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WORK TITLE: Once for Yes
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WEBSITE: https://www.alliemillingtonbooks.com/
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COUNTRY: United States
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PERSONAL
Married.
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CAREER
Writer.
WRITINGS
SIDELIGHTS
Allie Millington is a middle-grade and picture book author. In an interview in Literary Rambles, Millington shared how important writing has been ever since her childhood. She recalled that “writing has always been one of the biggest parts of myself ever since I can remember. Through all the different changes and hobbies and interests I’ve had, writing has stayed constant. It’s how I spent most of my time growing up, throwing a ball against the side of the house while I spoke stories into existence, or writing plays that I forced my siblings and neighbors to take part in.”
Millington talked with Betsy Bird in an interview in School Library Journal about her style of writing. Millington admitted that “telling a story from unique, inanimate perspectives is an integral part of my work. I’m endlessly interested by the things in our lives which hold so many of our stories and memories and history, but never have the chance to share them. My favorite part of writing is getting inside the head (or keys or bricks) of a character that is vastly different than me, and exercising empathy to understand how they might feel, how they might view the world. I’ve always had a curious attachment to objects, and seen them as more than what they are.”
Olivetti centers on the titular, sentient typewriter of the Brindles family. The silent typewriter narrates its history and experiences living with the family, which consist of parents Beatrice and Felix and children Ezra, Adalyn, Ernest, and Arlo. Olivetti recalls how it helped Felix propose to Beatrice. Olivetti watched the children grow up and claims to remember every single word that anyone has typed on it. In the seventh grade, Ernest pulls away from his family and later blames himself for Beatrice taking Olivetti to a pawn shop and leaving the family. Ernest finds Olivetti at the pawn shop and confesses everything that happened. Olivetti communicates with Ernest to try and help the situation.
A Kirkus Reviews contributor pointed out that “Millington skillfully delivers a complex storyline that deals with heavy topics.” The same reviewer called it “an extraordinary journey that speaks to the ‘before’ and ‘after’ of life-changing events.” Writing in New York Times Book Review, Tom Hanks remarked that “the conclusion is nearly impossible to divine and yet so perfect it includes that most tactile of memories: a 12-hour family road trip, covering a distance of, well, $126.” Hanks concluded: “What comes after that exemplifies the best of Millington’s literary imagination. The Brindles will go on confronting ‘Everything,’ with hope, gusto and all the unity they can muster. They will set the family table for seven, with a place for Olivetti; put paper in his carriage, and wait.”
In Once for Yes, the red-brick Odenburgh building serves as the narrator of the interconnected stories of its many residents as they try and prevent its destruction. Eleven-year-old Prue Laroe mourns the death of her sister and confesses her feelings through a landline phone. The Odenburgh flicks its lights, which Prue believes is her sister communicating with her. She befriends Lewis from across the street, and the Odenburgh enjoys interacting with them by turning on and off various systems, like air-conditioning, lights, water, and elevators. The building helps to connect its residents so it stands a better chance of being saved.
Writing in Horn Book, Elissa Gershowitz described it as being “a quirky and affecting novel.” A Kirkus Reviews contributor observed that “this contemplative story explores themes of community, resilience, and healing through poetic prose.” The same critic found it to be “a heartfelt story about loss and connection.”
BIOCRIT
PERIODICALS
Horn Book, May 1, 2025, Elissa Gershowitz, review of Once for Yes, p. 93.
Kirkus Reviews, February 1, 2024, review of Olivetti; January 15, 2025, review of Once for Yes.
New York Times Book Review, March 24, 2024, Tom Hanks, review of Olivetti, p. 26.
School Library Journal, February 20, 2025, Betsy Bird, “A Conversation with Allie Millington on Once For Yes.”
ONLINE
Allie Millington website, https://www.alliemillingtonbooks.com (August 9, 2025).
American Booksellers Association website, https://www.bookweb.org/ (March 13, 2024), “An Indies Introduce Q&A with Allie Millington.”
Bold Journey, https://boldjourney.com/ (September 12, 2024), “Meet Allie Millington.”
Literary Rambles, http://www.literaryrambles.com/ (March 1, 2025), author interview.
Nerd Daily, https://thenerddaily.com/ (March 29, 2024), Elise Dumpleton, “Q&A: Allie Millington, Author of ‘Olivetti.’”
Reading Middle Grade, https://readingmiddlegrade.com/ (February 6, 2024), Afoma Umesi, author interview.
Press Bio
Allie Millington is the New York Times bestselling author of heartfelt books for the young and young at heart. Her debut middle grade novel, Olivetti, was an instant national bestseller, received a glowing review in the New York Times by Tom Hanks, and made several Best of 2024 Lists including School Library Journal, NPR, and The Boston Globe.
This spring she released her second middle grade novel, Once For Yes (a Junior Library Guild selection) and the start of her picture book series, When You Find A Hope.
Allie lives near Atlanta, Georgia, with her husband, their dog Crumpet, and a collection of clacking machines. You can find her on instagram here: @allieinink or in her writing shed.
(Still haven’t managed to teach Crumpet how to type).
A Bit More About Allie
Allie started her writing career all the way back in third grade, when she won a reflections contest with a story about a heroic pencil. From there, with the help of encouraging teachers and a steady diet of waffles, she began her long journey of sharing stories told from unique perspectives and chasing wild What If ideas.
As with most journeys, there were bumps and stubbed toes along the way—including recieving hundreds of rejection letters which she turned into her Rejection Collection. It was around this time that her husband gifted her a special typewriter, who turned out to have quite a lot to say.
When Allie isn’t writing, she’s likely thrifting for treasures, foraging in the woods, or hanging out with elementary and middle schoolers (the best kinds of humans around). She’s worked with students in England, Brasil, and the U.S., and loves spending time in classrooms. .
Home > Blog > Author Interviews > Allie Millington on Olivetti, her Debut About a Talking Typewriter
Allie Millington on Olivetti, her Debut About a Talking Typewriter
Afoma Umesi · February 6, 2024
This post may contain affiliate links.
Every year, I keep my eye out for two things in the middle grade book world: Delightful surprises and debut authors! Allie Millington’s Olivetti checks those two boxes for me this year. I typically like humans to star in the stories I love, so when I fall in love with a story starring a typewriter of all things, I know there’s something good there. I really hope kids connect with Allie’s debut as much I did. In this interview, we talk about the inspiration for this book, the possibility of a sequel, and the third grade event that convinced Allie she was born to write.
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Interview with Allie Millington About Olivetti
Olivetti
picture of author allie millington
Hi Allie, welcome to Reading Middle Grade! As you know, I absolutely loved your debut middle grade novel, Olivetti. A book that, on the surface, is about a boy and a talking typewriter, but it knocked my socks off with its reflections on vulnerability, loss, and family.
Why did you decide to write about the Brindle family through the eyes of Olivetti and Ernest? And why a typewriter?
Something that has shaped a lot of my writing is asking the question, “Who have we not heard a story from before?” I thought a typewriter’s untold side of the story would be interesting to discover and that, given the chance, they’d naturally have a lot to say (being full of words).
Olivetti offers a unique perspective on the Brindle family as someone who has observed them and kept their memories for years and has seen how they’ve changed. Of course, having an inanimate object as a main character has its challenges, so having Ernest’s point of view was important and necessary to tell the full story.
Besides Olivetti, Quinn was my favorite character! Her expressiveness, kindness, and strong will. Was she inspired by any specific person in your life?
I love that Quinn is one of your favorites! Like many of my characters, Quinn has bits of me in her—mainly the broken overall straps and her habit of collecting things. But also, like most of my characters, Quinn took shape all on her own. She was so sure of herself and her voice from the start, which made it feel like I wasn’t having to try very hard to write her. In fact, I wasn’t really writing her at all—she was already just who she was.
Loss is a tricky subject to navigate in middle grade books. Books about grief can easily become unbearably sad and difficult to read. How did you manage to maintain the levity, humor, and hope in Olivetti?
It really is tough to find that balance and to know just how deep to dive into a topic like grief. I’ve found when talking about a difficult subject, sometimes less is more. Keeping those scenes more brief and vague and actually using fewer words to describe them helped them not feel tremendously heavy, I think. But also without losing the emotional impact of those moments.
I personally look to humor as a way to cope with hard times, so I tried to have that sprinkled throughout my book. It also helped to have two narrators—if one was describing a sadder chapter, I could find a source of light and hope in the next chapter. It almost reminds me of the beauty of friendships or relationships—if one person is struggling, the other person is there to pick them back up and find the brighter side of things.
I’d never thought much about artists who create work out of other appliances or tools by tearing them apart (it hurt my actual heart when that artist did that thing—avoiding spoilers!). How do you feel about art made from equipment parts?
I think it depends on what that machine or appliance is, and whether or not it’s in functioning condition. Making art from old parts of a machine can be such a creative way to recycle and refurbish things that would be thrown out otherwise…but it’s definitely harder not to be as attached to that machine if it was still in use. (For me, at least, who tends to be a bit sentimental with inanimate objects). I think many outdated machines like old-school telephones, record players, and typewriters are works of art in themselves. They all have stories to tell!
I wanted to know more about Quinn, and Ernest and his siblings—all testament to how fully fleshed out your characters were. Would you ever consider returning to the Brindle family in a sequel?
Oh, absolutely! I’ve definitely missed these characters who I spent so much time with and got to know deeply—they feel like old friends of mine. I often wonder what the Brindles might be up to now (and if I could be invited along). I’ve even daydreamed of writing a sequel from Remington’s point of view to see where she ended up!
Did you always want to write books for kids? How did you find your way to kid lit?
In 3rd grade, my school had a writing reflection contest with the theme of “A Hero”. I chose to write about a pencil because being the vessel of writing stories certainly seemed like the most heroic duty you could have. A duty that felt engrained in me, too, even at a young age.
I write for kids for many reasons, but mainly because I still am one—I’m still that 3rd-grade girl, curious about the small, unseen heroes that make up our stories. There’s an endless amount of things one can learn from kids, and I don’t want to be in any hurry to grow up!
What would people be surprised to learn about the writing and publication process for Olivetti?
Olivetti’s first title was actually Sincerely, Ernest—because I couldn’t resist the play on synonymous words with our dictionary-loving Ernest. This book had dozens of rejections from literary agents, multiple rounds of complete rewrites, and all the while I was learning how the story best needed to be told. It was a long and emotional process (and there were a few times I was tempted to quit the book altogether), but it really did help me solidify my voice as a storyteller. After my last rewrite, where I felt like I’d finally found that voice, I signed with an agent and got a book deal with my publisher, all within a three-month period.
I know you have two other book deals in the works. Could you tell us a bit about your forthcoming work?
I do, thanks for asking! My next middle-grade novel, ONCE FOR YES (Macmillan, 2025), is also told by a unique narrator—a snarky apartment building who is tired of putting up with people and their problems. ONCE FOR YES features a big cast of quirky characters, a budding romance, the grief of goodbyes, and an unlikely friendship.
I also have an allegorical picture book series coming out—WHEN YOU FIND A HOPE and WHEN YOU FIND A QUESTION (Hachette Book Group).
Thank you so much for being here, Allie! I can’t wait for readers to meet Olivetti.
Thank you for having me! I hope readers can find a friend in Olivetti!
Olivetti is out on March 26!
About Olivetti
Olivetti
Olivetti
By Allie Millington
Being a typewriter is not as easy as it looks. Surrounded by books (notorious attention hogs) and recently replaced by a computer, Olivetti has been forgotten by the Brindle family―the family he’s lived with for years. The Brindles are busy humans, apart from 12-year-old Ernest, who would rather be left alone with his collection of Oxford English Dictionaries. The least they could do was remember Olivetti once in a while, since he remembers every word they’ve typed on him. It’s a thankless job, keeping memories alive. Olivetti gets a rare glimpse of action from Ernest’s mom, Beatrice―his used-to-be most frequent visitor―only for her to drop him off at Heartland Pawn Shop and leave him helplessly behind. When Olivetti learns Beatrice has mysteriously gone missing afterward, he believes he can help find her. He breaks the only rule of the “typewriterly code” and types back to Ernest, divulging Beatrice’s memories stored inside him. Their search takes them across San Francisco―chasing clues, maybe committing a few misdemeanors. As Olivetti spills out the past, Ernest is forced to face what he and his family have been running from, The Everything That Happened. Only by working together will they find Beatrice, belonging, and the parts of themselves they’ve lost.
Q&A: Allie Millington, Author of ‘Olivetti’
Elise Dumpleton·Writers Corner·March 29, 2024·3 min read
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We chat with author Allie Millington about Olivetti, which is a heartfelt novel praised by Tom Hanks in the New York Times as including “a conclusion nearly impossible to divine and yet so perfect it includes that most tactile of memories…”
Hi, Allie! Can you tell our readers a bit about yourself?
Hello, readers! I’m a middle grade and picture book author who is prone to doodling, hoarding vintage coats, and foraging in the woods. When I’m not in my writing shed, you might find me wandering the aisles of antique stores for inspiration or attempting to stay young forever by building blanket forts. I live with my husband, our dog, Crumpet, and a collection of clacking machines.
When did you first discover your love for writing and stories?
As cliché as it may sound, I think I’ve loved stories for as along as I’ve known what stories were. But the dream of being an author became very real to me in third grade, when we had a school-wide writing contest with the theme of “A Hero.” Naturally, I decided to write about a pencil—because being the vessels of writing stories certainly seemed like the most heroic duty one could have. It was a duty I wanted to have, too. Little did little-me know that I’d end up writing a book from the perspective of a typewriter, another unlikely hero.
Quick lightning round! Tell us:
The first book you ever remember reading: The Complete Tales of Winne-the-Pooh by A. A. Milne
The one that made you want to become an author: A Series of Unfortunate Events by Lemony Snicket
The one that you can’t stop thinking about: The Other Valley by Scott Alexander Howard
Your debut novel, Olivetti, is out now! If you could only describe it in five words, what would they be?
Heartfelt, nostalgic, quippy, poignant, and uniquely-told (I might have cheated on that last one).
What can readers expect?
Well for one, they’ll be introduced to a never-been-done-before narrator, becoming privy to the inside workings and secrets of a previously undisclosed point of view. From there, they’ll find big lump-in-your-throat feelings, plenty of typewriter snark, a blend of awkward situations and adventure, the sparks of unlikely friendships, page-turning family tension, a bit of mystery and the beautiful magic of memories.
Where did the inspiration for Olivetti come from?
While on my writing journey, I was gifted a typewriter as an encouragement to keep going. As I began using it, I started wondering who else might have typed on those same keys…and what other stories and secrets this typewriter had heard. I got the feeling that it almost wanted to tell me, which begged the question, “What if a typewriter could type back?” And it was a question I just had to explore.
Were there any moments or characters you really enjoyed writing or exploring?
Yes, I absolutely loved writing from a non-human perspective! I started off drafting this story on my own typewriter, which helped me connect with the narrator in a very literal hands-on way. By actually using the keys and feeding in paper, I felt like I was able to tap into the mind of my typewriter. It was really enjoyable trying to understand how typewriters might view the world, and discovering their frame of reference for how they might feel, describe things, etc. I was surprised at how endless that exploration seemed, even within the limitations of a stationary character. This not only shaped my story, but it shaped me as a writer, and also as a human. Now anytime I see a typewriter in public I can’t help but want to go have a conversation with it.
This is your debut published novel! What was the road to becoming a published author like for you?
The road to getting published took three years and four different books, all of which wracked up countless rejections from literary agents. I started what I called my Rejection Collection, where I’d make a doodle or typewritten poem in response to every No I received—my small acts of defiance to keep on creating (also, bashing typewriter keys is very therapeutic). I soon had so many doodles on my hands, I got to send them around to other artists who needed encouragement too.
See also
Q&A: Van Hoang, Author of ‘The Monstrous Misses Mai’
Though the journey to find an agent was long and winding, it also gave me the time to find my own voice and the right story I wanted to share. Once OLIVETTI was sent out on submission, it was snatched up in just a few days—and I am incredibly grateful to have the opportunity to work with the amazing publishing team at Macmillan.
What’s next for you?
Thank you for asking! My next middle grade novel, ONCE FOR YES, which is also told from a unique pov, is slated for a Winter 2025 release. I’ve also got two picture books on the horizon, WHEN YOU FIND A HOPE and WHEN YOU FIND A QUESTION releasing Spring of 25’ and 26’.
Lastly, are there any book releases that you’re looking forward to picking up this year?
So many! CITY GIRLS by Loretta Lopez, THE LAST RHEE WITCH by Jenna Lee-Yun, and INKWORLD by Cornelia Funke.
Meet Allie Millington
September 12, 2024
We were lucky to catch up with Allie Millington recently and have shared our conversation below.
Allie, thanks so much for taking the time to share your insights and lessons with us today. We’re particularly interested in hearing about how you became such a resilient person. Where do you get your resilience from?
My journey to becoming a published author was full of No’s, Not Yet’s, and Try Again’s. It had long been my dream, though the road getting there was not at all what I anticipated.
Rejection letters piled up over several years, for several different books, and naturally, the doubts and disappointment crept in. And yet at the same time, I found the rejections fueled my desire for this dream more. They refined me and reminded me of how badly I wanted this. I didn’t want anyone else to determine the outcome of this dream for me. The fear of being rejected didn’t compare to the fear of giving up, and never knowing what would have happened if I would have kept going.
And as I kept going, I began what I called my Rejection Collection, which is where I’d make a doodle or poem for each rejection letter I received. They were my little acts of defiance, my way of continuing to create art in the midst of being told my art wasn’t good enough. I liked getting to flip the disappointment on its head, and make something beautiful from it. I ended up having so many pieces in my Rejection Collection that I was able to share them with other artists and creators who were facing similar things. It meant a great deal seeing that my pieces of rejection could be used to encourage others in their own season of disappointment and to nudge them to keep going.
So, in looking at the source of my resilience, I see myself–the younger me, who would have never wanted me to give up no matter how many No’s I received. I also see the older me, who would have always regretted the decision to call it quits. But more than anything I see the other people on this same journey, sharing in the collective struggle of all creatives. We’re here to hold each other up.
Thanks for sharing that. So, before we get any further into our conversation, can you tell our readers a bit about yourself and what you’re working on?
I’m an author of books for all ages, which are full of big-hearted feelings and looking at the world from fresh perspectives. My debut Middle Grade novel, OLIVETTI (Macmillan, 2024), was an instant national bestseller and received several starred reviews, as well as a glowing review in The New York Times by Tom Hanks. OLIVETTI is told from the point of view of a typewriter who, in a moment of great need, decides to break the only rule of the ‘typewriterly code’ and type back all of the memories and words stored inside of him, in order to bring a family back together again.
It’s exciting getting to bring a never-heard-from before voice to the page, and giving life to an object that is beloved by so many people. I’m continuing to find unique perspectives to explore in my writing, ways to think outside the norm and find stories that hold deep meaning to people. This played a major role in my upcoming novel, ONCE FOR YES (Macmillan 2025) and my picture book, WHEN YOU FIND A HOPE (Hachette 2025), which both release next Spring.
If you had to pick three qualities that are most important to develop, which three would you say matter most?
One skill that was particularly useful in getting me through the rough road leading to publishing was the ability to move from one project to another quickly. As soon as I finished a story and sent it out to agents, I would immediately begin writing the next one. This not only served as a distraction from the long waiting periods, but it also helped knowing I had other projects in the works and something I was excited to be working on. I didn’t wait around doing nothing until I found my one ‘Yes’, I just kept writing new books until I found it for myself. It was during the process of pumping out books quickly that I really taught myself how to write.
Although it might not sound like a skill, I found that protecting my playfulness throughout this process was monumental. Writing, or creating anything in general, is too hard a task to accomplish if you aren’t enjoying yourself. By letting myself play with new ideas, and tapping into that inner creative child, I was less self-critical or self-censoring. I think the best ideas come from that kind of freedom.
Another one that might not sound particularly like a skill–humor. The ability to laugh off the sting and ruthlessness that can accompany most creative industries, and brushing those bruised feelings aside, was crucial when it came to my ability to continuing to create. Life (and the creative process) can be heavy and hard enough as it is–and we might as well find some things to laugh at along the way.
Okay, so before we go we always love to ask if you are looking for folks to partner or collaborate with?
I am always looking for new people to collaborate with–whether that may be teachers or librarians who are interested in having me come visit with their students, booksellers who’d like to dream up an event at their shop, or other writers/ artists who want to talk-shop, toss ideas around, and support each other. Writing (and creating) can often be lonesome work, and I’ve found it endlessly valuable to find a community who understands, encourages and challenges me.
Contact Info:
Website: https://www.alliemillingtonbooks.com
Instagram: @allieinink
Mar
13
2024
Indies Introduce
An Indies Introduce Q&A with Allie Millington
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Allie Millington is the author of Olivetti, a Winter/Spring 2024 Indies Introduce middle grade selection and March/April 2024 Kids’ Next List pick.
Millington is an author, artist, and entrepreneur. She’s worked with children in many different capacities — from classrooms in England, to soccer fields in Brazil, to becoming a houseparent for young adults in foster care. She lives near Atlanta, Georgia, with her husband and a collection of clacking machines. You can find her on Instagram @allieinink or possibly in her pillow fort.
Molly Olivo of Child’s Play in Washington, DC, served on the panel that selected Olivetti for Indies Introduce.
“Olivetti is my favorite new middle grade novel in years," said Olivo. "A lovable introvert, a typewriter with a lot to say, and an irresistible mystery come together to create a one-of-a-kind reading experience. This book weaves together themes of mental health, family, and magic in ways that are deeply thoughtful and unique. I cannot wait to get this book into the hands of every 10-year-old I know.”
Here, Millington and Olivo discuss Olivetti.
Molly Olivo: Congratulations on making the Indies Introduce kids list! Olivetti is one of my favorite books for the season and I cannot wait to get it into the hands of kids who will love it and simultaneously have numerous questions about typewriters. What motivated you to write from the perspective of a typewriter?
Allie Millington: Thank you so much! I’m equally excited to hear what young readers will think of Olivetti. Something that has shaped much of my writing is asking the question, “Who have we never heard a story from before?” There were many reasons why I chose to share a typewriter’s untold side of the story, one of them being because I thought typewriters would naturally have many stories to tell (as they’re full of them).
Countless people across history and across the world have a personal connection or fondness toward these charming, clacking machines — and yet, most kids have never had the opportunity to use one. One hope I have for Olivetti is that it can be a bridge between generations, and create opportunities for readers both young and old to share in the nostalgia and power of passing down memories that typewriters bring just by being themselves.
In crafting this book, I was intrigued by the insight a typewriter could give on humanity, being privy to their innermost thoughts and secrets. Olivetti offers a unique perspective on the Brindle family as someone who has observed them and kept their memories for years, watching the ways they’ve changed. It was such an enjoyable experience trying to tap into the mind of a typewriter, exploring their frame of reference for the world, and how it might feel to hold the words of others inside them. They became very alive to me, and I hope that perhaps they’ll feel just as alive to young readers, too. Now I can’t see a typewriter anywhere without wanting to sit down and have a conversation with it.
MO: Readers love behind-the-scenes content. Could you share your favorite tidbit of this story that did not make it into the final draft?
AM: In my earlier drafts, I had a scene at a typewriter repair shop run by two wonderful women — who were actually based off the women who helped me find my first typewriter. In real life, and in this scene, these women are essentially typewriter doctors, and patch up any patients that come their way. They know these machines inside and out. During one of my drafts, twelve-year-old Ernest brings Olivetti to this shop, where he used to go with his mom to get fresh ink ribbon. The doctors can’t help but start doting on their visitors, calling them both handsome and all grown up.
Olivetti rather enjoyed this, being a sucker for any kind of attention. Meanwhile, Ernest was melting from embarrassment. And when Olivetti decided to show off and start typing on his own to impress the women, Ernest had to hightail it out of the shop before they caught on.
MO: Your novel focuses on Olivetti (our brave typewriter) and the Brindle family understanding and working through "the Everything that Happened." What do you hope kids who are reading this and might have their own "everything that happened" will get out of Ernest and his family's story?
AM: One of the topics I wanted to explore within Olivetti was how even though the Brindles went through the same season of hardship, they all coped with it in such contrasting ways. This contrast leaves Ernest feeling isolated, and as if his emotions are somehow wrong simply because they’re different. He begins to distance himself from his family, thinking this is the only way to protect himself from future hurt.
On Ernest’s journey of struggling to open up and let himself be known, I hope readers can see that they are never truly alone in what they are experiencing. There is always someone out there who can understand how you’re feeling, if you give them the chance to. There is always someone willing to listen, if only you speak up. And I hope that in Olivetti, readers can find the courage to share their voice, even if it doesn’t sound like anyone else’s.
MO: And one last fun question. If your novel could be any creature, real or imagined, what would it be?
AM: Oh, this is a fun question. Do typewriters count as creatures? In my book, yes! But that would be the easy answer, so I’ll try and think up something more creative. Perhaps my novel would like to be an old, wide tree, with roots even older and wider. Instead of being full of sap, this tree would have the starts of stories running through its bark, spreading to its branches and eventually sprouting into leaves of paper, the beginnings of a book. This tree would welcome anyone to climb up and read its fresh pages, or take a nap against its trunk, or just sit and stare at it awhile. The Olivetti tree would be content with simply sharing itself with others.
Interview With Allie Millington
Hi Allie! Thanks so much for joining us.
1. Tell us about yourself and how you became a writer.
Writing has always been one of the biggest parts of myself ever since I can remember. Through all the different changes and hobbies and interests I’ve had, writing has stayed constant. It’s how I spent most of my time growing up, throwing a ball against the side of the house while I spoke stories into existence, or writing plays that I forced my siblings and neighbors to take part in. When I first left home, I lived overseas in England and Brazil, working with kids in various capacities. Those experiences really shaped my passion for spending time with students, and much like writing, it became what I felt like I was made for.
I’m grateful to now have a job that allows me to invest in both of those things that are deeply important to me. I currently live near Atlanta, GA, with my husband, a dog called Crumpet, and a house full of thrifted items (including multiple typewriters).
2. Where did you get the idea for Once For Yes?
Most of my books start with an interesting character—someone or something that we’ve possibly never heard a story from before. The idea sparked with a run-down, crotchety apartment building called The Odenburgh, who showed up on the first page with a very strong voice. The plot began to fill in as I started reading countless articles about old apartments being demolished and tenants being forced to move. All of the lives, communities, and buildings that are affected by these decisions fueled much of this story. The book’s themes of grief and saying goodbye, healing and holding onto hope, were drawn from personal experiences and experiences of people close to me.
Your Writing Process
3. What was your plotting process like for Once For Yes and how long did it take you to write a draft that you felt comfortable sending to your agent and editor?
Writing Once For Yes was a completely different experience than what I was previously used to. I sold it as part of the two book deal I received with my debut, Olivetti, and at that time it was only a three-sentence pitch when my editor offered on it. Olivetti’s publication date ended up being moved up earlier than expected, so it meant I had four months to turn the three-sentence idea of Once For Yes into a novel that I could turn in. The actual plotting of the story was different too—it was the first time that I knew exactly how the book would end before I started. I laid out some major emotional beats that I’d look to as lighthouses guiding the story, but for the most part I tried to let the characters make their own choices and tell me where the story needed to go.
4. Yikes, you had a short time period to write your first draft. Much of Once For Yes is told from the point of view of The Odenburgh, which is unique. What made you decide to tell some of your story through the building’s point of view and how did you get enough of Prue’s POV into the story?
Like with Olivetti, which is narrated by a typewriter, I’m drawn to writing from the perspectives of things we often don’t think much about—because they’re old or forgotten or simply an object. I thought an apartment building’s perspective would be interesting because it would naturally be full of stories, as it’s held the lives of residents, seen the ins and outs of humankind. My favorite part of writing Once For Yes was thinking from this unique point of view, and using empathy to try and understand what it would be like to hold people inside of you and be constantly left behind. In that way, The Odenburgh quickly became very alive to me.
Though having an inanimate, stationary character brings its challenges, it was really enjoyable to think of all the ways I could make a building feel more than just a building—and explore how I could make him feel alive to everyone else too. I wanted Prue and some of the other tenants’ POV’s too because I love hearing stories from all sides, and I love providing a cast with a wide variety in characters in hopes that there will be one each reader can relate to. Using these alternating POV’s also helped me figure out strategic times to reveal certain information and hints, especially moments that only The Odenburgh had witnessed.
5. How was writing Once For Yes different than writing your debut mg, Olivetti? What did you learn from working with your editor and/or agent on Olivetti that helped you write Once For Yes?
As I alluded to above, writing Once For Yes was a bit of a whirlwind. It was the first time I’d written on a deadline, the first time I’d been paid to write a book, and going into it knowing it was already going to be published was something new I had to wrap my head around. There was a lot I had to work through in terms of creating under pressure and how to protect the playfulness of the writing process when it becomes your ‘job.’ Before Once For Yes, I’d written books for several years inside my bubble, with hardly any outside feedback or voices ever involved. Working with my editor and agent on Olivetti helped me to be more open to sharing my work at earlier stages, how to better handle critiques and other opinions, and how collaborating on a book makes it that much stronger. I also learned the importance of listening to my instincts, and trying to stay true to myself while not necessarily writing to please anyone else.
Your Journey to Publication
6. It’s good you learned the skills you need to write on deadline. Your agent is Kristen Terrette. How did she become your agent and what was your road to getting a publishing contract like?
I love telling this story. I knew Kristen back before she was an agent. She was the only person I knew in my area that was a writer, so when I wrote my first book several years ago, I met with her to ask what I should do next. She offered to help edit my book (which really needed it), and taught me how to write a query letter. I remember her distinctly telling me at that coffee shop that I would be a bestselling author one day, and I just laughed because it sounded so ridiculous.
Especially considering the fact that I went on to query for four years, writing multiple books in different genres, and getting around 400 rejections. It was a disappointing season to go through, but one thing that helped was starting what I called my Rejection Collection—which is where I’d make one doodle or poem for every rejection letter I received. It was my tiny act of defiance to continue to make art even in the midst of being told my work wasn’t ‘good enough’. With so many pieces piling up in my Rejection Collection, I was able to send them out to encourage other people who were struggling or in their own disappointing seasons.
After four years of querying, I finally got some agent interest in a previous version of Olivetti—but I wasn’t sure if it was a good fit. Something about it wasn’t sitting right with me, but with it being the only positive connection I’d made after all that time, I thought I should move forward with them. The same exact minute I opened the offer letter from this agent, I got a call from Kristen, who I hadn’t heard from in a while. She said, “You’ll never believe what’s happened. I just got a job as a literary agent, and I want you to be one of my first clients.” I had no idea she was on the path to becoming an agent, but the timing of how it all played out what something I couldn’t ignore. She was already familiar with my writing and had always believed in me, so having that foundation of a trusting, warm relationship was an incredibly special place to start from.
7. What a cool story of how you got your agent. In your bio on your website, you say: “Olivetti, was an instant USA Today Bestseller and Indie Bookstore Bestseller, received a glowing review in the New York Times by Tom Hanks, and made several Best of 2024 Lists including School Library Journal, NPR, and The Boston Globe.” That’s amazing! Share a bit about what it was like to be a debut author and get such good reviews and news.
Thank you! I still don’t think it’s sunk in yet. It was very hard to grasp that it was happening at the time, especially coming freshly off of years of rejections. I’d gotten used to people saying ‘no’ or ‘not right now’ to my work, so suddenly receiving praise felt strangely foreign…like they couldn’t possibly be talking about my book, could they? Everything happened very quickly too—I signed with Kristen in November, went on submission with editors in January, and got multiple offers within the first week of Olivetti being out.
When it all started unfolding, a friend kindly bought me a journal to write my thoughts and emotions into, knowing I would likely forget it all if I didn’t record it. That’s been a big help in being able to reflect and remember the gifts the past year has brought, especially on days where there is bad news or I’m feeling inadequate about my work. I’m immensely thankful for the love and support Olivetti has received. It’s been incredibly rewarding to share my words with other people. And having Tom Hanks read my book and write about it in The New York Times is something I will never get over!
Promoting Your Book
8. How are you promoting Once For Yes? How have your marketing plans changed since you were a debut author?
I’ve made some really wonderful connections with bookstores, libraries, and schools through Olivetti, so most of my promoting with Once For Yes is in partnership with those places. I’ve set up bookstore events and author visits at schools during the few months after the book releases. I’m also holding a preorder campaign on my Instagram with book goodies, as well as some fun giveaways! My publishers are also very helpful in promoting behind the scenes—sending out ARCs, including it in their newsletters, and having the book available at different festivals and conferences.
9. You have two upcoming picture books and one middle grade novel coming out in 2025 and 2026. Tell us about these books and how you got publishing contracts for them.
I started writing picture books during my querying journey, as I was experimenting with different genres.
One of those picture books in particular came as a result of me processing the disappointment and afraid-to-hope feelings I experienced throughout querying, which was called When You Find A Hope. I had a few picture books under my belt when Olivetti was first submitted to editors, and because it received multiple offers, I was able to get my foot in the door in some places. Two months after Olivetti received a two book deal, I received a two book deal for picture books with one of those editors I’d connected with.
The first of which was When You Find a Hope, an emotional, allegorical tale about how sometimes our hopes are shattered before they can be spread and shared. It’s a very special full circle moment for me that this book now has the chance to spread hope to readers. The second picture book I have coming out in 2026 is called When You Find A Question, which is a similar abstract story about the power and importance of questions.
10. What are you working on now?
Thank you for asking! I’m currently revising my third middle grade novel, called EARL GREY, which is set to release in Fall of 2026. I’m also gearing up for the release of my two new books this spring, as well as the paperback of Olivetti. It’s been a learning curve figuring out how to be in different stages with multiple books at once—but I’m very grateful to have all this in the works!
Thanks for sharing all your advice, Allie. You can find Allie at www.alliemillingtonbooks.com or on Instagram at @allieinink.
A Conversation With Allie Millington on Once For Yes!
February 20, 2025 by Betsy Bird 1 comments
Does the title Olivetti happen to ring any bells for you?
If you said yes, then you are already aware of Allie Millington and her typewriter-centric middle grade from 2024 that won a great many hearts and minds all over this nation of ours. And when she reached out to me saying that she had two books coming out in the future… well, I countered with my standard, “Hey! Wanna do a Q&A with me?” Which she generously acquiesced to. Ain’t she swell?
Once For Yes hits shelves everywhere on March 25th, and concerns yet another inanimate object with dreams and aspirations.
The plot is:
“The Odenburgh, an old apartment building made of brick and blunt opinions, is the last of its kind in a swiftly changing neighborhood. After years of putting up with people and their many problems, the Odenburgh knows there’s no point in getting attached. They all just leave eventually. A truth that comes all too soon when the building is sold and slated for demolition, giving tenants a month to move out.
No one is more troubled by the news than eleven-year-old Prue, who refuses to leave her family’s apartment. Not when it was the last place she lived with her sister Lina, before she lost Lina forever. When Prue launches a plan to save their home, the Odenburgh joins in—flickering lights, jamming elevators, triggering fire alarms—all to try and bring a building full of bickering residents together. In the process, Prue meets Lewis, an eccentric boy who lives across the street—and the only one who can help her discover the missing elements of her sister’s story.
Heartfelt and bursting with a community of unique characters, Once For Yes is a testament to the endurance of love and the people we carry with us, wherever we go.”
I have questions upon questions then…
Betsy Bird: Hi Allie! Thanks so much for talking with me today. And congrats on all the wonderful attention OLIVETTI has gotten (including, and I’ve literally never said this before, a Tom Hanks blurb!). ONCE FOR YES has already garnered at least a Junior Library Guild Gold Standard appellation so let’s talk about it. First and foremost, what’s the origin story for the book? Where did it come from?
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Allie Millington: This book started where all of mine do, with an interesting character that I’d like to get to know better. Like with typewriters, I was drawn to an apartment building as a narrator because it’s something that so many people have a connection with. Also similar to typewriters, an apartment building would naturally be full of stories, as it’s held the lives of residents, seen the ins and outs of humankind. The actual plot came to me from countless news articles I’d read about old apartments being demolished and tenants being forced to find a new home with only a month’s notice. The fact that history and homes are often wiped out just so something new can take its place is really upsetting. Thinking of all the lives and communities and buildings that are affected by these decisions fueled much of this story. The book’s themes of grief and saying goodbye, healing and holding onto hope, were drawn from personal experiences and experiences of people close to me.
BB: I’m beginning to sense a distinct theme in your work. Forgotten typewriters. Forgotten buildings. You seem to have a natural affinity for human creations once loved, now tossed aside in favor of the new and shiny. Is this something you yourself have noticed in your writing? Would you agree that it’s an integral part of your work? And were you the kind of kid, when you were younger, who ascribed personalities to the inanimate on a regular basis?
Allie Millington
Allie: I would absolutely agree that telling a story from unique, inanimate perspectives is an integral part of my work. I’m endlessly interested by the things in our lives which hold so many of our stories and memories and history, but never have the chance to share them. My favorite part of writing is getting inside the head (or keys or bricks) of a character that is vastly different than me, and exercising empathy to understand how they might feel, how they might view the world. I’ve always had a curious attachment to objects, and seen them as more than what they are. In fact—in third grade, I entered a school writing contest which had the prompt of ‘A Hero’…and I wrote about a pencil. I thought nothing could be more heroic than the very thing that helps people write stories. Little did I know that many years later I’d have a published novel about a heroic typewriter.
BB: The apartment building in the book is a bit snarkier than your previous inanimate objects. When you write characters with a bit of oomph and personality, are you conjuring them out of the ether or do they have any real world counterparts that have inspired them?
Allie: My characters often show up as fully themselves and it feels more like I’m just there listening to what they have to say. I do think about the sort of personality that kind of object might have based on the object itself—for example, it makes sense to me that a typewriter would be wise and nostalgic at times, where a brick building in the city might be a bit more jaded and rough around the edges. While writing OLIVETTI, I did keep my typewriter on my desk as a reference to examine and touch (and sometimes talk to). With The Odenburgh, I had a few pictures of old buildings as inspiration, and whenever I’d visit a city I’d seek out a building that looked similar to how I imagined him. (Which of course also resulted in some conversation between us).
BB: Your first two published works so far are middle grade novels for older readers (though I know you have the picture books WHEN YOU FIND A HOPE and WHEN YOU FIND A QUESTION releasing Spring of 25’ and 26’). What is it about this particular age range that speaks to you so distinctly? Why write for them in particular?
Allie: This will forever be my favorite age of humans. I love this age group and writing for them partially because I still feel like I’m one of them—I never stopped being ten years old. And partially because this was the age where I first realized what books could do for readers, how they make people feel understood and seen and like they belong. I realized I wanted to write those kinds of books for people, too. The middle grade genre is so important because that stage of life is full of questions and figuring out who you are and how you feel, and books can be both a place of discovery and a safe place to land.
BB: I’m a process junkie myself. I love knowing about the ins and outs of how a title comes to be. When you initially conceived ONCE FOR YES, did it end up identical to your original vision or did you make key changes along the way? And if you made changes, what were they?
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Allie: This was a rare case of me knowing exactly how the book would end before I started it. What surprised me, however, was how the story ended up wanting to be told. At first it was just going to be told from The Odenburgh’s POV and one of the tenants—eleven-year-old Prue—both in first person. But I quickly realized there were quite a few other tenants in the building who had something to say…and the result was six different points of view. I had to switch everyone over to third person (besides The Odenburgh) to try and keep the story more cohesive now that it was being told from multiple characters. I’d never written in third person before, and ensuring that each character felt distinct and also had their own sort of arc was a learning curve. But I also had a complete blast getting to write from such a wide variety of voices, so it was absolutely worth it to me.
When You Find a Hope (out May 2025)
BB: That sounds horrendously complicated! I’m glad you made it work. Finally, what can you tell us about the two picture books you have coming out in the future?
Allie: Thank you for asking! These picture books hold a very special meaning for me, so I’m grateful I’ll be able to share them with readers soon. WHEN YOU FIND A HOPE (May 13th, 2025) is an allegorical, emotional story about a tree that grows Hope from its branches, and a curious girl who climbs to the top to grab the highest Hope she can reach.
It explores themes of losing your Hope, being afraid to have a Hope again, and the power of perseverance. The second book in this series is called WHEN YOU FIND A QUESTION (May 2026), which personifies another abstract concept—a Question—and follows a boy as he discovers just how important a Question can be.
All right! Huge thanks to Allie for answering my questions today. You can find Once For Yes fairly soon in bookstores and libraries on March 25th, so be sure to look for it then!
A boy's mother is missing. Her Olivetti was the last one to see her before she disappeared.
OLIVETTI, by Allie Millington
Typewriters -- the manually powered writing machines once made by Remington, Underwood and Royal -- are wondrous things.
To see their magic in action, try this trick: Set a typewriter out on a table with a sheet of paper pre-rolled into its carriage, and wait. Nearly every child, and many adults, will be drawn to the beauty and specificity of the machine. They will just have to type something. A thought. A complaint. A poem. A wish.
The keys, knobs and levers of typewriters were made to do one thing, and one thing only: draw out words we each carry within us that have the potential to create meaning, achieve permanence.
In her debut novel, Allie Millington takes such magic a step further. Her titular character, a midcentury Lettera 22 (called Olivetti, after the company that made him), is a sentient if stationary being who -- like so many teddy bears, action figures and sock puppets in children's literature and pop culture -- can worry, remember, love and fear. Olivetti lives, which is a boon to the Brindle family, particularly their quietly troubled 12-year-old, Ernest.
Good lord, what 12-year-old boy isn't troubled? Ernest's parents have been sending him to a therapist whom he calls Dr. Round-a-bout, because the doctor's questions go in circles: ''And how do you think you feel about how you think about how you're feeling?'' His place in the family pecking order (third of the four kids) means his problems tend to be noted as afterthoughts. And his habit of isolating himself (on the roof of their apartment building with his thick, red Oxford English Dictionary, which he reads entry by entry: ''Apologize. Apology. Apoplexy. Apostle. Apostrophe'') is dismissed as antisocial behavior. Why can't he be enthralled with his phone like his siblings?
Ernest is the Brindle most burdened by cares and worries, not the least of which is ''Everything That Happened,'' a phrase he hears constantly from the adults in his life. (''Everything That Happened'' is shorthand for an all-too-common family crisis that has already visited the Brindles.)
Then, when his mother, Beatrice Brindle, doesn't come home one afternoon, having vanished for no apparent reason, Ernest's life is thrown into a new, disturbing chaos: MISSING posters; visits with the police; his frazzled father's attempts to deal with way too much; his siblings' squawking and fighting; conversations with the building's Brazilian super, the local librarian and the owner of the corner pawnshop.
The solid and pragmatic Quinn, daughter of the pawnshop's owner, is a welcome helpmate, and foil, for Ernest. She's a different kind of 12-year-old, a girl who has made peace with her own ''Everything That Happened.''
The novel is narrated, in alternating chapters, by Olivetti and Ernest. The Lettera 22 takes the lead, introducing himself and steering the first three chapters.
Olivetti has resided with the Brindles (''a copper-colored family with eyes as rich as ink''), he tells us, ever since Beatrice pulled him from a cardboard box and set him on her desk. For years, she has been recording her hopes and dreams on the vintage machine. ''Her Tapestries, she called them, not just because of the way she tried to weave her words into something beautiful and bigger, but because of all the noise we made together. Tap, tap, tap.''
Olivetti remembers every word she has typed. How could a typewriter forget what the human heart pours into its workings?
Beatrice turned to Olivetti as one does to the perfect friend, who knows that listening is often the best thing a friend can do, even if that friend is a writing mechanism made in Italy in 1950. As such, Olivetti was the last one to see Beatrice before she disappeared.
Millington captures the essence of why typewriters are such extraordinary creations, and why everyone should have one: Olivetti takes no side, shakes no finger. (A typewriter simply reflects what you put into it.) And he cares.
So when Ernest tracks down Olivetti, inexplicably pawned by Beatrice for $126 (remember that amount), and begins tearfully typing on him, desperate to communicate with her, Olivetti does the unthinkable: He types back. ''Do not be alarmed. ... I am Olivetti. ... I can help you.''
By communicating with a human being, he breaks the prime rule of all typewriters, to the horror of his pawnshop pal, Remi, a 1947 Remington Deluxe Model 5. ''But some humans,'' Olivetti assures us, ''are worth breaking the rules for.''
Millington's writing does us a great favor. Her Olivetti is neither an automaton nor a pushover -- there is a painful and problematic crisis in the house he has called home and his voice drives the action with compassion. Ernest speaks with a confusion and simmering panic recognizable to anyone who was once 12, loved their mother deeply and feared for her life.
The conclusion is nearly impossible to divine and yet so perfect it includes that most tactile of memories: a 12-hour family road trip, covering a distance of, well, $126.
What comes after that exemplifies the best of Millington's literary imagination. The Brindles will go on confronting ''Everything,'' with hope, gusto and all the unity they can muster. They will set the family table for seven, with a place for Olivetti; put paper in his carriage, and wait.
OLIVETTI | By Allie Millington | (Ages 8 to 12) | Feiwel & Friends | 256 pp. | $17.99
Tom Hanks, the actor, producer and director, is also the author of two works of fiction: ''Uncommon Type'' and ''The Making of Another Major Motion Picture Masterpiece.''
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This article appeared in print on page BR26.
Copyright: COPYRIGHT 2024 The New York Times Company
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Hanks, Tom. "A Tale Told by a Typewriter." The New York Times Book Review, 24 Mar. 2024, p. 26. Gale General OneFile, link.gale.com/apps/doc/A787419400/ITOF?u=schlager&sid=bookmark-ITOF&xid=1abf4a89. Accessed 18 June 2025.
Millington, Allie OLIVETTI Feiwel & Friends (Children's None) $17.99 3, 26 ISBN: 9781250326935
A magical typewriter brings healing, reconnection, and new friends to a hurting family.
Olivetti, a silent but fully conscious typewriter, has been there since the beginning, living with parents Felix and Beatrice and their children, Ezra, Adalyn, Ernest, and Arlo, a "copper-colored family with eyes as rich as ink." Olivetti, who even took part in Felix's proposal to Beatrice, watched playfulness and creativity grow as the children arrived, and he faithfully remembers every single word the people have typed. Then, longing to communicate, he watched the family suffer through Everything That Happened. Which is exactly what seventh grader Ernest is still trying to forget. Constantly carrying his dictionary around, Ernest spends most of his time on the roof away from others, scared of getting close to people for fear of losing them. So, when Beatrice suddenly leaves after taking Olivetti to a pawn shop, grief-stricken Ernest seeks him out and confesses that he fears he's to blame for her departure. Desperate to help, Olivetti takes the unusual action of breaking typewriterly code: He communicates with Ernest in order to help him. But will it be enough? The chapters are told from Olivetti's and Ernest's first-person perspectives and frequently contain flashbacks. Debut author Millington skillfully delivers a complex storyline that deals with heavy topics. With plenty of quotable wisdom, richly textured language, and dry humor, this work reads like a classic.
An extraordinary journey that speaks to the "before" and "after" of life-changing events. (Fiction. 10-14)
Copyright: COPYRIGHT 2024 Kirkus Media LLC
http://www.kirkusreviews.com/
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"Millington, Allie: OLIVETTI." Kirkus Reviews, 1 Feb. 2024. Gale General OneFile, link.gale.com/apps/doc/A780841085/ITOF?u=schlager&sid=bookmark-ITOF&xid=a015056d. Accessed 18 June 2025.
Millington, Allie ONCE FOR YES Feiwel & Friends (Children's None) $17.99 3, 25 ISBN: 9781250326980
This contemporary novel is narrated by an unexpected storyteller: an old apartment building in a gentrifying neighborhood.
The run-down, red-brick Odenburgh building chronicles the intertwined stories of its residents as they work to try to save it from demolition. Among the building's diverse group of tenants is 11-year-old Prue Laroe, a freckle-faced girl with "poufy" and "frizzy" black hair. Prue is mourning the death of Lina, one of her sisters, and carrying unanswered questions about the traumatic accident that took her life. She clings to the building, using one of its landline telephones as a confessional. When the Odenburgh flicks its lights on and off, Prue interprets it as communication from Lina: She believes that her sister wants her to try to save the building. Prue meets and works with Lewis, a lanky boy from across the street who has binoculars, too-short pants, and his own secret grief. The building continues to interact with Prue and Lewis, turning off the air conditioning and water and stopping elevators to manipulate people's movements and bring the quirky (though sometimes caricatured) characters together so the kids can get to know them and persuade them to lend their support. This contemplative story explores themes of community, resilience, and healing through poetic prose that's infused with heartache and wonder. Neither Prue's nor Lewis' racial identities are explicitly stated.
A heartfelt story about loss and connection.(Fiction. 8-12)
Copyright: COPYRIGHT 2025 Kirkus Media LLC
http://www.kirkusreviews.com/
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"Millington, Allie: ONCE FOR YES." Kirkus Reviews, 15 Jan. 2025. Gale General OneFile, link.gale.com/apps/doc/A823102421/ITOF?u=schlager&sid=bookmark-ITOF&xid=f19d7c69. Accessed 18 June 2025.
Once for Yes
by Allie Millington
Intermediate, Middle School Feiwel 272 pp. 3/25 9781250326980 $17.99
e-book ed. 9781250326973 $9.99
Millington's debut (Olivetti, rev. 5/24) was about a sentient typewriter, and this offering begins with the observations of the Odenburgh, an apartment building and one of several narrative perspectives in a quirky and affecting novel. A year after the death of her sister Lina, Prue Laroe is dreading her own upcoming birthday. She's about to turn twelve, the age Lina was when she died. Their grieving family, including parents and a teenage sister, lives in the fifty-year-old building, the place where Prue feels closest to Lina. After finding out that the Odenburgh has been sold and is slated for demolition, Prue tries to rally the occupants to save their home. She's assisted by an earnest across-the-street neighbor who, as she discovers, knew her sister--and by the building itself. The story offers day-in-the-life glimpses of engaging secondary characters with various opinions about the demolition and sometimes surprising connections to the Laroe family's tragedy. "What was worse--never knowing and always wondering? Or knowing and always wishing it were different?" asks Prue as more details about her sister's death emerge. Although things don't go exactly as planned, by the end our protagonist has gained some level of healing and the ability to move forward.
Copyright: COPYRIGHT 2025 A wholly owned subsidiary of Media Sources, Inc. No redistribution permitted.
http://www.hbook.com/magazine/default.asp
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Gershowitz, Elissa. "Once for Yes." The Horn Book Magazine, vol. 101, no. 3, May-June 2025, p. 93. Gale General OneFile, link.gale.com/apps/doc/A839824641/ITOF?u=schlager&sid=bookmark-ITOF&xid=e184528f. Accessed 18 June 2025.