enter the contest. Please be sure I have your email address.
Have any experience with this agent? See something that needs updating? Please leave a comment or email me at natalieiaguirre7@gmail.com
Note: These agent profiles and interviews presently focus on agents who accept children's fiction. Please take the time to verify anything you might use here before querying an agent. The information found here is subject to change.
Monday, August 25th, I have a guest post by Paige Classey and a giveaway of her MG Anna-Jane and the Endless Summer
Monday, August 31st, I’m participating in the Glam and Glitz Giveaway Hop
Wednesday, September 2nd, I have an interview with Dinesh Thiru and a giveaway of his YA My Killer Family Reunion
Monday, September 7th, I have an
agent spotlight interview with Syrone Harvey and a query critique giveaway
Monday, September 14th, I have an
interview with M.K. England and a giveaway of her MG Riley Dare: Slightly Witchy Sleuth
Wednesday, September 16th,
I’m participating in the Falling Into Leaves Giveaway Hop
I hope to see you on Monday!
I had the pleasure of interning at Writers House in 2025, where I developed a deeper understanding of the agenting process. Following that, I joined Storm Literary Agency in February 2026 and now serve in two complementary roles: Associate Literary Agent and Foreign Rights Agent.
Before moving into agenting, I worked in trade publishing across sales, promotion, publicity, and marketing. That experience shapes how I evaluate projects, consider their positioning, and identify opportunities for creators and their work.
As an associate literary agent, I am thoughtfully growing a list of authors, illustrators, and author-illustrators whose work I believe I can champion in the current market. As a foreign rights agent, I also pursue international opportunities for Storm clients and their work. Both roles require strategic thinking about how a project can reach the right editors, publishers, territories, and ultimately, readers.
About the Agency:
2. Share a bit about your agency and what it offers to its authors.
Storm Literary Agency is a boutique agency devoted to the long-term success of its clients. We represent authors, illustrators, and author-illustrators working across a wide range of genres, formats, and age categories.
One of the things I value most about Storm is the depth of experience across the team. Each agent has an individual list and distinct areas of expertise, but we can also draw upon one another’s knowledge and collaborate to maximize opportunities for our clients.
Our support extends well beyond submitting a single project. Depending on a client’s work and goals, that may include editorial development, career strategy, contract negotiation, domestic and international rights, and continued advocacy as their body of work grows. We want creators to build balanced, sustainable careers with a knowledgeable and supportive team behind them.
What She’s Looking For:
3. What age groups do you represent—picture books, MG, and/or YA? What genres do you represent, and what are you looking for in submissions for these genres?
I seek to represent authors, illustrators, and author-illustrators working across children’s and adult categories.
In illustrated children’s literature, I am especially interested in illustrators and author-illustrators who hope to build versatile careers across picture books, chapter books, graphic novels, and other visual formats. I am drawn to distinctive artwork, strong visual storytelling, and portfolios that demonstrate both a recognizable point of view and an understanding of the market.
In middle grade, young adult, YA crossover, and New Adult, my tastes lean toward commercial stories with strong hooks, memorable voices, and meaningful emotional cores. I am especially drawn to mystery, suspense, epic adventure, complicated relationships, and stories that are hard to put down.
For adult nonfiction, I am interested in knowledgeable writers who can make complex, unconventional, or specialized subjects engaging and accessible to general readers. My interests broadly encompass science, health and wellness, the natural world, spirituality, and unexplained or thought-provoking phenomena. I may also consider select lifestyle projects.
Across every category, I am looking for books and artwork with a clear audience, confident execution, and a compelling reason to exist in today’s market.
4. Is there anything you would be especially excited to seeing in the genres you are interested in?
I am most excited by work that has a strong, easily communicated premise but still offers emotional depth, substance, or something meaningful for the reader to carry away.
For younger readers, I love humor, imaginative mysteries, high-stakes plots, STEM and STEAM concepts, and culturally grounded stories that center the child’s experience rather than prioritizing a lesson. I am especially drawn to unusual protagonists, clever problem-solving, friendship dynamics, and children discovering their own agency or power.
For older readers, I enjoy edge-of-your-seat storytelling, genre blends, psychological tension, layered motives, complicated relationships, antiheroes, and morally gray characters on quests who make readers question where the story goes next.
Across age categories, I respond strongly to confident voice, witty or fast-paced dialogue, carefully planted clues, atmospheric writing, unexpected twists, and stories that balance entertainment with a deeper emotional or intellectual layer. I am also always interested in compelling, well-researched nonfiction and striking visual work that tells a story of its own.
Some of my random specific asks are:
- The next Dexter or Hannibal with FMCs
- Soulmates that aren’t sure why they’re soulmates
- An epic mystery/whodunnit
- A “How To” for an apocalypse and a guide to crunchy/non-tox life
- Something awesome with UFO/UAPs and aliens
- A silly kid graphic novel that makes you laugh so hard you can’t breathe
- Art with universe building
What She Isn’t Looking For:
5. What types of submissions are you not interested in?
I am not currently considering text-only picture-book authors, rhyming picture books, or authors whose work is limited exclusively to chapter books or middle grade.
I am also not the best fit for period or historical fiction, poetry anthologies, short-fiction collections, high fantasy, portal fantasy, fae or vampire stories, or books centered on a monster-school premise.
I am generally not interested in highly political books or work that is primarily religious and intended to proselytize. I am also not the right fit for stories containing explicit sexual assault, endings in which the main character dies, or work that teaches its message in a belittling or overly didactic way.
Although I appreciate animal characters in the right project, I generally prefer human protagonists in fiction. I am also cautious about queries that draw heavily from the identities, cultural experiences, or meaningful motifs of real communities when the creator does not have the relevant lived experience or demonstrated expertise to approach them responsibly.
Writers should review my current wish list on the Storm Literary Agency website or my personal website before querying. A broad category appearing on my list does not mean every type of project within that category will be right for me.
One practical note: if a category is not available on my QueryTracker form, I am currently closed to it, even if it appears on my longer-term wish list.
Agent Philosophy:
6. What is your philosophy as an agent both in terms of the authors you want to work with and the books you want to represent?
I view the creative-agent relationship as a professional partnership built on trust, communication, flexibility, and shared long-term goals. Writers and illustrators who are still learning how that relationship works should speak with other represented creators and consult reputable industry resources before seeking representation.
Because I come from a trade-publishing background, I value creators who understand the industry or are actively learning about it. I do not expect anyone to know everything before signing with an agent, but I do want clients who respect publishing’s realities: long timelines, a competitive market, the need for resilience, and the importance of receiving feedback thoughtfully.
I want to work with creators who care deeply about their craft, communicate openly, and remain receptive to thoughtful feedback. They should also feel comfortable explaining which elements of their work are especially meaningful to them and recognizing when a strategic pivot may serve the project or their broader career.
I also believe creators should develop their own platform presence over time. That does not mean everyone needs an enormous social-media following. It means finding thoughtful, sustainable ways to connect with readers, peers, educators, booksellers, librarians, or others relevant to their work. An agent is an advocate and strategic partner, but a lasting career is something we build together.
My role is not to take control of a client’s work or career. It is to offer informed guidance, protect their interests, advocate for their goals, and help them recognize or access opportunities they might not have reached alone.
The books and artwork I represent should have something meaningful at their center while also understanding and connecting with their intended audiences. I am looking for stories, projects, and art I can champion enthusiastically and position clearly in the marketplace.
Editorial Agent:
7. Are you an editorial agent? If so, what is your process like when you’re working with your authors before submitting to editors?
I consider myself moderately editorial, although the level of editorial involvement depends on the project and what it needs.
In my view, signing with an agent should not be the starting point for learning one’s craft. I am not a writing coach, introductory craft teacher, or art instructor. I am seeking writers and illustrators who have already invested in developing their skills and who are committed to continuing that growth throughout their careers.
That professional development can look different for every creator. It might include classes, critique groups, portfolio reviews, SCBWI webinars, wide reading and visual study within the category, trusted readers or art directors, careful study of comparable books and portfolios, or meaningful participation in the creative community to the best of one’s capacity.
Before submission, I review manuscripts and portfolios work through both craft and market lenses. For manuscripts, my feedback may address pacing, structure, characterization, audience, positioning, or clarity. For illustration portfolios and book projects, I may consider visual storytelling, consistency, range, character development, market fit, and how effectively the work communicates its intended audience and format.
I am kind but frank. When I believe something is weakening a manuscript, portfolio, or project, I will explain what I am seeing, why I think it matters, and what possibilities we might explore. I encourage clients to remain flexible without compromising the elements that are truly meaningful to them.
Ultimately, I would rather a client receive difficult but constructive feedback from me while we still have the opportunity to address it than encounter the same concern for the first time from an editor.
Query Methods and Submission Guidelines: (Always verify before submitting)
8. How should authors query you and what do you want to see with the query letter?
When I am open, creatives should query me exclusively through the QueryTracker. They should always verify my current status and submission guidelines immediately before submitting because my open periods, wish list, and requested materials may change.
I know there is considerable pressure to personalize every query with several lines about the agent. As someone who has also queried as an author, I do not expect everyone to produce a dissertation proving how thoroughly they researched me. Your time is valuable too!
The most meaningful form of personalization is sending work that genuinely aligns with my wish list and respecting the stated submission process.
In a query letter: I want the project’s essential information presented clearly. Title, age category, genre, word count, and whether it is a standalone or has series potential. I also want a compelling elevator pitch, relevant comparison titles, and a true synopsis that includes the ending rather than a teaser that withholds it. For short work, I ask for the full manuscript. For longform work, I ask for 50 pages or a proposal.
In opening pages, I am looking for confidence and control. I love a hook in the first line. I love being placed right in the action or the hypothesis. Always show, don’t tell! Shared pages should give me a reason to care, create curiosity, and establish a clear sense of voice and direction.
I value a strong, relevant biography section as well. Help me understand why you are the right person to create this book or body of work. Share the experience, expertise, lived connection, professional background, publication history, client work, platform, or credentials that meaningfully contextualize you and the project. Don’t be afraid to brag.
9. Do you have any specific dislikes in query letters or the first pages submitted to you?
Although it is not an automatic deal-breaker, I strongly recommend learning the standard presentation expectations for your submission type. A manuscript or portfolio does not need elaborate design, but professional, readable presentation demonstrates familiarity with industry expectations.
In the query itself, I prefer clarity over cleverness. Do not bury the premise beneath a long introduction or rely entirely on vague promotional language. Phrases such as “nothing is what it seems” or “everything changes forever” tell me very little unless they are followed by concrete information about the characters, conflict, and stakes.
Personal details can be charming, but a bio focused primarily on pets or unrelated hobbies does not help me understand your creative background or connection to the work, or if you are marketable as a whole. Prioritize information that is relevant to you as a professional and to the project you are submitting.
Typos happen, and an occasional mistake will not cause me to reject an otherwise compelling project. What matters more is whether the submission is thoughtful, professional, appropriate for my list, and responsive to the stated instructions.
Response Time:
10. What’s your response time to queries and requests for more pages of a manuscript?
I ask querying creators to allow approximately four to six months for a response.
My QueryTracker form asks whether the creator would prefer the submission to be automatically declined after six months so they can move forward rather than wait indefinitely. Requests for additional material may come much sooner, depending on the project and my reading schedule.
If another agent offers representation while I am considering the work, the creator should follow the notification instructions included in the form.
Self-Published and Small Press Authors:
11. Are you open to representing authors who have self-published or been published by smaller presses? What advice do you have for them if they want to try to find an agent to represent them?
Absolutely. I believe strongly in supporting independent authors and small presses. A history of self-publishing or working with a smaller publisher does not prevent someone from pursuing literary representation.
My first piece of advice is to be clear about what you are asking an agent to represent. Are you querying a new, unpublished manuscript for traditional publication? Are you seeking audio, translation, or other subsidiary-rights opportunities for a successful self-published book? Are you traditionally published but currently unrepresented and looking for support with audio, translation, or other world rights? These are different requests and require different information.
For a new manuscript, query it clearly as a new project and include your previous publishing experience in your bio. For an already self-published title, be prepared to provide meaningful sales figures, formats, pricing, publication history, distribution information, reviews, audience growth, and a clear account of which rights remain available.
On a case-by-case basis, I may consider successful self-published authors seeking audio or translation opportunities, as well as traditionally published but unrepresented authors seeking audio, translation, or other world-rights support. The book’s performance, available rights, and the creator’s long-term goals all factor into whether that partnership makes sense.
Do not hide your publishing history. Explain it accurately and confidently. Help the agent understand what you accomplished, what you learned, and what you hope to achieve next.
Clients:
12. Who are some of the authors you represent?
I am honored to represent a select cohort of amazingly talented illustrators. However, I don’t want to steal their thunder before they formally announce their agented status to the public. Thus, instead of listing them here, I’ll direct you to peek at the Storm website over the next few weeks to see the list of people I represent!
Interviews and Guest Posts:
13. Please share the links to any interviews, guest posts, and podcasts you think would be helpful to writers interested in querying you.
You can learn more about my background, publishing philosophy, manuscript and illustration interests, and current work through:
· JackieGarciaMorales.com
Again, because interests and availability can change, writers should prioritize my current Storm profile, website, and QueryTracker form over older interviews or social-media posts.
Links and Contact Info:
14. Please share how writers should contact you to submit a query and your links on the Web.
When I am open to submissions, creators should query me exclusively through the QueryTracker form linked from my Storm Literary Agency profile and website. I do not accept queries through personal email, agency email, social media, or direct messages.
Storm asks authors and illustrators not to submit to more than one Storm agent at the same time, so anyone considering querying our team should carefully determine which agent is the strongest match before querying.
You can find me through:
· Storm Literary Agency
You’ll also find me (less actively) here: LinkedIn | BlueSky | Newsletter
Additional Advice:
15. Is there any other advice you’d like to share with aspiring authors that we haven’t covered?
Always. Here are a few things I’ve learned that I keep in my back pocket as an author myself:
Take craft seriously. Read extensively within your category, seek thoughtful feedback, revise carefully, understand the market, and remain willing to learn. Understand that, at some point, however, you must allow the work to leave your hands.
Querying requires courage because it means inviting someone else to respond to something you have worked hard to create. The rejections that follow are unavoidable, but it is not always a judgment of your talent or potential. A manuscript, portfolio, or project may not fit an agent’s list, the market may be crowded, the timing may be wrong, or the agent may simply lack the right vision or relationships for that particular work.
Remain open to feedback, but do not reshape yourself or your work in response to every individual opinion. Look for patterns. Protect what is meaningful to you. Learn to distinguish between a change that serves the book or artwork and one that removes the reason you created it.
As a professional, I also encourage creators to think beyond a single manuscript, portfolio piece, or project. Develop new ideas, explore your range, and consider the body of work and career you hope to build. A sustainable publishing career rarely rests on one project, one submission round, or one opportunity.
Lastly, always remember that publishing can move slowly, and the need for growth never truly ends. Build a professional presence that feels authentic and sustainable, remain resilient, learn to pivot with purpose, and keep creating as you adapt and evolve.
Thanks for sharing all your advice, Jackie!
Have any experience with this agent? See something that needs updating? Please leave a comment or email me at natalieiaguirre7@gmail.com
Note: These agent profiles and interviews presently focus on agents who accept children's fiction. Please take the time to verify anything you might use here before querying an agent. The information found here is subject to change.
Giveaway Details
Have any experience with this agent? See something that needs updating? Please leave a comment or email me at natalieiaguirre7@gmail.com
Note: These agent profiles and interviews presently focus on agents who accept children's fiction. Please take the time to verify anything you might use here before querying an agent. The information found here is subject to change.
Upcoming
Interviews, Guest Posts, and Blog Hops
Monday, August 25th, I have a guest post by Paige Classey and a giveaway of her MG Anna-Jane and the Endless Summer
Monday, August 31st, I’m participating in the Glam and Glitz Giveaway Hop
Wednesday, September 2nd, I have an interview with Dinesh Thiru and a giveaway of his YA My Killer Family Reunion
I hope to see you on Monday!
