Category: Other

Contact Us Today for a
Free Consultation

Trusting the Process: Emma Pattee

Madison Utley speaks to debut author Emma Pattee following the publication of her novel, Tilt, which is both a New York Times Book Review Editors’ Choice and USA TODAY Bestseller. The two discuss Emma’s dual writing pursuits, what powered her through the four-year process of getting her inaugural book out into the world, and how to know when it’s time to let go. 

 

               

 

MU: To start, can you give me an overview of your writing career thus far?

EP: I went to Emerson in Boston. Right after I graduated college, I worked with Stuart. I got so much out of his teaching. In formal writing school, stuff like plot gets talked about in a certain way whereas Stuart brought a fresh, innovative perspective to it. I’m incredibly grateful to have gotten to work with him so early on. When I moved back home to Portland, I continued to write but as my side gig, as I built a career and tried to make money. I got really into journalism and started building a career as a climate journalist. Then, I had an experience in my real life that spawned the idea for this book, Tilt. 

MU: What is the relationship between your two very distinct areas of writing–creative fiction and journalism? What do they lend to each other, and how are they different?

EP: I think of them as very separate. Being able to write articles about the climate crisis is an ethical calling for me. Creative writing is more of a lifelong passion. 

That said, I take a lot of both into each other. Journalism has taught me not to be precious about writing. People that read news are frequently busy. You have to have a lot of respect for their time and attention span. I think I bring that into my fiction. Fiction often comes from such a self-exploratory, true internal place, that I think it can lack an awareness of how it’s landing for the reader. You can’t think about that too much early on. When I’m writing fiction, I’m trying to process something that’s happening internally for me so it’s a very self-serving exercise. But at some point you do have to ask what a piece of writing actually does for the reader. 

But ultimately, at a prose level, journalism is about trying to answer a question that is easily verbalized. I want someone to read the article and, at the end, understand the answer to the question. When someone reads my fiction, there is no crisp answer to a single question. I instead want them to have an emotional experience that transcends words, so that the feeling that is in my body ends up in the reader’s body. 

MU: Where did the idea for Tilt come from? Did the genesis of the idea feel different from other creative projects you’ve worked on in the past?

EP: It really did. My book opens with a very pregnant woman at Ikea. She’s shopping for a crib. And then the earthquake hits. In reality, I was also very pregnant and at Ikea when the building started to shake. I thought, “Oh my god, it’s the big earthquake.” It wasn’t. A truck had backed up to the loading dock or something. When the building stopped shaking I was like, “Oh, this is my book.” It was almost fully formed in my mind. 

The belief in the project lasted a week, maybe. That was 2019. I sold my book in 2023. In between, I had tons of periods of doubt. There were months and months where I was in despair about the book. People thought the idea was weird. No one really got it. I couldn’t explain it. So yes, there was that moment of inspiration but I think it’s a miracle this book made it out into the world because of the amount of times I gave up on it. 

MU: What kept you going for those four years?

EP: I talk about this a lot; for me, it was about community. I have a couple very close friends I meet with every week. They held the belief in me and in the book during the times that I could not. The more I’m in community, the more I’m moving forward. The more I’m alone, the more I’m standing still. (To be honest, that’s the core lesson that my narrator learns in Tilt; it was clearly a lesson I had to learn too). 

MU: From the conception of the idea for this book through to earlier today when you had a meeting about TV rights, what has surprised you most during this process?

EP: I wrote a first draft of this book and I was like, “This is not very good.” People reading it were like, “Yeah, meh. Not that good.” Based on that, I thought: Okay, this book idea is a bad idea. It didn’t occur to me: Emma, you’re going to write 15 drafts of this book. Nothing in this draft is going to exist at the end. I didn’t understand that the ideas in the first draft–and the second, third, and fourth–are very separate things. 

So the true amount a book changes really surprised me, and the way you have to have commitment to an idea that is almost completely separate from whatever words you have on the page. That was a lesson I will definitely keep with me: to not hold my early drafts that tightly. To be more committed to my idea than I am to a timeline or to a specific draft. 

MU: How do you balance that with knowing when you’re done and it’s time to query agents?

EP: That’s an eternal question. You ask if it’s done when you query, but then you ask that question again with your agent about sending it out on submission. Then you ask that question again with your editor when you’re trying to finalize the book. I did not feel like my book was ready to progress at any of those junctures, so I think chasing that feeling of doneness may speak more to perfectionism. 

There are definitely people who wait too long, but there are also people who write one draft and they’re like, “This is great! Let’s go out.” I think we need to work against our worse impulses. For the people who write one draft and think they’re done, I’d say they need to write until they can’t stand it anymore. And the people who are inclined to think they have to write 20 drafts before trying to get an agent, they need to send out way sooner than they feel ready.

MU: What final advice do you have for other writers?

EP: For me, consistency and commitment to the idea was more important than my given talent on any day, my writing ability on any day, or how much somebody at a workshop did or didn’t like what I was doing. So talent is enormously important, but it’s really not within our control. What is within our control is our commitment to the project and the consistency with which we show up–literally, with our time–to the project.

A Playlist For The Inspired Writer

Many newsletters ago, Stuart shared 10 albums he enjoys that have no words (or else have lyrics in a foreign language, which serves somewhat the same purpose), allowing the mind to simply engage with rhythm and tone. The right soundtrack can make you feel more whole while you are writing, more grounded in your experience and more enthusiastic about the prospects of what you are doing.

It seems our subscribers agree as people loved the list, and so a year later he shared 8 more albums. Now, it’s my (Madison’s) turn.

I have taken a different approach and, rather than a tidy list of albums with little writeups for each, I have simply compiled 30+ of my favorite wordless or non-English songs into a banger playlist.

There are tracks that were recorded in the mid 1900s and songs that were released just last year by brand new gen Z artists (a tell: the refusal to use capital letters). There are brass bands and French disco and Acholi crooning. The only unifying element? These are songs that stir something within me, that lend inspiration and energy, that quiet the noise and allow me to move towards clarity.

Given the playlist’s erratic range, you will likely dislike a few of the songs. And you will surely love some–most?–of them. Just promise me one listen through, please. (And if you do find yourself vibing with the entire playlist, we’re almost certainly destined to be friends and you should let me know/give me recommendations of your own).

Without further ado:

Hablaojos – Michelle Blades

Pays imaginaire – Polo & Pan

Sweet Disposition – Feeling Blew

fiano – the wine is ok

soft shadows – signac

(The Death of Ruby) – Ruby Haunt

À Los Angeles – Pomplamoose

Brontosaurus – Funkmammoth

La femme a la peau bleue – Vendredi sur Mer

Lait de coco – Maya

Pista (Fresh Start) – Los Bitchos

Give Me Everything – Stripped – Archer Marsh

Ciao Ciao – La rappresentante di lista

Low Sun – Hermanos Gutiérrez 

Santé – spill tab

doces bárbaros interlúdio – papi, Jyu

Quedate Luna – Devendra Banhart

Algum Ritmo – Gilsons, Jovem Dionisio

CANYON SUN – Distant Cowboy 

Calcanhar – Concê

Redbone – Sean Angus Watson

L’enfer – Stromae 

Corazón Adentro (Escorpio) – Bomba Estéreo, Rawayana, ASTROPICAL  

Ladyfingers – Herb Alpert & The Tijuana Brass

Makambo – Geoffrey Oryema

Peur des filles – L’Impératrice

Mulberry Mouse – Alan Gogoll

Soul Makossa – Manu Dibango

Pontos de Exclamação – Jovem Dionisio

Minha Voz – Versos Que Compomos Na Estrada

Ma quale idea – Pino D’Angiò

Monstre d’amour – Clara Luciani

La Noche De Anoche – Milky Chance

Futuro Incierto – iiis, Dromedarios Mágicos

Sara’ Perche Ti Amo – Ricchi E Poveri

Nucléaire (Unplugged) – Odezenne

Caulk

This month, Inkhouse Public Relations debuted its fifth book of employee-authored essays. Entitled Faded Lines, this volume explores the unlikely teachers that helped us connect across difference. The prompt asked:

When did you learn something important from an unlikely place? It could be a person you overlooked or misjudged, an event that revealed deeper significance than you anticipated. What chance encounter, unlikely alliance, or uncomfortable situation taught you something meaningful? 

InkHouse founder Beth Monaghan described succinctly why such corporate culture books are important: “Stories are a foundational way of forming community, in the workplace, in our personal lives, and in the world.”

Over the course of the previous year, Book Architecture assisted as editors and writing coaches, with the proper dash of literary theory thrown in there. And, of course, we wrote, too! Catch a glimpse of Stuart’s contribution here.

 



BA Presents: The Phase One Contest


At Book Architecture, editorial support often begins with a Phase One (as the name might indicate), and
 that is what this contest is all about.

What is a Phase One?

If you are selected as the winner, Madison and I will each review your manuscript and generate a 7-10 page long written critique, capturing the macro and micro issues within your material. Once you have received and digested these critiques, a 1.5 to 2-hour meeting with all of us will help clarify any questions and brainstorm your next steps. (More information on the entire Book Architecture process can be found here).

What is our motivation?

Believe it or not…to be of help. Maybe you keep thinking your work is ready but you can’t bring yourself to actually enlist editorial help; maybe you’re ready and willing to involve that aid but your cash flow is holding you back for now; maybe you just like winning. In any case, we hope to see your manuscript in the draw!

What do we need from you?

  • A 10-page sample from anywhere in the work. (Microsoft Word, Apple’s Pages, or PDF are our preferred formats, but try us with other ones).
  • We hate synopses as much as anyone, so in addition to your sample we simply ask for one paragraph on what the work is about and where you (think you) are with it.

How does it work?

Submissions can be sent here, with an October 1st deadline. Entries will be judged by three members of the Inkhouse executive team, who are, in the words of one of them, “stoked” to assist. (If you’re not familiar, Inkhouse is a public relations firm with offices in Boston, San Francisco, New York, Seattle, San Diego, and Washington DC). What are their judging criteria? It’s very simple — they will be looking for potential.

Make sure to sign up for the BA newsletter if you haven’t already, as that’s where the winner will be announced at the end of October. (And that could be you!)