"I just don't see Clayton actually going along with Clarissa's side of the story," Jason, my editor, said. He was thirty-one years old with short brown hair and thick black-rimmed glasses like the kind that Drew Carey used to have back in the 90's. I guess that dates me. I thought about that while Jason continued trashing the character motive of my story the night after he sped through it without a second glance. "He has a history of seriously questioning the stories of victims who are claiming alleged sexual accusations, and yet he's surprisingly cool about helping Clarissa and Lindsey. It throws the whole thing off, Cindy."
"Okay, so you didn't like it?" I asked, crossing my arms. My black hair was done up in a knot and I wore a white blouse with the sleeves rolled up to my elbows. While I always love going into the city, Manhattan was colder than I wanted at the moment. I'd have preferred to just stay home in my apartment in Queens.
"No, I just couldn't get over the character motive. The whole story can't survive if that crucial part doesn't make sense."
"Clayton has been accused of being unfair to victims of sexual assault, overly questioning them, denying their claims, and providing counter evidence to their statements. That's what he's been accused of, but he's trying to prove that stuff isn't entirely true by going along with Clarissa. That leads to them finding the bodies of the twin girls."
"Yeah, yeah, yeah." His eyes flared. "I don't buy it."
"What's to buy?" I was getting frustrated. "You wrote a science fiction story about a sloth leading a man to paradise, and you can't bite this story because I'm a woman and you don't like female writers."
"What?" Jason yelled, outraged. "That's the stupidest thing I've ever heard! My book was science fiction, yours is crime fiction. That's a huge difference."
"Last female writer you read: go." I said, ignoring his statement.
"You." He said, adjusting his glasses.
I snorted through my nose. "Female writer you read for pleasure."
"'The Historian' by Elizabeth Kostova." He said matter-of-factly.
"That was thirteen years ago and you said you hated that book."
"It was slow, dry, and for a Dracula novel, not very exciting." He stated.
"It wasn't about that." I sneered. "If you couldn't find the beauty and romance in her writing about slipping for hours and hours into research over a subject through the libraries of Europe, you're just not going to get it."
"What does this have to do with anything?" Jason asked.
"What do you propose I do about Clayton?" I took a deep breath.
"Make him outwardly question Clarissa and her statement. Shake things up, get him in her parents' faces, asking them why they let their daughter out all night without keeping tabs on her. The whole rundown is just too... contrived, you know?"
"Because there aren't incompetent parents in low-income parts of town?" I asked. "I'm not being stereotypical, but you can't say these things don't happen. The book is already 140,000 words."
"I'm not saying it doesn't happen, I'm saying that if you want to sell this thing you should make that motive stronger and you should want to for Christ's sake. Forget the fucking word count." Jason said. If it all wasn't so damn... sexist. He didn't question Thomas McBain's crime fiction novel last week and that shit was filled with plot-holes. This small-town police department releases a guy from prison and they just give him a gun and start taking orders from him. Okay?
I didn't like Jason Chapman because it's like he was getting back at women in the publishing industry for the uprising of female writers. We were taking over and the traditionalists were getting snotty about it. Even if I did what he asked me to do-and I eventually would, of course-he'd find some other hang-up to put it on his back-burner while more interesting stories took priority.
I work for Endless Nights Publications in New York. I actually helped my friend, Stacey Willard, start the company in 2004 by publishing eight different novels under a variety of styles and names to bring a kind of synergy to the start-up of the company. We'd had a great editor named James Matthison, and he died of pancreatic cancer eight months ago. Pretty sad because James and I were really great friends.
Two months after the funeral, Stacey tells me to try my best to work with the new editor who wants me to rewrite all eight of those novels and questions my every idea. We took a two-person publication out of Stacey's apartment to a suite in an office building that could support enough work for thirty authors and growing, then this guy shows up thinking he's got a handle on everything that has been and should be. It bothered me. Stacey didn't have time to think about it, just heard me complaining every time we met. I'd thought about going to a different company, but didn't feel like the time was right.
Jason glanced at his watch. "I have a 9:30 meeting here in a few minutes, but if you want to meet me at the pub say 10:30, we can finish talking about it. Maybe a few drinks will get us some progress and you'll stop thinking I'm out to get you. You're a great writer, Cindy. I just think you should be better."
It took everything in my body not to say 'Fuck off'. I nodded, biting my lip to keep my own insane level of crazy from rearranging Jason's face and desk, and grabbed my coat before leaving the office. A mixture of depression and frustration swirled in my chest as I rode the elevator back down to the bottom floor of the building.
Not only did the guy toss the whole premise of my book, but now I was going to have to wait around for an hour at the bar because I didn't have anywhere else to go. I had a novel in my purse, but guess whose novel that was? Jason Chapman's second science fiction book that I'd been sipping through because it wasn't all that engaging. Maybe a female science fiction writer would know a little something about 'pace'.
I thought about how I was going to have to rewrite my book and how I was already done with the second in the series and had started the third. It sucks when that happens because they change the first book and then your notes, your characters, your settings: all of it is subject to change. What a tedious circle jerk writing can be at times. I shook my head and withdrew my phone from my purse. I hit Stacey's number from the recent calls list and waited for it to ring as I descended the sixty floors.
"Hey Cindy," she answered. "What's up?"
"Can we get a second editor, please?" I asked.
I heard Stacey sigh on the other end. "What happened this time?"