I’ve written a spy thriller in which there is no “hero” per se, just three guys―one a real “baddie,” one an unwilling collaborator, and one a poor “shnook” caught in the middle of their interactions. While the baddie gets his comeuppance at the story’s end, that is actually organized by an off center-stage player (the Mossad).
Though each of the three men is a fully fleshed out character with their own history and motivations, there is no specific "heroic" protagonist upon which to structure the query as is typical when soliciting an agent. The "baddie" is the dominant character. Yet, something tells me, perhaps mistakenly, not to focus on the "baddie" or his mission in the query itself. That leaves me with a real problem in preparing the “usual” query and I'm not clever enough to figure it out. Is it so simple as to say I can focus the query on the "anti-hero?"
I would appreciate any suggestions as to how to proceed.
What does your bad guy want, and what's keeping him from getting it?
What does the unwilling collaborator want, and and what's keeping him from getting it?
What does the shnook want, and what's keeping him from getting it?
Which character, if you removed them from the events unfolding in the book, would cause the plot to splat? That's the character to focus on.
Don't let good/bad dictate who is the protagonist of your novel. We use that as shorthand since the good guy is most often the guy we're rooting for.
And if the resolution of your plot happens off the page, and I was reading this novel, I'd send you a note that says "fix this." Resolution off the page, no matter who is good or bad or a bag of chips, is emotionally unsatisfying to your reader.
Remember agents are looking for things that aren't the usual fodder. If you've got something that's offbeat, that's a good thing.