+TYPED OUT-

+ALONE-

Kenneth watched Monday leave once more. Though he spoke, his thoughts ran the lapse as he tried to find an explanation to her departure. Again, the sentiment of failure draped on his shoulders.

On the terrace, Monday took a deep breath, lit her cigarette pulled as much as she could in one go, and let out the vipers.

Men like Kenneth were dangerous not because they were terrible. Still, most usually kept the lid of their actual intentions and made their partner believe they wanted more from the relationship.

Again who could blame them for hiding it?

Who would accept to be with someone who dedicated more time to people outside than to their partner?

At the same time, Monday found herself slowly tilting into the other side with her writing she couldn't commit. How many times did she find herself drafting chapters in her mind during a date or sitting up during the night to write? She wanted a man who understood writing was her life and would support her like a Noah Letterman, Estéban Miguel. Her fictional men had all the qualities while real men fed speeches like the one held by Kenneth.

When one dug deep, most men wanted a replica of their mother. Monday had no time to nurture boys with an Oedipus complex, or did she wish to be a servant to anyone's affection. If her younger self wished for a kangaroo-pouch-koala-carrier man, her older self desired to be in a significant relationship where each could exist without jeopardizing themselves as individuals.

Luce thought it was impossible, "listen to yourself, Monday, it's as though you're saying I want to be single within a couple."

Mondays' version of love was far from the classic, but she believed the divine made people in pairs, and there was someone exactly like her looking for a woman like her.

The woman finished the last cigarette and hoped she wouldn't have another trip down anxiety lane. She went to the toilette; the day's lipstick tint was flashier than the previous day. One only saw its murderous red.

She went back down. Instead of returning to her booth, she strolled in the aisles, chatted with other authors, and discovered new titles. She felt the anxiety well as she crossed read a few chapters her, which had her doubting her craft.

"Hey, Daye."

"Lennon, hi," the man arrived just in time to make the woman forget her angst.

"Daye, meet Katelyn Rodes. She works on the content acquisition team for Nets here in London."

"Oh, eh, nice to meet you," Monday didn't know how to react.

"Nice to meet you, too, Ms. Yeni. Lennon here told me a lot about your books and explained you could be interested in an adaptation. I have some time now. I can answer a few questions if you want. Mondays' encounter with Lennon was brief; she guessed Ben filled him in on her ambitions, though her publisher did the negotiations, Monday did wish to know more about how everything worked.

"Yes, please, I'd be happy to learn more."

"Great, we can sit in our booth."

"See later; I've got to meet someone," Lennon said before eclipsing himself and leaving the women alone.

"I don't usually do this, but Lennon is a friend with a great flare. Here have a seat."

Katelyn set the tone, and Monday understood it was a unique opportunity.

"As you know, you need an agent; your publisher probably has book-to-film contacts. What writers sometimes have a hard time understanding is that they are at the beginning of the process, but once they give the baby over, they are no longer in the picture."

"So we have zero say?"

Katelyn smiled, "please don't make me say what I didn't. First, you have to understand the difference between exploitation and adaptation. If production is exploiting, they'll take bits and bobs of your story. It's low-key B series movies. If they're is adapting, they will keep the core and do; how can I say some customization. For example, if you describe Lauren as a red-haired woman, the screenwriter might debate whether it's essential for the actress we cast to be a redhead. What does the detail do for the story or visual?

"If it's unnecessary, Lauren might be blonde in the adaptation. Also, you insert dialogues; the ones in the book can serve as indications. They can't fill a ninety-minute movie or a forty-five see fifty minutes episode. ㅡThe screenwriter as to write up the script; see screenplay. There's a team for every production phase, and you can't do their job. I say this because many writers miss the opportunity because they don't want to let go of their baby. We recognize the authors' story value. That's why we seek to harness such projects for a broader audience, but you have to trust us."

"Can't I be part of the process somehow?" Monday asked.

"Can I ask you what apprehension you have? It's an open discussion. We don't have a submission, so speak your mind."

"I would want the characters to resemble how they're in the book."

"Do you mean psychically?"

"Yes, if the character is Asian, I want the person portraying them to beㅡ."

"Oh, don't worry, we're more inclined to do so. There are many adaptations where characters aren't specified, and we opt for an inclusive cast. Remember, this choice also depends on casting directors and the directors' vision. Your agent can discuss this. You don't seem convinced," Katelyn said, seeing Mondays' frown.

"I just don't want to have a lame movie or series if ever it happened."

For Katelyn, the conversation was routine, but she found Monday sympathetic, and she gave an extra tip.

"Keep in mind an invisible yet present power balance conditions everything. You're not a producer handing a final cut that needs distribution. Who are you? And who is representing your interest?

"A book is like a draft or a guideline for us. You have teams like mine who scout. You find as at fairs and festivals. When we come for you, were more inclined to make concessions. I'll recuperate on what Kenneth said earlier; we want your sandwich because we know you're trending. The book has gone viral; there's a fan demand. In those cases, we're willing to bend because we don't want an HBO or a Prime to have it.

"When it's you that comes to us, you have to persuade us how tasty your sandwich is. And when we don't know you, we might go well okay, but we'll take out the pickles. The stuff we find unnecessary."

Lennon's initiative helped. Katelyn took her time to explain, and Monday went away with the bigger picture of the process. She returned to her booth to find Ben ready and waiting to debrief on the tuna.

Monday listened; she recognized Kenneth nailed the subject with his definition. Still, the man could have found more appealing terms like a Nike Air Force all wore or a Starbucks mocha.

Kenneth was also accurate when he stated people despised the clichés and redundancy in specific plots but always checked up on the viral sandwich to have something to criticize. Even something done with spiteful attention contributed to the storys' success.

Monday tested the theory regularly when she was a budding writer. She would post the tuna and another story she found more impactful chapters on the same day. The following day, the tuna would have the views and stars while the other would have the reads but no sign of appreciation.

The demographic was always the same. Monday understood that most readers sought something allowing them to escape to a better and brighter world. Not all wished to read a catharsis involving people struggling like them daily.

Monday loved what she achieved, but she felt somewhat uneasy to major in the conception of sandwiches.