A Boy Called Trevor: A Faultlines Companion Novel
Project Overview
This is the casting project for the audiobook of A Boy Called Trevor, a companion novel in the Faultlines series. I’m casting its two equal POV narrators: Travis Min-jun Yoon and Ezra Rafael Cruz. Each role is listed separately below; please read the complete description for the character you’re auditioning for.
About the book:
A Juilliard housing algorithm places two young musicians six feet apart: Travis, a Korean American violinist and composer from Evanston, and Ezra, a Puerto Rican trumpet player from Hialeah whose beauty, talent, volume, and swagger make him impossible to overlook.
Ezra receives Travis’s correct name before they meet and still calls him Trevor for nine weeks. Travis never corrects him. What begins as roommate friction develops into friendship, attraction, and love between two young men who are much better at noticing each other than admitting what they need.
The book belongs equally to Travis and Ezra. They are complete people with their own families, friendships, artistic authority, flaws, desires, and interior lives—not a protagonist and the person who exists to change him.
Audiobook structure:
Faultlines uses one narrator for each POV character, with the goal of keeping those performers consistent when their characters return.
Travis’s actor will narrate his half of A Boy Called Trevor. Ezra’s actor will begin with Ezra’s POV chapters in All the Quiet Things, then return for A Boy Called Trevor and later Faultlines books containing Ezra POV chapters. Each audiobook will have its own scope, schedule, and agreement; auditioning does not commit either the actor or me to future titles.
The actors cast as Travis and Ezra will join an existing five-narrator Faultlines ensemble.
Compensation:
Both roles pay $200–$400 per finished hour, depending on experience. Payment is based on the completed audiobook runtime, not the number of wall-clock hours spent recording. Casting Call Club may display the top of that range as an ordinary hourly figure.
Complete contract, payment, delivery, and revision terms will be provided before anyone accepts a role.
Content and consent:
The material includes strong language, romantic and physical intimacy, family grief, medical settings, serious illness, and emotionally intense relationship material.
A private, spoiler-inclusive content and performance packet is available on request and will be provided before callbacks or any commitment. Anyone may withdraw after reading it without explanation. Actors will never be required to disclose private information about their sexuality, disability, or medical history.
After the audition:
After reviewing auditions, I’ll invite the strongest candidates to a sixty-minute conversation. This is not a disguised second audition or a formal interview panel. It gives both of us time to ask questions about the character, complete story, contract, recording process, team, and working relationship before either of us commits.
How I work:
I direct closely and collaboratively. Actors receive character references, pronunciation support, scene context, and specific performance notes. I value curiosity, reliable communication, thoughtful questions, and actors who will tell me when a line is fighting the performance or when a cultural, linguistic, musical, or character choice doesn’t feel right.
Cultural and language specificity will not be left to imitation. The production will use independent Korean-language and cultural review; Travis’s actor will not be expected to serve as the only consultant, and I will not rely on my own ear as the final authority.
Please follow the submission instructions in the individual role description. Questions before auditioning are welcome.
Warmly,
Lily Walton
Project compensation, content information, the hiring process, and my working style are explained in the Project Overview. Please read that before auditioning.
About the role:
Ezra’s actor is being cast for a recurring POV role across multiple Faultlines audiobooks. The first planned project is Ezra’s POV in All the Quiet Things, followed by his half of A Boy Called Trevor and possible future books containing Ezra POV chapters. Each title will have its own scope, schedule, and agreement.
Compensation is $200–$400 per finished hour, depending on experience. Casting Call Club may display the top of that range as an ordinary hourly figure, but this is PFH compensation based on the completed audiobook runtime.
Who Ezra is:
Ezra Rafael Cruz is Puerto Rican, born in Ponce and raised around Miami, especially Hialeah. He is eighteen to nineteen during these stories.
A working model since childhood and a genuinely gifted trumpet player, Ezra is comfortable with cameras, contracts, good money, expensive clothes, attention, and knowing exactly how beautiful he is. He is charming, funny, impulsive, confrontational, deeply physical, and loud. He can be arrogant and cruel. He can also become extraordinarily attentive once somebody matters to him, though that attention does not automatically make his behavior healthy or correct.
Ezra has severe ADHD, hyperactive type, and chronic insomnia. They shape his movement, interruptions, emotional speed, impulsivity, and relationship to stimulation without making him incompetent or incoherent. Music can organize his focus with remarkable precision.
He carries profound grief, but the performance should not announce a wounded boy beneath every arrogant thing he says. Sometimes Ezra is being an asshole because Ezra is being an asshole. The audience should not be asked to forgive him in advance.
Voice and performance:
I’m looking for a warm, rich young voice in the mid-tenor range, with a light grain underneath and room to mature toward baritone. Ezra’s voice has a naturally flirtatious quality, even when he is not actively flirting.
He is also genuinely loud. That volume is his baseline, not an automatic sign of anger, and the actor still needs room for real yelling above it. When Ezra deliberately lowers his voice, it should feel marked: a warning, exhaustion, intimacy, or an unusual attempt at control. Quiet is not his natural resting place.
Ezra grew up bilingual. His English carries Miami’s multilingual Latino rhythm, shaped by the Cuban-dominant environment around him and his Puerto Rican family. His Spanish is Boricua. English, Spanish, and Spanglish belong to the same thought process rather than functioning as decoration.
Please do not give him a generic “Latino accent.”
The performance needs charm, vanity, humor, cruelty, tenderness, fury, musical authority, accountability, fast emotional movement, and intimate quiet that remains recognizably Ezra. It must also distinguish the recurring characters inside his chapters without turning them into impressions.
Ezra cannot become a quiet, misunderstood sad boy whose arrogance is only a costume. He also cannot become an endlessly charming asshole whose harm never lands. The performance has to let the audience understand him without asking them to excuse him.
Casting and requirements:
I am only considering Latine actors. Puerto Rican or Boricua actors are very strongly preferred. If you are Latine but not Puerto Rican, you must be comfortable working toward Ezra’s specific Boricua Spanish and Miami rhythm.
LGBTQ+ and neurodivergent actors are especially encouraged to audition. Private disclosure is never required.
Applicants must:
• be at least eighteen years old;
• be comfortable performing substantial Spanish dialogue and fluid code-switching;
• sustain a believable college-age masculine voice without forcing artificial depth;
• narrate close-third literary fiction with substantial interiority;
• distinguish several recurring characters;
• be comfortable with romantic, physical, familial, medically difficult, and emotionally intense material;
• be interested in a recurring, multi-book role;
• provide clean, usable audio or work with an appropriate recording studio; and
• communicate reliably about deadlines, questions, pronunciations, and recording problems.
Previous audiobook experience is preferred, but voice acting, theatre, music, bilingual performance, and other narrative work are also welcome.
Ezra’s later Faultlines role includes fame, substance-use disorder, recovery, parenthood, and respiratory disability. The private spoiler-inclusive packet covers the complete continuing-role content before commitment.
The audition:
Please record the attached Ezra audition sample. I’m not looking for the loudest possible reading. I’m listening for whether the voice has somewhere to go when Ezra starts yelling and whether it can become intimate without turning into a different person.
In your audition comment, include:
• your name and pronouns;
• your general location or time zone;
• your relevant cultural and language background;
• relevant acting, audiobook, musical, or bilingual-performance experience;
• a previous-work link, if available; and
• confirmation that you’re interested in a recurring, multi-book role.
Do not include private medical information or details about your sexuality.
Ezra is difficult, magnetic, funny, vain, loving, furious, and frequently wrong. I’m looking for the actor who can let him be all of those things without sanding him down or asking the listener to excuse him.
—Lily Walton
- english
- spanish
- male young adult
- miami
- spanish (puerto rican)
- male teen
- miami spanish
- audiobook
- narration
Ezra Cruz Audition Sample At minute six, Travis had blamed the radiator, the weather, and New York City, like all three had coordinated the attack. The radiator was guilty of plenty—banging awake at four in the morning, roasting Ezra’s good face dry, heating one corner of the room while the window leaked December down the other wall—but it had not put this much blood in the trash. Ezra’s phone counted upward on Travis’s desk: six minutes, twelve seconds; six thirteen; six fourteen. Travis sat bent over the trash can with one hand pinching his nose and the other reaching for the trackpad. “Travis, suelta eso.” “The file isn’t saved.” Ezra’s regular voice hit the walls and came back bigger. Travis glanced toward the closed door. Ezra wasn’t yelling. This room was just too damn small for his regular voice. He reached past Travis, hit Command-S, and pushed the MacBook to the far side of the desk. “Saved. Lean forward.” Travis opened his mouth. The tissue under his nose went red through the center, and whatever he had planned to say stayed there. The room was too small for pacing. Ezra did it anyway—three steps down the aisle between the beds, a sideways turn around Travis’s chair, and three steps back. He had moved his trumpet to his own bed after the first tissue, then the water glasses, then the pizza box they had both stopped pretending either of them would finish. Nothing else needed moving. His hands disagreed. “No te eches para atrás.” “I’m not.” “You’re trying to see the screen.” Travis looked at him over the tissue. His glasses had slid down his nose. Blood, offended dignity, one lens catching the ruler-straight Christmas lights behind Ezra—on any other night, the whole thing would have been funny. Tonight the skin around Travis’s mouth had gone gray again. Ezra stopped long enough to push the glasses back into place with one finger. Travis went still for it, then turned his eyes toward the MacBook. “No. Mírame.” “I’m looking.” “At me.” Travis’s eyes came up properly—tired, irritated, and present. Ezra held them there until the timer reached seven minutes. “How often does this happen?” “Sometimes.” “That’s not a number.” Travis replaced the tissue and said nothing. “Once a month? Once a week?” “I don’t know.” “You made a spreadsheet for pizza.” “That was a budget.” “It had toppings color-coded by person.” “It made ordering faster.” Another tissue soaked through before Ezra could answer. He took it from Travis, dropped it into the trash, and handed him a clean one. No more pizza. Eight minutes. Ezra crouched beside the chair because standing over Travis had started feeling too much like waiting for something to happen. From here he could see the tremor in Travis’s free hand, small enough that the tissue packet only whispered against his fingers. That same hand had shaken over pizza last Friday. That night his snoring had changed. The shadows under his eyes had stopped belonging to one bad night, and his hands stayed cold even when this stupid room turned tropical. Too many things. Every one had an excuse. Every excuse was starting to sound like the same bullshit. “Travis, no me jodas con el radiador. How often?” “It happens when the air gets dry.” “That is still not a number.” “Ezra.” One word, conversation over. Ezra had used I’m fine for the same job enough times to recognize it. He stood too fast and cracked his knee on the desk. Pain shot up his thigh. The desk jumped; the MacBook skidded toward the wall. “Careful,” Travis said. Ezra stared at him. “You’ve been bleeding for nine minutes.” “The MacBook—” “I’ll buy you another one.” Travis closed his eyes. His fingers tightened once around the edge of the chair. No answer. Nine minutes. By eleven, Ezra had stopped talking. Travis kept looking up from the trash as if he was waiting for Ezra to fill the room again. Fine. Let him wait. Ezra stood close enough to replace each tissue before Travis had to reach and watched the timer because somebody was going to admit that eleven minutes was eleven minutes. At twelve fifty-eight, Travis pulled the tissue away. They both waited. No fresh red came. Ezra looked at the phone. Thirteen minutes, four seconds. “That is not normal.” “It stopped.” “Thirteen minutes doesn’t become normal because it finally stopped.” Travis reached for the hem of his hoodie instead of answering. A dark streak ran from the cuff almost to his elbow, dried brown at one edge and bright red through the middle. “Sit still. I’ll get you another—” “I need to take this off.” He pulled the hoodie over his head. The thermal underneath dragged up with it, its sleeves catching high on his forearms. Ezra forgot the clean hoodie in his own closet. Forgot the phone. Forgot the blood until he smelled it again. Bruises crowded Travis’s arms. Some were dark purple through the middle. Others had gone green and yellow around the edges. New ones sat on top of old ones before the old ones had finished leaving. Not one hit against the desk in this shoebox. Not two. Travis grabbed for his sleeves. As he twisted, his pant leg dragged above his left sock. Another bruise covered half his shin. “¿Qué carajo?” Travis froze. Ezra caught his wrist before he could hide his arm, his grip barely there. Travis’s skin was cold under his fingers, his pulse too quick beneath Ezra’s thumb. “Travis. Mírame.” This time Ezra’s voice fell instead of rising. Travis had to lean closer to hear him. His eyes came up. Confused. Actually confused. “¿Quién te hizo esto?” “What?” “Who put their hands on you?” “No one—” “Who the fuck did that to you?” “No one,” Travis said again. No one was not a fucking answer. Somebody had to have been doing this while Travis sat three feet away every night, working on his scores and ordering pizza and pretending he wasn’t too tired to hold his own goddamn hands steady. Some of the bruises had already gone yellow at the edges. Whoever did it had been getting away with it long enough for the first marks to fade beneath the new ones, counting on Travis to cover them and Ezra not to look. Worse, they’d been right. “Don’t lie to me.” Travis’s eyebrows pulled together behind his crooked glasses, confusion giving way to something tighter. “I’m not.” “Then give me a fucking name.” “There isn’t one.” His pulse kept jumping under Ezra’s thumb. Fear. There it was. It had to be proof that Travis knew exactly who had done this and was scared enough to protect them. “¿Quién fue?” Ezra demanded. “Dime. Tell me their fucking name.” “Nobody did anything.” “Bullshit.” “I’m not lying to you.” “Then who the fuck was it?” “I don’t know what you want me to say.” “The truth, Travis. I want you to tell me the fucking truth.” Ezra’s hand stayed careful around the bruised wrist. That was the only part of him still being careful. Everything else had gone too fast and too hard—his heart slamming, his jaw aching, every muscle in his body already preparing to get Travis out of this room and go find whoever had believed they could put their hands on him without somebody answering for it. Travis pulled his arm toward his chest. Ezra released him, only to plant both palms on the desk and lean closer. “Was it here?” he demanded. “In the practice rooms? At the house? Somebody on the train? Did some asshole follow you into the building?” “No.” “Then where?” “Nowhere.” “Stop fucking saying that.” “Because you’re not listening.” “I’m listening. I’m asking you who the fuck did this.” Travis shoved his chair backward. The wheels struck the bedframe and stopped. Ezra stepped into the space automatically, following him because retreat looked like another refusal, another inch of room for Travis to disappear behind that same quiet fucking voice he used whenever he wanted everybody to accept less than the truth. “Look at your arms.” Ezra pointed, one sharp movement that made Travis’s shoulders pull inward. “Look at your fucking leg. You expect me to believe you just woke up like that?” “Yes.” “No.” “It’s what happened.” “No, it fucking isn’t.” His own voice crowded his ears now, louder than the radiator, louder than the blood still beating behind them. Travis had nowhere left to move, but Ezra couldn’t stop moving toward the answer. He bent over him, broad shoulders blocking the Christmas lights, both hands gripping the edge of the desk hard enough to hurt. “Whoever it is, I don’t give a fuck who they are. I don’t care if they go here, if they’re your friend, if you think you did something—” “There is no one.” “Don’t protect them.” “I’m not protecting anyone.” “Then give me a name!” “I don’t fucking know, Ezra! Please... just...” The words tore out of Travis so loudly that Ezra stopped hearing his own. Travis had said fuck. Travis, who could end an argument by going quiet and waiting for everyone else to exhaust themselves, had spent the word like he had nothing cheaper left. His voice broke on Ezra’s name. The rest of the plea never came. A tear had caught beneath the lower rim of his glasses. Ezra stared at it. Another one slipped down Travis’s cheek, slow and unmistakable, and suddenly the whole room was visible again—Travis wedged between the desk and the bed with his bruised arms folded against his chest, the chair unable to roll any farther, Ezra standing over him and taking up every inch Travis might have used to get away. Not whoever had hurt him. Ezra. “Shit.” His hands flew off the desk. “No, no, no. I’m sorry, Travis, I’m sorry.” He backed up too fast and struck the frame of his own bed with the back of his leg. Travis flinched when Ezra reached toward him, and Ezra’s hand stopped in the air. “Fuck. Okay. I’m not—I’m not touching you.” Ezra hauled his hand back against his chest and kept retreating until the backs of his knees hit the mattress. “Mira, I’m backing up. I’m sorry. Shit, Trav, I’m so fucking sorry.” The anger hadn’t gone anywhere. It still demanded a face, a door to kick in, a name Ezra could keep saying while he went to find the person attached to it. But Travis was crying because Ezra had turned himself into one more thing Travis needed protection from, and now all that fury had nowhere to go except straight through Ezra’s ribs. He sat hard on the bed. Travis’s eyes followed him all the way down. “I thought somebody—” Ezra began. No. That didn’t make the tears less his fault. “Fuck. I scared you.” Travis took off his glasses and pressed the heel of one hand beneath his eyes. “Nobody touched me.” Every part of Ezra wanted to fight the sentence again. The argument had already formed—those bruises didn’t come from nowhere, and bodies didn’t just fucking do that—but Travis’s shoulders were still pulled up, waiting for the next explosion. Ezra shoved both hands beneath his thighs. “Okay,” he said, though nothing was okay. His right knee started hammering beneath his elbow. “Okay. I’m listening.” Travis drew a breath that shuddered at the end. “I bruise easily. I always have.” He wiped his face again, harder this time, which somehow made Ezra feel even worse. “My mom used to worry about it when I was little.” His mom used to worry. That was supposed to explain it. Instead, it opened a whole new fucking hole under Ezra’s feet. Travis had been bruising badly enough to scare his mother since he was a kid, and somehow that had become ordinary. Something he could hide under a hoodie. Something people were supposed to accept because it had happened before. “That’s not normal,” Ezra said. “I didn’t say it was.” “You said you bruise easily like that makes this fine.” “I said no one hurt me.” “And I heard you.” Ezra’s voice started climbing again. Travis’s fingers tightened around his glasses, and Ezra caught the volume by the throat before it could fill the room. He forced the next words out lower. “I heard you. I believe you.” The belief did not calm him. It only changed what he needed to fight. “Student health,” Ezra said. “We’re going.” “Not tonight.” “Tomorrow morning.” “My theory final is Thursday.” “I do not give a fuck about your theory final.” Travis’s face closed. “No—fuck.” Ezra dragged both hands from beneath his legs and immediately trapped them there again. “I do. Obviously, I do. I know you’ve been working on it. But you bled for thirteen fucking minutes, Travis. Your arms look like that, your leg looks like that, and you’re sitting here telling me it’s been happening since you were a kid. You can’t ask me to just leave it.” “I’m not asking you to leave it.” Travis put his glasses back on. His eyes were red behind them, and Ezra’s stomach turned over. “I’ll go after the final.” “The second it’s over.” “Yes.” “Not after lunch. Not after you fix one thing in your score. The second you’re done.” “Ezra.” “Say it.” Travis held his gaze. He was still crying a little, although he’d stopped wiping the tears away. “After theory, I’ll go to student health.” Ezra’s knee shook the mattress between them. Every part of him wanted Thursday to be now, wanted a doctor already in the room, wanted something he could do that wasn’t sitting on his own hands so Travis wouldn’t have to be afraid of them. “I’m walking you there,” he said. “Not negotiable.” “Okay.” Okay didn’t fix a goddamn thing. Ezra’s body remained wound tight enough to break something, and the question of what was happening beneath Travis’s skin kept tearing around inside him with no name and nowhere to land. But he stayed on his own bed. He kept his hands underneath him. He did not move closer.
Project compensation, content information, the hiring process, and my working style are explained in the Project Overview. Please read that before auditioning.
About the role:
Travis is one of the two equal co-protagonists of A Boy Called Trevor. His actor will narrate his half of the novel and perform the other characters who enter his chapters. The book belongs to him; he is not being cast as a supporting love interest, a symbol, or the person who exists to change Ezra.
Compensation is $200–$400 per finished hour, depending on experience. Casting Call Club may display the top of that range as an ordinary hourly figure, but this is PFH compensation based on the completed audiobook runtime.
Who Travis is:
Travis Min-jun Yoon is a Korean American violinist and composer from Evanston, Illinois, entering his second year at Juilliard.
He is a prodigy in his own right. Travis can hear all four independent voices of a string quartet at once. He catches the inner line another musician has treated as background, the point where two unfinished ideas belong together, and the articulation keeping a passage from saying what he wrote. His talent does not depend on somebody else recognizing or facilitating it. The music is his, and he knows exactly what he hears.
Travis notices, period. His attention extends beyond music and is much warmer than simple problem-solving. Difference catches his attention, and his first instinct is not to smooth it out; he looks closer. He also notices who is cold, who has not eaten, where somebody left their glasses, and when a person needs quiet.
Quiet is not a personality summary. Travis is dryly funny, musically exacting, stubborn, capable of pettiness, and very much a college student. He has a family who knows him and friends who have made room for him. He can still misread their welcome as politeness and make himself too easy to accommodate, but that fear is not the origin of his care, perception, or talent.
Voice and performance:
Travis should sound like an extraordinarily gifted young musician, not a formal professor or a fragile symbol. His voice should live naturally around college age without becoming artificially childlike or forcing an overly deep “serious man” register.
His baseline is contained, conversational, and economical, but contained does not mean whispered. Quiet does not mean slow. Restraint does not mean gentle.
Travis can cut through another musician’s playing, make a dry joke, laugh fully, swear, argue, flirt, cry, and say no without becoming a different person. When he discusses music, his thought has direction. He knows what he heard, where the problem occurred, and what needs to change. The performance should become more exact, not more academic.
His brief outward answers often sit on top of a much longer private calculation: what he wants, what it will cost, who might have to rearrange something, and whether asking is worth discovering that the answer could be no. A narrator cannot mistake the smaller outward claim for a smaller mind.
The performance needs active interior thought, dry humor, musical authority, contemporary college-student language, selective profanity, friendship, desire, stubbornness, and firm refusal. It must distinguish the recurring characters inside Travis’s chapters without turning them into impressions.
Keep ordinary scenes ordinary. A good meal is allowed to be a good meal, a joke can land cleanly, and a future plan is an actual expectation. Do not add fragility, dreaminess, or solemnity merely because Travis is quiet.
Casting and requirements:
This role is open only to Asian and Asian American actors. Korean and Korean American actors are strongly preferred.
Applicants must also bring at least one of the following:
• Korean-language knowledge;
• a demonstrated ability to learn and perform Korean pronunciation accurately; or
• substantial familiarity with Korean or Korean American cultural and family contexts.
Heritage speakers, receptive speakers, actors whose Korean is rusty, and actors who would want pronunciation support are welcome to describe that honestly. This role cannot be approached from zero cultural knowledge and imitation alone.
I do not speak Korean, so the production will use independent Korean-language and cultural review. Travis’s actor should be willing to flag material that does not sound right, but they will not be expected to serve as the production’s only cultural consultant.
LGBTQ+ actors are especially encouraged to audition. Private disclosure is never required.
Applicants must:
• be at least eighteen years old;
• sustain a believable college-age masculine voice without forcing youth or depth;
• narrate close-third literary fiction with substantial interiority;
• distinguish several recurring characters;
• be comfortable with romantic, physical, familial, medical, and emotionally intense material;
• handle musical vocabulary cleanly;
• provide clean, usable audio or work with an appropriate recording studio; and
• communicate reliably about deadlines, questions, pronunciations, and recording problems.
Musical training is useful but not required. Singing and humming are optional. The script and direction will provide context; curiosity, listening, and a willingness to ask technical questions matter more than arriving with a conservatory résumé.
Previous audiobook experience is preferred, but voice acting, theatre, music, bilingual performance, Korean-language performance, and other narrative work are also welcome.
The audition:
Please record the attached audition sample, “Low Tide.” It is a purpose-built, noncanon scene from Travis’s ordinary life, not manuscript text.
Set during a late-summer Cape Cod trip with his Juilliard friends, the scene tests active interior thought, ordinary friendship, dry humor, musical perception and authority, comfort with several ensemble voices, and the ability to keep Travis grounded and specific as the scene becomes musical.
You may hum or sing the recurring phrase if you want to, but the audition does not require it.
In your audition comment, include:
• your name and pronouns;
• your general location or time zone;
• a brief description of your Asian or Asian American background;
• the Korean-language, pronunciation, or cultural experience you would bring to Travis;
• relevant audiobook, acting, musical, bilingual, or Korean-language experience;
• a previous-work link, if available; and
• your preferred contact information.
Do not include private medical information or details about your sexuality.
I’m looking for the actor who can carry Travis’s precision, humor, desire, stubbornness, artistic authority, and active interior life without mistaking quietness for emptiness. He does not need to be made louder to become a protagonist. The performance needs to let us hear the person who is already there.
—Lily Walton
- english
- Soft
- tenor
- male young adult
- male teen
- korean
- midwest american
Travis Yoon Audition Sample Low Tide Casting-only note: This is a purpose-built, noncanon audition side set during the friend group’s Cape Cod trip in late summer 2024. It does not establish manuscript wording or staging. Performance note: Singing or humming is optional. You may simply narrate every reference to the four-note phrase. If you would like to perform it, use the same quiet contour each time you do: choose any comfortable starting pitch, move up a whole step, rise another whole step, then descend a minor third. Performing the phrase can add another dimension to Travis, but it is optional for both this audition and the finished audiobook. At low tide, Cape Cod Bay kept moving the water farther away every time Travis looked up. The towels and cooler had shrunk behind him. Dylan’s voice had not. “Trav! We brought you to the beach, not whatever this is.” Travis looked down at the wet sand stretching between them. “Still the beach.” “You know what I meant.” He did. He also had better reasons not to turn around yet.
A scallop fragment lay under a skin of water, worn almost smooth except for three ribs he could feel beneath his thumb. Two steps later, he found half of a quahog shell, chalky on the outside and purple along the inner hinge. The broken edge had exposed a second streak of color farther down, where an intact shell would have kept it hidden. He rinsed the grit from it and hummed the phrase again. Two whole steps up, then a minor third down. The first three notes made a claim. The fourth kept behaving like an apology. Holding the third note longer made it worse. Now the phrase sounded impressed with itself. A small spiral shell had lodged beside his bare foot. It looked empty until he picked it up, and something inside scratched faintly against his fingertip. Occupied. He lowered it into the same shallow runnel and waited until the next thread of water reached it. Aditi’s bracelets reached him before she did. “Is that one empty?” she asked. “This one is.” He held up the quahog half. “I meant the one you put back.” “Oh. No.” She stopped beside him with her sandals hooked over two fingers and her pants rolled unevenly above her ankles. “And the thing you’re humming?” “Also not empty.” “That wasn’t my question.” “It isn’t done.” “I didn’t ask whether it was done.” Of course she hadn’t. Aditi rarely wasted a question by asking the easier one beside it. Travis gave her the shell. She turned it in her hand, found the purple without his pointing it out, and hummed his four notes back to him. “You changed the ending,” he said. Aditi looked over. “I copied you.” He opened his mouth to show her and stopped. No. She had copied him exactly. That was the problem. In his head, the third note held while another line fell beneath it. His mouth had been forcing both jobs into one voice and blaming the last note for failing at them. “Do it again,” he said. “Which version?” “The one I gave you.”
Aditi sang the phrase more fully this time, her lower voice carrying easily over the open sand. When she reached the third note, Travis put his hand up. “Hold that.” She held it. Travis found the note underneath and let it drop away from hers instead of dragging her line down with it. Aditi’s eyebrows lifted. “Oh.” It still wasn’t right. Better, though. The two lines could now be wrong separately. “You started a rehearsal without us?” Sarah called. She and Brooke had followed Dylan out across the flats. Gavin remained on the dry sand with one forearm over his face, apparently committed to sleeping through the ocean’s eventual return. “It was an error demonstration,” Travis said. “Very exclusive,” Sarah said. Brooke held out her hand. Travis passed her the quahog shell, and she ran her thumb over the rough break before turning it inward to find the purple. Dylan slapped a rhythm against his thigh. It had too much in it. “Less,” Travis said. Dylan removed every other beat. That wasn’t what Travis meant, but it left enough room for him to hear what the rhythm might become. “Sarah, take the first line. Adi, hold the third note. Dylan, keep that, but softer.” Dylan looked down at his hands. “Do I get a shell?” “If you find one.” “You got two.” “I found two.” “That feels like a technicality.” “It’s a beach.” Behind them, Gavin lifted his arm just far enough to speak. “Y’all rehearsing?” “Apparently,” Brooke said. “Don’t ask me to move.” “Nobody did,” Aditi told him. “Good.” His arm dropped back over his face. Travis opened the voice recorder on his phone and turned his back to the wind. Aditi waited on his left, Sarah on his right, and Dylan rocked once onto his toes before stilling. Nobody asked whether the fragment was finished enough to hear. They had apparently made that decision without him. He pressed record. “From the top.” “Bossy,” Dylan said. “You’re free to go wake Gavin.” “He is not,” Gavin called without moving. Travis laughed, lost the first pitch, and found it again. Sarah took the phrase while Aditi held the third note. Travis let the lower line separate beneath it, and Dylan’s pared-down rhythm left a clean space instead of stepping on the change. For three seconds, every part kept its own shape. Travis stopped the recording. “One more,” Sarah said. He looked at the shell in Brooke’s hand, purple showing through the broken side, and opened a new recording. “Yeah,” he said. “One more.”