Imagine it's the spring of 1957.

You're an editor at a distinguished Imagine it's the spring of 1957.

You're an editor at a distinguished literary publishing house in New York

and one of the few senior women in the office.

You walk into a towering art Deco building in the Heart, Midtown Manhattan.

Your shoulder strains under a heavy bag.

You're carrying a 250-page manuscript, and it's a story that you can't get off your mind.

After two decades in the business, you've established yourself as a trusted leader with a strong

instinct for story and a talent for working with young writers. As you enter the office for Good morning. I was hoping I would run into you. I want to talk over that manuscript you passed

over. The one by that young author from Alabama. Right, go set a watchman. I didn't think it was worth your time to read.

You're surprised.

Marguerite has been working and publishing a few years and you've come to rely on her to vet new writers before they get to your desk.

But when you saw this manuscript in the rejection pile, something made you decide to give it a look.

You decide to press her on her reasoning.

Well, what made you think that? Well, for starters, it's far too long for a first novel.

I agree, it's a bit long, but that's what good editors are for. Cutting, honing a focus.

All right, but the story was simply too autobiographical.

And there's nothing tying all the various narrative arcs together.

There's plenty to change about the book.

We can agree on that. Right now it reads more like a collection of anecdotes than a cohesive novel.

But weren't you struck by the author's distinctive voice?

It's hard to believe this 30-year-old writing. struck by the author's distinctive voice.

...