(A bit of context):So I've never done an interview for this blog before. However, I started doing them this term for the Daily Tar Heel, which initially I was bad at, because social anxiety. However, this turned out to be super rewarding, especially if you find a great quote you didn't expect to, and also boosted my ego enough to think "hey, what if I did an interview for something I wasn't assigned to do?"
I.e., I knew Victoria Wlosok was the author of How to Find a Missing Girl and that she goes to my exchange uni, UNC. I really enjoyed HTFAMG, especially reading it around Halloween. I found the mystery really compelling and nuanced, but it was also a lot of fun as well. (We'll get onto this later.)
But though this is technically a reviews blog and I should really do more book reviews for it, this is not a review of How to Find a Missing Girl—though I do recommend all my British readers in need of a campy YA thriller to go read it. As I told Victoria when we met, I thought it was incredible that she published this book so young, and also I think it's fun seeing a crossover between my life in North Carolina and London—just do it for me, guys!
In a display of my remarkable journalistic detective work, I managed to get in contact with Victoria by typing her name into the Outlook search bar in my UNC email account. She said yes to an interview and we met at Epilogue Books and Brews in December, which I felt was appropriate.
But I realised before writing this post—how do people write up articles? What I had intended to do was literally just write the whole thing up to my blog like a transcript and that would be that. I had the recording, all good stuff, boom, done, dusted. I then realised that that's not a typical article format, unless you like, write for GQ or something. But I really enjoyed the interview and didn't really fancy writing much of my own insights without Victoria's words, which are way better as they are than I could paraphrase.
So, inspired by listening to Elyse Myers' Funny 'Cause It's True podcast (don't judge me), I decided I would type it up as a transcript, with a few edits of my own—filler words deleted and whatnot (without detracting from realism too much because realism is important!!)—and little interjections of my own self added for your amusement, script-style (italicized) because you can't tell tone very well through an interview. I try to write very stream of consciousness-style on my site, but ironically that's harder in the recording of a conversation. Also, I split this into two parts as it made for quite a long read in just one article. Maybe I just need a podcast. But either way it was so cool doing this interview and it's a super useful and fun read for any student writers! Let's dive on in.
Interview with Victoria Wlosok, Author of How to Find a Missing Girl
(Intro: We talked a little about my exchange period, writing for The Daily Tar Heel, and blogging. Then we movied on to HTFAMG.)
George: So you are the author of the recently published How to Find a Missing Girl— this is very formal. (I felt overly sincere for a second, so I added a little quip.)
And you're also a third year at the University of North Carolina at Chapel Hill. You started writing How to Find A Missing Girl when you were 17, is that correct?
Victoria: Yes, that's correct.
George: That's insane. (Here, Victoria laughs self-effacingly.) Like, I felt so badly, you know, like, in the best way! Cause like, it's so impressive you got published at 20. And you actually started writing [the book] when you were 17. How did you come up with the original concept?
Victoria: That's a great question. I always describe [How to Find A Missing Girl] as a love letter to the genre of YA thrillers. And when I got into high school, actually, I fell out of the habit of reading. I was a really avid reader, then I got caught up with schoolwork and stopped reading until I came back into my high school library to check out Silent Spring by Rachel Carson for an assignment for my AP Environmental Science class.
And I came in for Silent Spring and I left with Silent Spring and One of Us is Lying by Karen McManus and I only read the latter. So apologies to Rachel Carson! I never did end up reading Silent Spring, but I did read One of Us is Lying.
And I remember coming back to the library, like literally the next week and [asking] my high school librarian, "Do you have any more books by this author?" And she was like, "Yeah, we do." And so I checked out those two and then I read those two and then she was like, "Oh, [Karen McManus] is coming out with a new one." And I was so hooked, and I discovered YA thrillers through that.
So I started working on a YA thriller project my senior year of high school. And I really wanted to explore the grief that comes with turning 18 and becoming a legal adult, because I was very much feeling that in my senior year of high school.I wanted to write about what it was like to grow up in a small town, because I feel like small towns already have a mystery/thriller vibe a lot of the time. And my hometown is a very small town in the deep South, and I feel like that setting isn't really explored much in YA. Like I was seeing all these books set in New York or California, and it's like, okay, well, you know, let's pick something in the South and I always really liked Louisiana.
George: That was gonna be my next question! (specifically, "why did you pick Louisiana?")
Victoria (laughs): I just, I was like "I need a swamp (words to live by), I want the Southern culture, I wanna really immerse myself in the setting." And I'm really happy I did, because it was so fun to just research and find out about it.
But there were some other things too. Like in high school, there was a girl in my town that did go missing for like 13-14 hours. And she was found, and she was fine, but that was a big deal. And also, some of the darker elements in the book are actually inspired by real experiences my friends or people around me had growing up in that town. So I took bits and pieces....but the product I ended up with was the book of my heart and the book I wanted to be published with.
George: I love that. This isn't distracting, is it? (I point to the OtterAI ongoing transcript, which is more than a little unreliable. She shakes her head.)
Okay, great. Yeah, about One of Us Is Lying… I've only seen the series, I've not read the books.
Victoria: See, I watched the first two episodes, and then I got distracted with something else.
George (laughs): That's valid. So I was also gonna ask about real life, like what inspirations you drew upon. So like, for example Iris, the main character. Did you pour a bit of yourself into her? Was she kind of inspired by anyone else in your life, or...? (My original question was a lot more complimentary of Iris. I think she's a fantastic protagonist.)
Victoria: Every character that I write has a little piece of me in them. For Iris Blackthorn, she's very anxious, she's pansexual, and she can't drive. Those are all three qualities I embody. I do not have my driver's license, I am a terribly anxious person and I'm pansexual, so I [thought] keeping that was important.
There's a growing amount of representation in YA books, which is fantastic, but there's still gaps in what exactly is being represented. And you know, identity isn't a monolith, but I can represent my identity and hopefully it resonates with somebody who also feels that way.
So to have a main character who is is pansexual and knows that about herself-that's not her self-discovery arc, it's not a coming out story, she's just a queer person in a YA story.
And Iris has these other components to her that make her a fully fleshed-out person. But she's not struggling with her queer identity. That was so important to me and I'm happy I was able to achieve that and have her be the main character of her own story.
George: Yeah, I do enjoy that. I also enjoy—I'm really trying to remain spoiler-free here! There's like a bit where Lea has a bisexual flag on her wall, and then Iris is like (I tilt my head and raise my eyebrows. This was meant to be a way of saying this is casual queer representation—Iris having a relatively casual reaction to Lea's bisexuality—but I realise in hindsight no one else could see me. Oops.)
Also, like, I did read—d'you know those Epilogue Books synopses?
Victoria: Yes! The shelf talkers. (Do we have many of those in the UK? They're basically little blurbs advertising the books that are front-and-center in Epilogue Books & Brews in Chapel Hill.)
George: Those are really good, because they always get me hyped for books. Yours was like, "Imagine if Mystery Inc. was a sapphic high school crew with even more of a penchant for trouble than Scooby Doo", and I was like "Yes."
Victoria: Yes! Scooby Doo was a big inspiration for me as well. And Mystery Incorporated specifically—the characters debate this [in the book]—I think it’] the best reboot of Scooby Doo.
George (laughs): That was another one of my questions.
Victoria: You can't really write a story about gangs teaming up to solve crimes without acknowledging Scooby Doo. But as much as I love Scooby Doo, you look at the Scooby Doo cast and it's like four white people and a dog. There's like all this media from my childhood that I loved growing up but didn't really get to see myself in. So the fact I can kind of do that and am doing that now as an author is so cool. I'm so grateful for that.
George: Would you say it was modernising that kind of genre?
Victoria: Not only modernising it, but bringing it to an audience that has always been there but hasn’t always been recognised. Queer people have always existed, you know, Black and Brown people have always existed, so it's great to see the people who've always been there be acknowledged [in the genre].
George: I appreciate that. Gosh, we've just kind of been chatting. I haven't really been officially asking...Where was I? (In fairness, it was very enjoyable, if slightly unjournalistic of me.)
Okay. What was the writing process actually like? ‘Cause obviously as a student, it's so much harder than if you're a person in your 20s just writing. How did you find the time and the balance?
Victoria: This is something that I honestly ask myself every day, I'm like, "How did I do it?" I wrote the first draft of How To Find A Missing Girl in 30 days. (I made a face of disbelief.) So I wrote—yeah, I don't know how. I think something possessed me.
I did it for National Novel Writing Month, or NaNoWriMo, which is a non-profit where every November you try to write 50,000 words. So I was introduced to it by my high school creative writing teacher, and I finished my first NaNoWriMo my freshman year. I wrote 55,000 words in November and immediately after I was like, "I'm gonna do this every year".
And I would tell my friends, "Don't text me, don't even talk to me, don't look at me" Like the second November 1 strolled around, I was like, "I'm in my writer cave." (She said this jokingly but honestly? Seems efficient. Maybe this November I'll just write and write and write for this blog. This is probably a bad idea. I have a dissertation next year.)
But for my senior year, the lockdowns were happening. So I was not only writing for NaNoWriMo, which I had been doing consistently for the past three years, but I was also not going to school in person. So it did help that I had the time and focus to work.
Now, of course, what was challenging was coming to Chapel Hill [and] balancing schoolwork with working on edits for my book with my agent and working on edits with my editor. But [writing] my second contracted novel was significantly more challenging because I was actually drafting that book while in college. So I would just say—I mean, I don't think I'm the best at time management! (I laughed at this. Me, neither, honestly, hence why this post is so late.)
But like, you do have to kind of pick and choose where your priorities lie. Like, if I have to finish a chapter and I also have an ECON 101 assignment due, maybe that assignment isn't getting done. You know, maybe I'm checking the syllabus to see how many absences I can have before it starts affecting my grade.
George: So true. (They take attendance way more seriously in the US!)
Victoria: Like, maybe I'm staying in on the weekend instead of going out to party with my friends, because I have things that need to be finished. And then I'm sad the next day, because I'm like, "aw, I should've gone out!" So it's a really tricky thing to balance, but I think if you care enough about it you'll find a way to make it work. And that's not to say that the way I've made it work is the only way. I think every writer has their own journey. And also, if you want to write now and you don't have time, don't beat yourself up. Like, the writing will still be there, you know? You're not under a time limit until you have an actual deadline looming over you. So just enjoy it while you can. And education is important, so focus on that. And then when you have more time down the line, you can go back to writing.
George: Yeah, I like that. Sounds like you did manage to time manage pretty well!
Victoria: Thank you!
George: I have this friend who like, recently…I had no idea he was writing at all. And then he texted this group chat from high school (yes I said high school, guys- I learned American lingo!) and was like "hey, I finished this project" and it was like 80,000 words.
Victoria: Oh my gosh...
George: Like, my God, I didn't know you were doing this! Like, congratulations, I wanna read it. (I really need to get round to that...)
So yeah, and I like that idea that you can just shut yourself in a dark room and just like, block out the whole world. Like, I don't know, that's like when I'm at my best writing I think? Because it's like, if I can just block out everything...I feel, you know, there's like, there's sh*t going on in real life. There's like, there's deadlines and classes and all that kind of stuff you mentioned, it's just like, sometimes I think that can get into a writer's head almost.
What gave you the idea for the true crime podcast type thing? Are you a fan?
Victoria: I am not, which is very controversial I think. But I think if you read the book you can kind of tell. True crime podcasts as a concept are so fascinating though, and they reveal so much about the human psyche. The commodification of crime is so fascinating to me, because, we see, like, "oh, I'm a true crime podcast girlie! I listen to them to help me fall asleep." And there's a real person on the other side of whatever story you're listening to.
So I don't know if there's an ethical way to consume true crime. And that's something I wanted to explore in the book. I think a lot of YA thrillers, if they're detective focused or detective based, the main character is solving a crime. It's either they're accused of a crime and must clear their name, or they just randomly decide to go solve this crime.
And it's like, you're a high schooler! What personal stake do you have in this? (This made me giggle as well because it's so accurate. Sorry, Riverdale.)
So those things kind of combined in my head to create the story because Iris obviously as the protagonist has a very personal stake in the case that is occurring in the book. Her older sister went missing a year ago and she actually did try to find her and investigate and solve what happened, and was unsuccessful. And then her ex-girlfriend makes a podcast about her disappearance only to go missing too. So [she has a very personal stake to] both of the girls who have disappeared from this town and so it makes sense that she's investigating. At the same time, I don't think Iris could have solved the mystery [of the book] without Heather's podcast.
So there's this kind of push and pull throughout the novel: What does it mean to consume true crime podcasts? What does it mean to make them? What does it mean to support them? How do the families of victims feel about them?
But I also will say, like, I've never listened to a true crime podcast that I've enjoyed. Maybe there is one out there that I would like, I always tell people I'm always taking recommendations. But like, something about it...I also scare easy. (Honestly surprised by this, the book was very intense at times.) I don't like watching horror movies (relatable), I find true crime podcasts unsettling. But I love mixed media as a way to tell stories. And I think [the podcast] was a timely thing to include. I just wanted to include it in my own way and [with] my own kind of critique. And I hope that commentary resonates with readers, whether they're fans of true crime or not.
George: What does that say about Heather, do you think? It kind of makes her like, "ohh, should I like you?"
Victoria: Right! Right, and I think that's something readers should decide for themselves, and that Iris is grappling with throughout the story. It's interesting, because both of Iris’ love interests have betrayed her in a way, in her past. And so that's another theme: betrayal. Like, what do you forgive? Like, what matters—is it intention or is it action? So it was fun for me to put all those thoughts on a page and then try to make sense of them.
George: [In How to Find a Missing Girl], the police interviews [and] forensic evidence and all the crime feels quite true to, if not real life, at least something you've seen on a crime show. Did you have to do a little research?
Victoria: Yes. I have this book called A Writer's Guide to Crime Scene Investigation. (Real book by Anne Wingate.)
And so yeah, definitely a lot of research, a lot of back and forth with my fantastic copy editors who read the book and fact-checked things. I...when I was writing [How to Find a Missing Girl], I didn't actually know the difference between prison and jail, which is interesting.
George: Is there a difference?
Victoria: There is a difference—so, when you go to jail, you're kind of...oh gosh, I could still have a completely wrong understanding of this. But prison is like, federal prison, like you've been sentenced for committing a crime. Jail is like, you're being held in like the county office or whatever, and then you get out on bail and then you're awaiting your trial.
And I was just like, "oh they're interchangeable". And they are not! So copy editors are fantastic in that way, in that they make you question everything you've ever known, and kind of make you feel stupid because it's like, that's their job. And it's like, "Thank you for making me sound smarter than I deserve, I love you guys so much."
But honestly, I think when I was writing...I'm a pantser, so I didn't have an outline, I didn't know where the story was going. Which is kind of crazy to say about a mystery novel, but that was my process.
(Note: a pantser writer is a writer that writes by the seat of their pants, so to speak. Basically as said, it's someone who writes without an outline, but I was so confused and thought the transcript had lost the plot looking back, because I had never heard this term before.)
And I just ended up learning a lot as I went. And I think it works.
George: Yeah. Well, I was gonna ask actually, because I feel like whenever I think, "Hey, what if you came up with an idea for a mystery novel or something like that?" It would be so hard for me, because how do you keep it a mystery from the reader when you know exactly what's gonna happen? But you didn't know what was gonna happen.
Victoria: I didn't. Part of it was because I love reading thrillers. I was like, if I write one, I want the experience to be as if I'm reading. So I did not know where it was going. But then like, that's kind of where the power of editing comes in.
I think Neil Gaiman has a wonderful quote that's like, "Write down everything that happens in the story first, and then make it look like you knew where it was going all along", or something to that effect, to paraphrase him badly. And so I was like, "Okay, great, I'm just gonna do that." So I did. And things would change in subsequent drafts, and I always tried to [keep] at least one thing [up in the air] for myself.Like, "oh, interesting, where does this thread come in?"
And so that was kind of how I kept myself interested and engaged. But definitely, there were things that I went back and added into earlier chapters later.
George: Yeah, part of the editing process I guess.
Victoria: Yes.
George: I asked about Iris, but as for the other characters involved, and specifically the agency—are they true to real life?
(Note: The agency is Iris' group of friends who help her solve the case.)
Victoria: So, I love the agency because they were definitely inspired by my friends from high school. I think there's something so wonderful about their solidarity, and there's something powerful in the intersectionality of identities and how you find common ground. And that's not something that I see very often in YA.
I think it's becoming more common now. But at the time that I was writing and reading, it was really like, if you had a queer character on the page it was like a token gay side character. Or it was the main character, but they had all straight friends, and they were like "How am I gonna come out to people?" It was very much like coming out stories.
I [also] think there's this misconception—I have had readers come up to me and be like, "Listen, I loved your book, I thought it was great. But why was there no homophobia or racism [in it]?" And I was like, well, what? I mean,there's creative liberties you have to take as an author. [But] I think people mischaracterise Southern towns as well. There's definitely bigotry and racism, and there's absolutely homophobia. I have experienced those things.
But when you're writing.. I wanted these characters to just be able to exist and solve these mysteries and for [readers] to be able to follow along [with them] without having to worry about [those issues]. I think you need all sorts of books, and I think books that deal with those issues are extremely paramount and important. But for me, for my genre of fiction, for this book specifically, [bigotry, racism, and homophobia] wasn't something I wanted to focus on. It's something I really had no interest in depicting. And I think it's a little crazy when people come up to me and complain about the lack of it. Because it's like, go read literally any other novel!
[But to go back to what we were talking about earlier,] I think there's merit in escapism. And even if it sacrifices realism, I still think it's important to have and to create for people.
George: Right, ‘cause you did address real life issues in the novel. I felt like there was an interesting balance, because at times it's like very fun and very campy, and like, there's a lot of humor in it. How do you find a balance in that? Is it difficult to manage tone in that way?
Victoria: Something that's so interesting about like this generation, like Gen Z in particular—I feel like there can never be a moment of tragedy, without also humor—
George (laughing): Oh god (because I'm absolutely guilty of this)
Victoria: I mean, if you just look at like… even with the school shooting this semester, and the tragedy of that situation in contrast with the student response… like, it varied. There was nuance. (Specifically, a couple incidents in Chapel Hill this semester.) There were students who were protesting and attending March For Our Lives and protesting, and that was fantastic. And then there were also students who were making jokes all the time…everybody processes trauma differently.
So I think they're not two things that are in direct opposition to each other, but rather emotions that normally do and should coexist. I think if you go through something awful, and can't find the humour in it, it's going to be a lot harder to deal with. And I think, like, coping with things in different ways is something that we as a generation have kind of defined for ourselves.
So to have a book that really does (I'm hoping, I think) strike a good balance between light and funny—and it has darkness as well. But I do think that there's hope in grief. And I think things can be bittersweet. So focusing on that as the throughline in between these two oscillating feelings was something I placed importance on, and hopefully achieved.
George: Yeah, I enjoy that. Like, I think, I don't know, it's personal experience, but like, if me and my friends are talking about something serious, I will have to crack a joke because I'm just like..I can't.
Victoria: Right, right, it's just a way to break the tension. And we're in a time period that is so bleak, you know? Like, things are so bleak, if you truly, truly look at them. For our future, for our generation, and it's like, yes, we have to fight, yes, we have to enact change, yes, we have to work to make the world a better place. But we have to get to a point mentally where we can do that. And like, if humour is your way to find a light in the darkness, then like, please be funny.
George: Oh my god, that made my article. (She laughs.) Yeah, I think that's true. I think there's a lot of misery and it's like, you can't really make change if you aren't passionate, and, well, you can't really be passionate without actually having the positive emotions to fight.
Okay. You are a third year, and you do English?
Victoria: I am double-majoring in English and Business Administration. And I'm also a minor in Creative Writing, which I didn't think I would be, but I'm doing now. (I laugh) And so I'm in the Kenan-Flagler Business School. I was going to focus on marketing, but now I'm just focusing on trying to get that degree, and I am concentrating in Writing, Editing and Digital Publishing in my English major.
So I came in thinking that I wanted to go into the publishing industry, because that's what I kind of was like, "Oh, I love writing, I love reading, I just want to work with books for a living," but I really wanted to be an author. Like, that was my big unattainable dream. And then I [broke] into the industry [as an author, which] forced me to reevaluate what I want to do as my day job. And I feel like I'm still reevaluating that. Because I can't work in publishing and then go home and write books. That's too much reading and writing, as much as I love it. Like, I know I'm gonna burn out if I do that. I'm just like, recalibrating still. It's been three years and I'm trying to figure out what I actually want to do. What I would love to do is be a full-time author. That is my dream job. I would also love health insurance, however, so...we're figuring it out.
George: Yeah, all you can do, really. I definitely resonate with what you said about like, "Oh, this is what I want to do". Because I say like, "Oh, I wanna be a journalist!"
Victoria: That's your realistic career.
George: Yeah, that's my attainable dream. But it's like, you know, like, I love writing, I love writing fiction. This is going online, I should really talk to my parents about this.
(We both laughed at this. Ah, writing. Whatever shall I do with it? Also, do y'all think journalism is an "attainable" dream? I think it's the perfect mix of ambitious and practical, although as I've said, if I write that novel....)
But yeah, erm, I think like...this is a weird tangent. Have you ever seen the TV show Jane the Virgin?
Victoria: No, I haven't, I've seen the first episode.
George: Ah, okay, I won't spoil.
Victoria: You can spoil.
George: Ah, okay, I will spoil. So there's a bit where a character in a later season has been working in publishing for like three years, but has been working on a novel, and like another novel at the same time, like how would you do that? Like, I'm so sorry, I don't know how you could manage that.
Also, you mentioned earlier, about How to Find a Missing Girl, and your most recent project not being a sequel. Would you ever write a sequel to How to Find a Missing Girl?
Victoria:I want to say, like, never say never. I love the world of Hillwood. I would love to return to it. I just don't know if there's anything there for me anymore.
George: I get that.
Victoria: I feel like the plot threads are kind of nicely tied up, and it's just… it would be very interesting. If I were to write a sequel,I might be more interested in writing a prequel, like Iris' investigation into Stella's disappearance. I think that might be interesting, like the formation of agency, because I have had readers be like "I stopped reading because I thought this was the sequel to another book."
So that may be interesting. But I kind of want to keep writing new things. Keep moving along. A lot of the feelings that I put into [How to Find a Missing Girl] I don't really have any more. Like grief about turning 18 and becoming a legal adult…. like I'm 20 now, I'm about to be 21. I've changed as a person and as a writer. [But] I'm very grateful that I'm able to keep telling stories about things that interest me.
George: I think that a lot of people would want a sequel—I can't speak for a whole reading community. But I feel like often what people want is like, "Oh, I love these characters so much."
Victoria: Right, and you want to see more of them.
George: Yeah, you wanna see more of them, but sometimes, like, you know, you've got to cut it out. (I'm unsure if that's what I said exactly? What I meant was sometimes you have to say goodbye to those characters when it's appropriate.)
Victoria: Yeah, some things are better left alone. I think I would honestly worry about like, ruining the characters and, like, ruining the world. And just like, I think there's a power in knowing when to walk away from something you've created. And I had to learn that walking away from HTFAMG. I can no longer edit it, like it's published, it's out in the world. But also kind of like knowing when to walk away from the world in itself.
Yeah, some authors spend their entire career in one world and, you know, they know it so deeply, intricately and I think that's admirable. For me, I think I would cry if I had to do that. And I think that also speaks to me not being a fantasy writer or reader. Because I just am so fascinated by stories that take place in different places with different characters and just like, how does this person react versus this one? What makes them different? People in general are so fascinating, so I think I'm always going to have something to write about. It just may always be different.
George: Yeah, I appreciate it. Are you like writing anything just for fun now, or are you just like focusing on your degree? (Not me forgetting about Victoria's next project.)
Victoria: So I am writing my second book, which is under contract with Little Brown. It's currently scheduled for winter 2025—we'll see! (She laughs.) Second Book Syndrome is hitting me very, very hard. It’s hard to be a college student and a writer and an RA. (Resident Advisor) And do two majors and a minor, and apply for internships and things. (Talk about multitasking(!))
But I am actually 66,000 words into a YA romcom...
George: Wow!
Victoria: Which I am very, very, very excited about. We'll see if anything...it's just, it's not good. (We both laugh.) It's not readable, but it's about something that I was very passionate about in high school and I'm still very passionate about, and...I don't know, we'll see. But I am always writing, I feel like I'm always working or fiddling away, and I have a lot of ideas for future books. So I feel like I'm very comforted by the fact that even if Second Book Syndrome is hitting me like a truck right now, [knowing I have] other projects... I feel good having other projects lined up. Because it's like, I don't think I'm ever going to run out of things to write about. I just need the time to do it.
Conclusion
(So then after that I pretty much said that was all I wanted to ask, and also at a later date Victoria kindly signed my book for me. Anyway, the point of all this is go read How to Find a Missing Girl! And also the point is, yeah, it's totally possible to be a published author at our age. And also the point is laugh through the pain. And push for better representation in YA novels. And, well, anything else you took from this. I really hope you guys enjoyed! And I hope I read that bad YA romcom:)) )
P.S. here is a link to the E-book of HTFAMG, 99p for British readers! https://www.amazon.co.uk/How-Find-Missing-Girl-thriller-ebook/dp/B0C5HK1ZB6
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