about now. A phone call, package delivery, or a little rocket attack. âThe thing is, I donât have all the characters set in stone yet. Still trying to flesh them out.â
âYou have Mac,â she pointed out.
Good old Mac. âI do have him.â
âWhatâs happened to him in the time since we left him at the end of book one?â
âThatâs a good question. Iâm glad you asked.â Not.
She waited for him to elaborate. So it was safe to say she wasnât an interrupter. Boy, did he wish she was.
âSo,â Jack said. âHeâs been kicking around.â
âIn Los Angeles? Or has he gone to Dallas, Topeka, or Micronesia?â The perky, trying-to-be-helpful tone was missing in action from her voice.
âHe hasnât moved.â And that was Jackâs fault because he hadnât moved his main character.
âIn the last book he had just left the army and had no plan for his life before being pulled into that case involving his dead buddyâs younger brother, who was married to his ex-girlfriend.â
âYeah.â Funny how the no-plan-for-his-life part sounded a lot like Jack.
âHow is he supporting himself?â
âOdd jobs. This and that.â And in a military operation when you wanted to avoid direct confrontation with an enemy that had superior firepower, a good soldier created a diversion. He took a piece of paper from the printer tray beside him. âI put together some things for you to research.â
Erinâs eyes narrowed as she took it from him, then scanned the list. âMeteors? Dinosaurs?â She met his gaze. âYou probably already know that Jurassic Park has been done.â She looked down again. âJet Skis?â
âAll things Iâm considering incorporating into the story.â
With careful, precise movements she folded the single sheet several times before slicing him with a look. âWhatâs going on, Jack?â
âI need you to look stuff up.â
âNo, you donât. Youâre trying to distract me and itâs time for you to cut the crap.â
âIs that any way to talk to your employer?â
âTechnically I work for the publishing house, specifically your editor. So, yeah, itâs a very good way to address a man who is not forthcoming.â
âWhat makes you think somethingâs going on?â Besides the fact that he kept dodging her direct questions?
âClassic avoidance. And to quote Shakespeareââlet me count the ways.ââ She held up her fingers. âYou wonât talk about the story, characters or what your hero has been doing. Iâm pretty sure that means you have no idea. And every time I push for information, you come up with a distraction. Some ridiculous research stuff that has nothing to do with your genre. One hundred and one ways to be romanticâreally, Jack? You even threw me out of my room and kicked me downstairs.â She took a breath. âSo call me paranoid and neuroticââ
âDonât forget punctual,â he added helpfully.
ââbut Iâm suspicious,â she continued without missing a beat after his interjection. âYour editor would welcome an outline of the project. Not details, necessarily, just the beginning, middle and end of the story. Possibly a one-line characterization of the hero.â
Jack met her gaze, stare for stare. Her perky, cheerful interrogation might have given him a sense of her being a pushover. Now he saw the error of that assumption. She was sunshine and steel.
Still, he couldnât resist trying one more time. âThereâs nothing to be suspicious about. Iâm in the process of pulling all the threads together.â
âThen let me see your pages.â She suddenly stood and moved around the desk to look at his computer monitor. âItâs not even turned on.â
âThatâs easy to
Dorothy Calimeris, Sondi Bruner