Everyone Loves This Genre. But No One Is Writing It.

Core business insight: “Demand vs. supply” in publishing

• Using QueryTracker (a database of writer inquiries to literary agents), the creator identifies:
  • which genres agents request most, and
  • which genres writers submit.
• Key opportunity: Genres with high agent demand but low writer supply are where writers may have a relative advantage.

Data-driven genre gap (implied by QueryTracker charts)

• Fantasy

  • Agents request: #1
  • Writers write: #1
  • Interpretation: crowded (high demand and high supply)

• Elite fiction

  • Agents request: #3 (top 3)
  • Writers write: not in top 10
  • Business takeaway: demand appears to exceed supply, likely because writers mislabel or don’t recognize they’re writing in this category

“Elite fiction” as the recommended positioning strategy

Elite fiction is presented as a market category that combines commercial sales potential with literary prestige.

Framework / definition (attributed to Carly Waters via Jane Friedman)

• Elite fiction = commercial fiction + literary fiction
  • Commercial fiction: prioritizes plot and pace, genre conventions, broad mass appeal.
  • Literary fiction: prioritizes quality of writing and themes, typically slower, prestige/awards oriented.
  • Elite fiction: blends both—quality writing + compelling hook + universal themes.

Hallmarks / playbook characteristics (what to build into the manuscript)

• Character-driven
• High-quality writing
• Commercial-leaning, concise & captivating hook
• Accessible writing
• Universal themes
• Designed for thoughtful discussion
• Blends commercial & literary boundaries
• Works well for book club discussion (“book club fiction” test)

Actionable recommendation

If your manuscript has:

• a strong hook/premise
• deep, relatable themes
• high-quality writing
• and is suited for discussion,

…then it may fit elite fiction—but the video warns not to label it “elite” merely to please agents.

Concrete examples (signal what “elite fiction” looks like)

• Little Fires Everywhere (Celeste Ng) Gripping pace + deeper themes (motherhood/family); adapted to Hulu

• Such a Merry Age (Keely Reed) Fast immersion + themes (class/race/privilege)

• Chemistry Lessons (historical example; 1960s) Themes + career legitimacy conflict; pivot to a TV cooking show

Genre classification exercise (positioning test)

Consider: Which is commercial / literary / elite?

• The Copperhead Demon (Barbara Kingsolver) → literary (Pulitzer winner)
• The Widow (John Grisham) → commercial (legal thriller; airport bookstore)
• Midnight Library (Matt Haig) → elite (central hook + human existence themes)

Additional “demand gaps” agents are allegedly seeking

The creator mentions two additional agent-requested genres with low writer representation.

• Horror

  • Agents’ requested list includes it (stated as #5 among popular manuscripts)
  • Not present in top 10 of writer-written genres
  • Rationale: mainstream growth driven by authors like Grady Hendrix and T. Kingfisher

• Speculative fiction

  • Framed as often misunderstood
  • Two meanings:
    • Broad: covers sci-fi/fantasy/magical realism/dystopia
    • Industry-specific (video’s intent): a subgenre that distorts reality and tests “what if” alternatives like experiments
  • Examples:
    • The Handmaid’s Tale (Margaret Atwood)
    • Station Eleven and The Sea of Tranquility (Emily St. John Mandel)

Caution / operational guidance

• Don’t chase trends blindly: writing/publishing timelines are long, and switching to a trending genre late is usually a losing proposition.
• Use market awareness to make smarter publishing decisions, not reactive rewrites.

Business process element: query strategy and agent targeting

• The video positions agent outreach as a process supported by data.
• Writers use QueryTracker to:
  • find agents
  • track inquiries
  • learn what categories are most frequently requested
• A related product is referenced:
  • The Modern Guide to Inquiring About Literary Agents
  • Claims to guide positioning/categorization, query letter writing, and “smart” query strategy using 4 million real queries (data leverage).

Concrete next step recommended (execution)

• Watch/analyze real query letters (the creator and QueryTracker’s founder analyze two real submissions).
• Reinforces the theme: use evidence + targeting frameworks rather than intuition.

Metrics / KPIs explicitly mentioned

• 10 genres: “most requested” and “top 10 genres writers write in” (exact lists not fully shown)
• Fantasy: #1 on both requested and written lists
• Elite fiction: #3 requested; absent from writers’ top 10
• Horror: stated as #5 among popular manuscripts (agent-request side context)
• 4 million real queries: cited as the data basis for the query strategy guide

Presenters / sources (as mentioned)

• Presenter: unnamed narrator; ~10 years in publishing, formerly at a leading literary agency and then at the largest publishing house in the country
• Source/framework reference: Carly Waters (via an article on Jane Friedman’s website)
• Organization mentioned: QueryTracker (including its founder as a co-author on the referenced guide and video about query letter analysis)
• Additional authors/examples cited: Celeste Ng, Keely Reed, Bonnie (“Chemistry Lessons,” author not named in subtitles), Matt Haig, Barbara Kingsolver, John Grisham, Grady Hendrix, T. Kingfisher, Margaret Atwood, Emily St. John Mandel
• Referenced book club brands: Reese’s Book Club, Read with Jenna, Oprah’s Book Club