Stephanie Glencross is a London-based agent at David Higham Associates who hunts for propulsive, emotionally layered crime and thriller fiction — particularly high-concept psychological suspense, hyper-competent protagonists, and bold genre blends that can travel across formats and potentially anchor a franchise.
In brief
Stephanie Glencross's wishlist is unusually specific about protagonist type: competent, analytical, problem-solving figures — analysts, forensic specialists, skilled private citizens — rather than everyman heroes swept along by events.
They actively court audio-friendly architecture: short chapters, sharp dialogue, episodic momentum, and strong openings — signalling commercial ambition beyond the printed page.
The touchstone titles Glencross names span literary-leaning atmosphere (God of the Woods), structural innovation (Wrong Place Wrong Time), and glossy commercial voice (First Lie Wins), revealing a wide tonal range within a single thesis: pace + emotional depth.
Glencross explicitly invites work with a 'comfort without cosiness' register — nostalgic or archetype-driven setups that tip into darker, sharper territory — a niche positioning that goes largely unclaimed in most agent wishlists.
David Higham Associates is one of the UK's most established full-service literary agencies, giving clients strong reach into UK publishing and significant international sub-rights infrastructure.
Lately
Glencross articulated a clear appetite for crime and thriller built around hyper-competent protagonists — analysts, forensic specialists, and civilians with a specific skill set — emphasising that the pleasure should come from watching someone think and outmanoeuvre, not from action or technology.
What Stephanie is looking for
This is Glencross's core passion. They want high-concept, momentum-driven stories where character is as propulsive as plot. Particularly drawn to hyper-competent protagonists — forensic specialists, analysts, private citizens with rare expertise — and problem-solving narratives where tension comes from human intelligence rather than technology. Standalones with franchise potential are especially welcome. Audio-ready structure (short chapters, sharp dialogue, episodic rhythm) is a positive differentiator.
Glencross wants crime that speaks to readers shaped by the true-crime boom — sophisticated audiences who want procedural authenticity and moral complexity, not just puzzle mechanics. Smart contemporary heist narratives fit here too. Vivid, under-explored settings are actively sought; Glencross specifically mentions Dubai as an example of the kind of fresh geography they'd welcome.
Glencross is genuinely excited by crime intersecting with speculative elements, historical reimaginings with contemporary resonance, or literary approaches that deepen psychological tension — provided pace and payoff are never sacrificed. Structural play that heightens immersion without sacrificing readability is a draw. This is a 'bold blend welcome, genre-slippage tolerated' signal, not a call for quiet literary fiction.
Glencross uses the phrase 'comfort without cosiness' to describe a specific register they're hunting: narratively confident, accessible storytelling built on familiar genre archetypes or nostalgic frameworks — then pushed into darker, emotionally complex territory. Think glossy-world setups turned sinister, or classic commercial thriller energy updated for contemporary sensibilities. A strong love story thread running through crime or dark fiction is also welcomed.
Not the right fit
On Stephanie's list
Taste fingerprint
How to query Stephanie
Lead with protagonist competence: Glencross is drawn to exceptional, skilled protagonists — open your query by establishing what makes yours unusually capable or what expertise they bring to the central problem.
Name your setting with confidence. If your novel is set somewhere under-explored within crime and thriller (outside London, New York, or Scandinavia), say so prominently — Glencross has signalled this as a genuine draw.
Flag franchise potential if it exists, but only authentically. Glencross wants standalones that feel complete; do not frame a standalone as a series unless you have genuinely developed the world and characters beyond book one.
Describe your structural architecture briefly. If your manuscript has short chapters, a strong opening hook, or a structural conceit that heightens tension, mention it — Glencross has flagged audio-readiness and structural ambition as positive signals.
Match your comp titles to Glencross's stated taste range. The touchstone list they named is wide (from atmospheric literary to glossy commercial), so choosing a comp that sits within that range and explaining why your book belongs there is more effective than generic thriller comps.
Avoid positioning your work as cosy, tech-driven, or primarily plot-mechanical — none of these align with what Glencross is seeking. If your thriller's tension hinges on surveillance systems or hacking, reframe the pitch around the human intelligence and emotional stakes instead.
If your crime fiction has a meaningful love story thread, mention it — Glencross has indicated interest in dark or book-club fiction with a powerful romantic element woven through.