Starling (Love in Los Angeles, #1)

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The first time Paul sees Alex act he understands what it is about him that fascinates Victor. There’s something about Alex — and therefore Zach — that makes him seem like he’s never been owned, not by a job, a religion, or an ideology, and certainly not by a person or a relationship. That’s so unlike most people that it makes him irresistible as puzzle to solve or a toy to own. Paul’s not unaware of the irony, but he’s also not immune to Alex’s pull.

Now that everything is official, he aches to write for Alex, to solve with his words the mystery of who he will be as a performer. The work makes everything else in his life a little less awful, even when writer’s block keeps him up too late. Paul’s alone. His own projects outside of Fourth aren’t getting any traction. Craig still has his dog. But the ring of Alex’s voice when he speaks as Zach makes the words come a little easier.

While Zach isn’t his and Paul’s not the only one writing for him, he feels possessive of the character. He can’t write a scene for him without remembering the clever, fearless kid he once chased out of the writers’ room for making out with their intern.

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