Simon Whaley chats to Francesca Riccardi at the Kate Nash Literary Agency about High Concept Zeitgeist Crime Thrillers.
Francesca Riccardi’s journey into the publishing industry began at the RNIB, transcribing books into accessible formats for blind and partially-sighted readers. After that, she moved into marketing and sales, working for several publishers including HarperCollins, Canelo, and Constable & Robinson. Today, her authors include Jenny Morris, Alison Watterson, Hannah Hendy, Daneil Sellers, and Heather Burnside.
How did you become a literary agent, and what do you enjoy about the job?
I worked in house at publishers for over fifteen years before making the leap into agenting in 2023. I got to the point in my publishing career where I found the best parts of my days were the bits spent talking to authors, and planning the next steps on their books. Agenting felt like a good fit for me, and luckily Kate Nash thought so too, and she gave me a job!
You represent many crime genres, including high concept zeitgeist crime. What is high concept zeitgeist crime?
We’re living in very strange and frightening times at the moment, and people are leaning into books more so than ever to make sense of what is going on. My attraction to high concept zeitgeist crime comes partly from the things I and many of my friends experience as women in today’s world, and party some thinly veiled revenge fantasies that I and I’m sure many other women hold. What better way to imagine an improved future than to give yourself a brilliant ‘what if’ premise in a crime novel and challenge the status quo? The best high concept zeitgeist crime novels articulate our desires, our fears, and explore the purpose of our existence all set against the backdrop of a world that doesn’t always feel safe or fair.
What appeals most about this particular crime genre?
I’m drawn to things that feel at once familiar and different. I like that crime novels in this area can take the themes of, for example, murder and betrayal, but add in a bit of feminist rage, moral conundrum, or unusual sleuth to give a fresh angle.
What is it that publishers like about these stories?
They’re driven by great characters, which are both relatable to readers of the genre, but also exhibit more of the extreme characteristics that we might hide from others. Whether we love or hate them, we more often than not recognise them either in ourselves or in others we know.
What common mistakes do writers make in the crime submissions you receive?
Not having a clear and unique hook—in such a crowded market as crime fiction, it is vital to stand out. Understanding titles that you use for comparisons is really important, too—show that you’re aware of the big names in the genre, but also that you are engaged with emerging writers in the space, as well as things like TV and film that explore similar themes. Demonstrating these clearly in your submission gives an agent immediate reference points to start from, which is incredibly helpful.
Which works better for publishers in this genre: international themes and global settings, or localised stories?
Both. I would say the setting itself matters less than the universal themes explored.
Are publishers looking for series zeitgeist crime novels, or does the high concept element favour standalone ideas?
I work with authors on both series and standalone ideas. Some characters and settings lend themselves more easily to series (e.g. if you have a detective or investigative lead), but those that focus on a more specific idea or theme may be better served as a standalone. All of these things are up for debate and change, depending on author/agent/publisher vision.
What can authors do to make their zeitgeist crime novels stand out in the market today?
The three things that I am looking for are voice, hook, and execution. Publishing is an incredibly subjective industry and so having a really clear and unique hook can give you an edge and encourage someone to read on in your query/manuscript. This always, always needs to be backed by great writing, and the hook combined with the writing needs to be executed well. If you’ve got all three, you’re onto a winner.
What are the foreign rights and tv/film right opportunities for this genre?
Because books in the zeitgeist are speaking to people who are experiencing all this (imagine me here gesturing wildly at the absolute state of everything), translation and dramatic rights markets in this area are keen. As I’ve mentioned, we seek out books that articulate our shared experiences, and that ‘gettability’ (probably not a word, but should be), transcends place and creative medium.
Agent’s Name Top Tip
Read widely in the area and watch as much TV as you can (as such a lot of TV these days started life as books). I think that the best thing any aspiring writer can do is join a writing group to see how your writing is received. Writing is a craft, and building a community around yourself will be incredibly helpful.
Further Information
Francesca uses the QueryTracker website for submissions. For further information, visit https://querytracker.net/query/Francesca
© Simon Whaley