secret. Youâre writing, you donât keep that a secret, everybody you meet in the building will know the guy on the fifth floor is writing a book, but nobody knows what itâs about. That way you never get your stories mixed up.â
As if I would, Billy thinks. âHow did David Lockridge get from Portsmouth to here? And how did he wind up in the Gerard Tower?â
âThis is my favorite part,â Nick says. He sounds like a kid listening to a well-loved story at bedtime, and Billy doesnât think heâs faking or exaggerating. Nick is totally on board with this.
âYou looked for agents online,â Giorgio says, but then hesitates. âYou go online, donât you?â
âSure,â Billy says. Heâs pretty sure he knows more about computers than either of these two fat men, but that is also information he doesnât share. âI do email. Sometimes play games on my phone. Also, thereâs ComiXology. Thatâs an app. You download stuff. I use my laptop for that.â
âOkay, good. You look for agents. You send out letters saying youâre working on this book. Most of the agents say no, because they stick with the proven earners like James Patterson and the Harry Potter babe. I read a blog that said itâs a catch-22: you need an agent to get published, but until youâre published you canât get an agent.â
âItâs the same in the movies,â Nick puts in. âYou got your famous stars, but itâs really all about the agents. They have the real power. They tell the stars what to do, and boy, they do it.â
Giorgio waits patiently for him to finish, then goes on. âFinally one agent says yeah, okay, what the fuck, Iâll take a look, send me the first couple of chapters.â
âYou,â Billy says.
âMe. George Russo. I read the pages. I flip for them. I show them to a few publishers I knowââ
The fuck you do, Billy thinks, you show them to a few editors you know. But that part can be fixed if it ever needs to be.
ââand they also flip, but they wonât pay big money, maybe even seven-figure money, until the book is finished. Because youâre an unknown commodity. Do you know what that means?â
Billy comes perilously close to saying of course he does, because heâs getting jazzed by the possibilities here. It could actually be an excellent cover, especially the part about being sworn to secrecy concerning his project. And it could be fun pretending to be what heâs always sort of wished he could be.
âIt means a flash in the pan.â
Nick flashes the money grin. Giorgio nods.
âClose enough. Some time passes. I wait for more pages, but Dave doesnât come through. I wait some more. Still no pages. I go to see him up there in lobsterland, and what do I find? The guy is partying his ass off like heâs Ernest fuckin Hemingway. When heâs not working, heâs either out with his homeboys or hungover. Substance abuse goes with talent, you know.â
âReally?â
âProven fact. But George Russo is determined to save this guy, at least long enough to finish his book. He talks a publisher into contracting for it and paying an advance of letâs say thirty or maybe fifty thou. Not big money, but not small money either, plus the publisher can demand it back if the book doesnât show up by a certain deadline, which they call a delivery date. But see, hereâs the thing, Billy: the check is made out to me instead of to you .â
Now itâs all clear in Billyâs mind, but heâll let Giorgio spin it out.
âI have certain conditions. For your own good. You have to leave lobsterland and all your hard-drinking, coke-snorting friends. You have to go somewhere far away from them, to some little shitpot ofa town or city where thereâs nothing to do and no one to do it with even if there was. I tell you Iâm gonna