I don’t even have the thought I shouldn’t send this until I already have.
On yours, he replies, they’ll put “Here lies Nora Stephens, whose taste was often exceptional and occasionally disturbing.”
Don’t judge me based on the Christmas novella, I reply. I haven’t read it.
Would never judge you on Bigfoot porn, Charlie says. Would entirely judge you for preferring Once in a Lifetime to The Glory of Small Things.
The wine has slipped one Jenga piece too many loose from my brain: I write, IT’S NOT A BAD BOOK!
“IT’S NOT A BAD BOOK.” —Nora Stephens, Charlie replies. I think I remember seeing that endorsement on the cover.
Admit you don’t think it’s bad, I demand.
Only if you admit you don’t think it’s her best either, he says.
I stare at the screen’s harsh glow. Moths keep darting in front of it, and in the woods, I can hear cicadas humming, an owl hooting. The air is sticky and hot, even this long after the sun has sunk behind the trees.
Dusty is so ridiculously talented, I type. She’s incapable of writing a bad book. I think for a moment before continuing: I’ve worked with her for years, and she does best with positive reinforcement. I don’t concern myself with what’s not working in her books. I focus on what she’s great at. Which is how Dusty’s editor was able to take Once from good to outrageously unputdownable. That’s the thing that makes working on a book exciting: seeing its raw potential, knowing what it’s trying to become.
Charlie replies, Says the woman they call the Shark.
I scoff. No one calls me that. I don’t think.
Says the man they call the Storm Cloud.
Do they? he asks.
Sometimes, I write. Of course, I would never. I’m far too polite.
Of course, he says. That’s what sharks are known for: manners.
I’m too curious to let it go. Do they really call me that?
Editors, he writes back, are terrified of you.
Not so scared they won’t buy my authors’ books, I counter.
So scared they wouldn’t if the books were any less fucking fantastic.
My cheeks warm with pride. It’s not like I wrote the books he’s talking about—all I do is recognize them. And make editorial suggestions. And figure out which editors to send them to. And negotiate the contract so the author gets the best deal possible. And hold the author’s hand when they get edit letters the size of Tolstoy novels, and talk them down when they call me crying. Et cetera.
Do you think, I type back, it has anything to do with my tiny eyes and gigantic gray head? Then I shoot off another email clarifying, The nickname, I mean.
Pretty sure it’s your bloodlust, he says.
I huff. I wouldn’t call it bloodlust. I don’t revel in exsanguination. I do it for my clients.
Sure, I have some clients who are sharks themselves—eager to fire off accusatory emails when they feel neglected by their publishers— but most of them are more likely to get steamrolled, or to keep their complaints to themselves until their resentment boils over and they self-destruct in spectacular fashion.
This might be the first I’m hearing of my nickname, but Amy, my boss, calls my agenting approach smiling with knives, so it’s not a total shock.
They’re lucky to have you, Charlie writes. Dusty especially. Anyone who’d go to bat for a “not bad” book is a saint.
Indignation flames through me. And anyone who’d miss that book’s obvious potential is arguably incompetent.
For the first time, he doesn’t respond right away. I tip my head back, groaning at the (alarmingly starry; is this the first time I’ve looked up?) sky as I try to figure out how—or whether—to backtrack.
A prick draws my gaze to my thigh, and I slap away a mosquito, only to catch two more landing on my arm. Gross. I fold up my laptop and carry it inside, along with my books, phone, and mostly empty wineglass.
As I’m tidying up, my phone pings with Charlie’s reply.
It wasn’t personal, he says, then another message comes in. I’ve been known to be too blunt. Apparently I don’t make the best first impression.
And I, I reply, am actually known to be very punctual. You caught me on a bad day.
What do you mean? he asks.
That lunch, I say. That was how it all started, wasn’t it? I was late, so he was rude, so I was rude back, so he hated me, so I hated him, and so on and so forth.
He doesn’t need to know I’d just gotten dumped in a four-minute phone call, but it seems worth mentioning those were extenuating circumstances. I’d just gotten some bad news. That’s why I was late.
He doesn’t reply for a full five minutes. Which is annoying, because I’m not in the habit of having real-time conversations over email, and of course he could just stop replying at any moment and go to bed, while I’ll still be here, staring at a wall, wide awake.
If I had my Peloton, I could burn off some of this energy.
I didn’t care that you were late, he says finally.
You looked at your watch. Pointedly, I write back. And said, if I recall, “You’re late.”
I was trying to figure out if I could catch a flight, Charlie replies.
Did you make it? I ask.
No, he says. Got distracted by two gin martinis and a platinum blond shark who wanted me dead.
Not dead, I say. Lightly mauled, maybe, but I would’ve stayed away from your face.
Didn’t realize you were a fan, he writes.
A zing goes down my spine and right back up it, like my top vertebrae just touched a live wire. Is he flirting? Am I? I’m bored, yes, but not that bored. Never that bored.
I deflect with, Just trying to watch out for your eyebrows. If anything happened to those things, it would change your entire stormy scowl, and you’d need a new nickname.
If I lost my eyebrows, he says, somehow I think there would be no shortage of new nicknames available to me. I’m guessing you’d have some suggestions.
I’d need time to think, I say. Wouldn’t want to make any rash decisions.
No, of course not, he replies. Seconds later, another line follows. I’ll let you get back to your night.
And you to your Bigfoot novella, I type, then backspace and force myself to leave the message unanswered.
I shake my head, trying to clear the image of growly Charlie Lastra scowling at his e-reader in a hotel somewhere nearby, his frown deepening whenever he reaches something salacious.
But that image, it seems, is all my brain wants to dwell on. Tonight when I’m lying in bed, wide awake and trying to convince myself the world won’t end if I drift off, this is what I’ll come back to, my own mental happy place.
4
I WAKE, HEART RACING, skin cold and damp. My eyes snap open on a dark room, jumping from an unfamiliar door to the outline of a window to the snoring lump beside me.
Libby. The relief is intense and immediate, an ice bucket dumped over me all at once. The whirring of my heart starts its signature post-nightmare cooldown.
Libby is here. Everything must be okay.
I piece together my surroundings.
Goode’s Lily Cottage, Sunshine Falls, North Carolina.
It was only the nightmare.
Maybe nightmare isn’t the right word. The dream itself is nice, until the end.
It starts with me and Libby coming into the old apartment, setting down keys and bags. Sometimes Bea and Tala are with us, or Brendan, smiling good-naturedly while we fill up every gap with frantic chatter.
This time, it’s just the two of us.
We’re laughing about something—a play we just saw. Newsies, maybe. From dream to dream, those details change, and as soon as I sit up, breathing hard in the dark of this unfamiliar room, they fritter off like petals on a breeze.
What remains is the deep ache, the yawning canyon.
The dream goes like this:
Libby tosses her keys into the bowl by the door. Mom looks up from the table in the kitchenette, legs curled under her, nightgown pulled over them.
“Hey, Mama,” Libby says, walking right past her toward our room, the one we shared when we were kids.