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Although his intensity on the topic intrigued her, there was a dangerous glint in his eyes that warned her against probing any further.
“I wanted to work with you on Envy. If one meaningless kiss bought me that opportunity, it was a small enough price to pay. Can’t we put that childish episode behind us and concentrate on what brought me here in the first place? Your book and my desire to buy it.”
“For how much?”
The subject of money had never been broached, and she was caught off guard by the introduction of it now. “I haven’t thought about it.”
“Well, do.”
“It’s premature.”
“Maybe for you, not for me.”
“I haven’t seen a complete manuscript, Parker. I won’t go to contract until I have.”
“And I won’t bust my balls finishing a book that you might ultimately reject.”
“I’m sorry, that’s the way the system works.”
“Not my system.”
The recently printed sheets were neatly stacked in his lap. She was itching to read them. But his jaw was squared, and he was just ornery enough to stick to his guns. “We could compromise.”
“I’m listening,” he said.
“I would be willing to offer you a moderate advance once I see a detailed outline.”
“No sale. I don’t want to do an outline.”
“Why?”
“Because I enjoy the spontaneity of writing without one.”
“You wouldn’t have to adhere to it. If along the way a better idea occurs to you, I won’t hold you to the outline. All I require is a general idea of where you’re taking the story, a synopsis of the plot.”
“That would spoil the surprises.”
“I’m your editor. I don’t need to be surprised.”
“Of course you do. You’re a reader first, an editor second. You’re the first barometer of whether the book is good or it’s crap. Plot twists are essential to its being good. Besides, I’d rather channel my energy into the story than to writing a stupid outline.”
“I urge you to take the time, Parker. For your benefit as well as mine.”
“I ain’t doing it.”
“You sound like Todd.”
“Todd?”
She moved to the table where she had left her copy of the Envy manuscript. “Let’s see… I think it’s in chapter six. No, seven. It’s a scene between him and Roark. He’s telling Roark that Professor Hadley had suggested changes in his character’s attitude toward his father, and Roark thinks the suggestion is a valid one.”
She scanned the pages of text. “Here. Page ninety-two. Todd says, ‘When our esteemed professor writes a book, he can do with his characters whatever he likes. You can do with yours what you want. But these are my characters. I created them. I know what makes them tick. I won’t change them to suit Hadley. No. No, sir. I ain’t doing it.’ ”
She looked over at him. He shrugged. “Okay. So I’ll let Todd speak for me.”
“God, you’re stubborn.”
They stared at one another until he finally asked, “Do you want to hear what I wrote today while you were busy avoiding me?”
