SPOTLIGHT FEATURE: Ann Leslie Tuttle from Dystel, Goderich & Bourret
This interview was originally posted on August 23rd 2022.
Ann Leslie Tuttle is a literary agent at Dystel, Goderich & Bourret in New York, which she joined after 20 years of editorial experience at Harlequin. As a result, she has a strong background in romance and women’s fiction across a variety of subgenres, though she has also expanded her list to include Middle Grade fiction and narrative nonfiction.
Some of the authors Ann Leslie represents include Heather B. Moore (The Paper Daughters of Chinatown, published September 2020), Elizabeth Thompson (Lost in Paris, published April 2021), Elizabeth Everett (The Secret Scientists of London series), Lisa Kröger and Melanie R. Anderson (Toil and Trouble: A Women’s History of the Occult, coming October 2022) and Lauren Kung Jessen (Lunar Love, coming January 2023).
Ann Leslie is active on Twitter where you can stay up to date with news about her work. She also does Agent One-to-One sessions with Jericho Writers, so don’t miss out on a chance to get her feedback on your work by booking your session here.
Check out some highlights from our interview with Ann Leslie below.
“I want to know that my clients can rely on me to advocate for them.”
Hello Ann Leslie, thank you so much for taking the time to talk with us today! We would love to hear what you’re looking for from querying authors.
Q. What’s at the top of your fiction wish-list?
That’s a hard question but I always want to see stories that are rich in atmospheric settings, have well developed characters, beautiful writing and teach me about something drawn from the author’s own experience that I didn’t know before I started reading the manuscript. I’m especially drawn to stories showing hidden female figures, empowerment and manuscripts that emphasize compassion and hope.
Q. What’s at the top of your non-fiction wish-list?
I am actively building my nonfiction list and am looking for clients writing narrative nonfiction for the juvenile and adult markets. Books about popular science/medicine/history and stories about hidden female figures particularly interest me.
Q. Is there any genre you’d rather not receive?
Dystopian stories have never appealed to me nor have stories involving time travel. I’m not a good fit for science fiction and do not currently represent picture books.
Q: What is a day in the life of an agent like for you?
My days generally have a number of meetings with my clients, editors, and other agents. Most of those meetings are done virtually now, and it’s very helpful to often meet with an entire imprint on these calls to learn more about what each editor is seeking. In between reading client manuscripts and submissions from potential clients, I’m also reviewing and negotiating contracts, following up on projects that are on submission, responding with editorial suggestions to my clients, building submission lists for projects, writing pitches and addressing any questions/concerns that my clients might have. I also attend writers’ conferences—either via Zoom or in person.
Q. What do you want to see in a query letter? And what do you hate?
I want to see that the author has a good sense of the market for their book and can succinctly pitch it to me in a paragraph that entices me to read further. The bio should also give me a sense of why the author is uniquely qualified to write that particular project.
I don’t want to see a pitch that gets too story specific, provides outdated comps or ones that seem too grandiose and ones in which the bio tries to be too cute.
Q. Same question when it comes to the synopsis. What should writers do? What should they avoid?
Shorter is always better for me when it comes to synopses. Ideally I’m looking for 2 to 3 pages that capture the key turning points and hooks in the story. Writers should avoid lengthy synopses that get too heavy with plotting details.
Q. What are you looking for in the opening pages of a novel? What really excites you?
The voice and a beautifully evocative setting. I want to see that the opening is compelling and not an info dump to set up the scene or story.
Q. What makes for a successful author-agent relationship? How can both parties get the most out of the relationship?
There are so many factors that go into a successful author-agent relationship. Ease of communication is one. I want to know that my clients can come to me with any issues or concerns and rely on me to advocate for them and advise in a manner that will help grow their career. I also try to respond to messages from my clients as soon as I am able to do so—or have the answer they’re seeking. It’s important that the author knows that their agent is working for them and is available.
Q. What’s your favourite thing about being an agent?
That’s a hard question. I love finding that amazing project and having the client choose me as their representative. But there’s also so much excitement when editors connect with a project I love and have sent them and I can share an offer with my client.
Q. Tell us about a recent deal (or three) that really delighted you.
Elizabeth Everett will be doing two more Victorian romances featuring secret scientists—this time an ornithologist and an apothecary—for Berkley. And I have several others for romance and women’s fiction that are in the works and have not been announced yet on Publisher’s Marketplace.
Q. What interests or passions do you have beyond the world of books? What do you love?
I love spending time with my family. Needlepoint is also a hobby I love. When I was 8, my grandmother taught me needlepoint. There’s something about the process of creating the colorful works from pillows to wall hangings/frames and Christmas stockings/figures that not only brings me joy but also allows me to reflect on a story I’ve read that day or figure out the best way to address an issue that’s arisen. During the pandemic, I found that the richly saturated colors I use to stitch some of the pieces especially kept me focused and positive.
Q. Any final words of advice for authors in the querying process?
Authors should also know that there are many reasons for an agent to pass on a representing project that may be no reflection on the quality of the project or the individual’s potential as a writer.
The full interview can be found on Ann Leslie’s AgentMatch profile.
In the meantime, if you’re struggling with your query letter and synopsis, do check out our free resources on our website. We have lots of info to help you on your way. Or, better still, if you’re a member with us, our lovely Writers Support team will be happy to offer you a free query letter review!
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