One Small Thing(88)

“If you do this...” Jim pauses enticingly. “King will produce your album.”

My head swivels around so fast that Jim jumps back in surprise. “You serious?”

Donovan King is the best producer in the country. He’s worked on everything from rap to country to rock albums, turning artists into legends. I once read an interview where he said he’d never work with a pop star and their soulless commercial music, no matter how much anyone paid him. Working with King is a dream of mine, but he’s turned down every overture I’ve ever made.

If he wasn’t interested in producing Ford, then why this latest album? Why now?

Jim grins. Well, as much as his plastic face allows him to smile. “Yes. He said if you were serious, then he’d be interested, but he needs a show of faith.”

“And a girlfriend is that show of faith?” I ask incredulously.

“Not a girlfriend. It’s what dating a nonfamous, ordinary girl signifies. That you’re down-to-earth, making music for the sake of music, not for the sake of money and fame.”

“I am down-to-earth,” I protest.

Jim responds with a snort. He jerks his thumb at the French doors behind us. “Tell me something—what’s the name of that girl who’s passed out in there?”

I try not to cringe. “I...don’t know,” I mumble.

“That’s what I thought.” He frowns now. “Do you want to know what Nicky Novak was photographed doing last night?”

My head is starting to spin. “What the hell does Novak have to do with anything?” Nicky Novak is a sixteen-year-old pop star I’ve never even met. His boy band just released their debut album, and apparently it’s topping the charts. The group is giving 1D a run for their money.

“Ask me what Novak was doing,” Jim prompts.

“Fine. Whatever. What was Novak doing?”

“Bowling.” My manager crosses his arms over his chest. “He got papped on a bowling date with his girlfriend—some girl he’s been dating since middle school.”

“Well, good for him.” I give another eye roll. “You want me to go bowling, is that it? You think that will convince King to work with me? Seeing me roll some gutter balls?” It’s hard to keep the sarcasm out of my voice.

“I just told you what I want,” Jim grumbles. “If you want King to produce your album, you need to show him you’re serious, that you’re ready to stop partying with girls whose names you don’t know and settle down with someone who will ground you.”

“I can tell him that.”

“He needs proof.”

My gaze shifts back to the ocean, and I stand there for a moment, watching the surf crash against the beach. This album I’ve been working on these past two years—no, the one I’m trying to work on and failing—suddenly feels as if it’s actually within my reach. A producer like King could help me move past this creative block and make the kind of music I’ve always wanted.

And all I have to do in return is date a normal? I guess I can do that. I mean, every artist has to make sacrifices for his art at one point in his life.

Right?