Weaving Whimsy and Wit with Emma Elias

In an era of high-stakes publishing, debut novelist Emma Elias is navigating the querying landscape with a refreshing blend of realism and "delusional" optimism. Her novel, The Unfortunate and Unexpected Fall of Mr. Humphrey Dumpton, immediately signals a commitment to playful, satirical storytelling—a tone she consciously crafts from the ground up, starting with a unique source of inspiration: classic nursery rhymes.

The title of Elias's novel suggests a return to a classic literary tradition, and she confirms that she leans heavily on language and style to create a distinctive atmosphere. Her novel is a "tongue in cheek YA weaving of all the classic nursery rhymes."

Elias wanted her entire narrative to sound like one long nursery rhyme, capturing their "silly and spunky" cadence. She employed two primary methods to achieve this:

• Bizarre Characters: Many of her side characters are literally based on nursery rhyme figures, but Elias gave them a certain bizarreness and hyperbolic charm. She notes that characters like Jack Spratt and his wife, who always created a clear, exaggerated image in her mind, were a joy to channel through their quirky appearances and behavior.

• The Narrative Voice: The narrator is the most significant element in bringing the book’s tone to life. Since nursery rhymes are often recited, Elias wanted her book to feel as though the reader was being read to. "The narrator is a character of their own," she explains, one who breaks the fourth wall, offers commentary, and speaks in a distinct, "nursery rhyme-esc way."

Currently in the active process of seeking literary representation, Elias offers an insightful perspective on the querying phase—a notoriously challenging period for any aspiring novelist.

She recalls the initial shock of seeing the sheer volume of submissions agents handle, noting acceptance rates can be staggeringly low. However, rather than being discouraged, Elias adopted a positive mindset. She saw the high rejection rate as "solidarity with other writers" and a valuable reminder "not to take rejections too personally."

The ultimate lesson, she stresses, is simple: "you just need one" agent to love the work. The process, which she calls "arduous," requires constant effort to avoid falling into pessimism. Elias highlights the necessity of celebrating minor victories, even if they are just "tiny wins" like a full manuscript request or a positive comment.

Looking forward, Elias has a clear vision for her writing career, albeit without a rigid timeline. While she has the next "20 books or so planned" and an interest in film and scriptwriting, she is pragmatic about the industry's lack of a clear path.

Her ultimate goal remains consistent: to be a full-time novelist. She acknowledges that this journey might involve working in different genres or areas of writing, but she is currently grateful to be working as a full-time non-fiction writer. The most exciting development she hopes to see within the next five years is the publication and readership of at least two novels. "At the end of the day that’s all I want, is to have people read the stories that I write."

Elias is an avid reader who credits several authors with shaping her style, but she singles out Markus Zusak’s The Book Thief as a profound influence.

The moment she read the novel from the perspective of Death was a "revolutionary moment" for her as a writer. It was the realization that she "could be a little more creative with who is telling the story." This exploration of a unique tonal shift and playing with narration has dictated her writing style ever since, becoming her favorite element of crafting a novel.

To enter a productive writing state, Elias relies on a strong ritual of music and varied scenery. She has a general playlist of movie soundtracks for writing, but for specific projects, she curates playlists that match her books' lyrics or "general vibes."

She also enjoys changing up her environment, writing in cafes, restaurants, and sometimes even bars. When inspiration is slow, she relies on self-discipline, forcing herself to sit down and hit specific goals. "I sit myself down and say you’re not getting up until you do X, Y and Z," she shares, a necessary measure for someone who admits to being a "sentimentalist and a pantser" (a writer who plots very little).