One of the sad rules of television acting is that you can’t look attractive on the screen unless you look absolutely ridiculous in front of the camera. The spotlights wash you out, you get sweaty, you get pale, you’re underfed, you’re stressed. So before you go on, they make you up like you’re some kind of a baby doll. Rosy cheeks, painted lips. The effect is muted a little bit on-set, but when you’re in the trailer getting the stuff dabbed on you, you inevitably look perfectly ridiculous.

That’s why it’s somewhat easier to look at Ryan Markey today. We’re both getting our makeup done, and there is nothing quite like a tall, well-built man wearing what looks in this light to be cherry-red lipstick. Not that I look much better. But it eases the tension.

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So to make a long story short, the nut plot of “In Every Life” is this: Richard Hathaway was a cutthroat businessman all his life, until his beloved wife, Florence, died. In a fit of “you can’t take it with you,” Richard lost it and became what they call a Mad Philanthropist, which meant he started spreading his money around and funding whatever bizarre idea appealed to him. This made the town of Ferndale a magnet for gold diggers, entrepreneurs, and shady operations looking for a respectable cover. In the meantime, Richard Hathaway spread something else around– I think he’s now on Wife #7?– and has about a million kids.

That’s me. I’m one of the kids, Luke Hathaway. My character’s a thrillseeker. He likes wine, women, fast cars, and more women. I have at least two illegitimate children. One of ‘em moved away when his mom’s actress wanted to bump herself up to a movie career; the other one is on recurring status and occasionally appears like a fifteen-year-old set decoration to pout and scream at me.

Ryan Markey plays Andrew Starr, who I guess is unrelated to Brenda but is also a hotshot reporter. He’s out to uncover the dark side of my onscreen brother, Brian Hathaway, who is addicted to gambling and is apparently this season’s social-issue story. He found out through his former girlfriend, Ellen, who is now of course Brian Hathaway’s girlfriend. They had a sweet little love story, and once she had Brian in her clutches, Ellen immediately called her ex and said “Have I got a scoop for you!” Thus Andrew Starr’s entry into “In Every Life.” And I guess every life includes mine.

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“Are you gay?”

The question comes from a girl in an “I Heart Marriage Equality” T-shirt, such a bright neon shade of pink that I think my retinas are going to burn out just looking at her. And luckily her question is not directed toward me, but at Ryan Markey, who looks like he’s just been hit with an arrow. Poor schmuck. These fan Q&As can be brutal.
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adult content warning – as if the title wasn’t an indicator!

please note this IS fiction. Any resemblance to anyone the author knows (in Biblical or other senses) in real life is purely coincidental.

They say condoms aren’t sexy.
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So when I got an agent the first thing he said to me was Gordon, you look like a star, but your name has to go. So from Gordon Solomon I became Jordan Sullivan and now I’m a star. Kind of. To tell you the truth, being on a soap is the closest thing to a regular old day job you can get. It’s just like the temp gig I had over at the Accounting Capital of the World right out of college, only we get up earlier, work longer, and deal with less interesting material. I’m exaggerating, but ‘it really is a daily grind’ is my point.

So you know, we go home exhausted some nights, and some nights we go out for drinks as co-workers. This is one of those nights, when we just ignore the paparazzi and let down our hair.
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when I first notice, it’s a Monday. It’s six a.m., and we’re all bleary-eyed, trying to shake off whatever ruckus the weekend caused and get our heads back into the game. Me, I had an interview yesterday that felt a lot more like running an obstacle course. After that, all I wanted to do was hit the showers, but no, we had to go from that straight into a photoshoot. And the hairdresser’s DOG was there, no joke, right behind the camera, yipping and yapping and scaring the bejesus out of me right when the shutter clicked. Add that to someone’s perfume making me want to sneeze and I must have snapped some good pics, my ears perking up and my nose twitching.

But Monday’s a workday, so all of that goes by the wayside. We’re in makeup, trying to memorize our lines. I have a scene with Mark today. He and I are fighting over the girl. Look, I know the face I have to put on for the magazines. We love the storylines, we love our characters, we really care about the state of daytime drama. It’s bullshit. I’m sorry, I really do love my job, but let’s face it. Luke Hathaway is as far from a real person as you’re going to get. I mean, “I swear I’ll do everything in my power to stop you”? For real? People don’t say that these days even if they mean it.

But people do watch it, and that means I’m getting my face powdered up and mouthing “everything in my power” over and over with my caffeine-starved Monday morning brain. My kingdom for a cup of tea, swear to God.

So this is when I notice it, right? It’s when Ryan turns the page of his script and finds the paper isn’t really willing to comply. So he scrunches up his forehead– and I see this all out of the corner of my eye, since I have to look away to get the eye makeup (yes, they give us eye makeup, but I digress)– and he finally licks his forefinger and flips the page up.

And his face gets this very serene, pleased look on it. I think to myself, just an idle thought in the corner of my mind, if I were a photographer, I’d want to shoot him like this. Because with his eyes angled down like that and a bit of blush on his cheek like that he really looks almost like something out of another world. Just really fucking beautiful. And then I think about something else again.

It’s maybe a half-hour later when we’re well into shooting and I realize I’m still framing him in my head, getting good camera angles, appreciating the way he tilts his head and the heaviness in his stride. I’m filming a documentary on Ryan Markey in my head, and I’m the director and the cameraman. It’s bizarre.

I’ve worked with Ryan for what, about three months now? We don’t know each other that well, but mostly that’s because we haven’t shot together. He’s starting to get tangentially involved with the Hathaway clan– well, “Andrew Starr” is… and so now we’re shooting at the same time of day if not in the same scenes yet. This is the closest I’ve gotten to him.

I’m not quite sure I know what it means, if it means anything. But I come away from the day with the feeling that if nothing else, Ryan Markey’s a nice thing to look at. If only I didn’t have this feeling in the pit of my stomach that that’s not all there is to it.

Written from a song prompt and minor revisions made. Don’t really know what this is but the image tickles me.

The streets hop with agitated energy. There’s a traffic jam in the rotary. Was there a car crash? I figure someone’s overheated, because everyone’s overheated today. The jam goes right around the fountain, and the drivers all look at it kind of jealously, wishing they could abandon their cars and toss off their ties and jackets and go for a wild naked romp under the water’s frigid sprinkles.
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I hate this, it gets didactic at the end, but I wanted to put it up. maybe will revise it.

From Seventh Sanctum’s Quick Story Generator

The theme of this story: dark character study. The main character: stressed politician. The major event of the story: failure.

What happened in the movies didn’t happen here. That’s what Mac had learned long ago, in his first year in the legislature. (more…)

Carla was the vindictive bitch of the three. She even called herself that, usually with a huge grin on her face, and the men still came. Most of them were right out of college, still in the fraternity in their heads, but that was  all right, because Carla was smart. She wanted men for pleasure and for fun and for status, and when they failed to give her any of those three, she did something so vindictively bitchy that it was easy to break it off words-unsaid.
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Miranda Baker was a bundle of heaven sent down to a dreary house in the rain. Her mother, Cassandra, thought she was the most perfect thing ever to grace a cradle. As she grew from baby to toddler, her eyes and hair turned dark, and her skin mottled with the olive tone of her Mediterranean ancestors. Miranda looked like something made of glass, but her family was soon to discover she had a core of steel.

Because Miranda was smart. Not only smart, but she was almost eccentric in the extent to which she collected information. She soaked up trivia, read through books of facts, absorbed vocabulary in a way that only computers could really replicate. “Isn’t it funny,” she said to her mother at age 6, “that a banana is a fruit, and it’s something yellow, and it has the same shape as the moon? Which part is most important?” When her teachers gave her puzzles in which she had to determine which in a list of items was the odd man out, she could make a case for every single possibility.

To Miranda, the world of information was like a twisting jungle gym on which she could happily play for hours. She made lists, cross-referencing things she’d known a long time with things she’d just learned, and delighted in each connection. She always noticed when a phrase in one cheesy love song on the radio echoed a similar phrase in another ballad that had played a month ago. She got a delicious little tingle at each instance of deja vu. There was nothing she loved more than sorting, ordering, and then reshuffling things. It thrilled her to find a third and fourth way to get to an answer from a question. She baffled her teachers with her rambling logic sometimes.

So to Miranda, it was almost entirely natural what happened. She thought the connection between physical objects and the categories of thought we put them in, entirely intangibly, was a fascinating thing. She loved computers for that reason. At last, the physical object was draggable through fields of operations. She could seek out all images, all files that were bigger than a certain size, everything that began with the letter “A”… and then actually get her virtual hands on that object. It made no sense that she couldn’t do the same in real life.

In fact, it was almost a relief when she discovered she could.

That was an utter accident. She hadn’t even intended to call it. But she never called attention to what she’d achieved, and never really experimented with it. It was too natural a thing. Of course, if you had enough information about a thing, you should be able to grab on to that information with both hands and pull. After all, it worked in reverse. If you had a physical object in your hands and could look at it and study it, you could get lots of information about it. So why not the other way around?

This was in fifth grade, in math class. Of all the different kinds of information out there, Miranda had the most contempt for numbers. Numbers were one-dimensional creatures to her. Aside from the shape of the letters that represented them and the various Christmas presents they were assigned to in songs, numbers contained no distinguishing features but their magnitude. A banana was yellow and a fruit and crescent-shaped, but 3 was just… 3. It bored her, and so did math.

So she had taken out a set of colored pencils, each jagged and splintery and coated with bite marks. She chewed on pencils because otherwise she chewed on her lower lip, which had resulted in some painful chapping last winter. She liked to imagine that the pencils had different flavors, and she’d try to inhale a cherry scent with red, willing the pencil to become fragrant in her imagination. When she chewed on the blue pencil, she could always taste blueberry muffins in her mouth.

First she’d arranged them in the usual order, then switched over as the math teacher droned on and arranged them by length. Then by alphabetical order of the names that sank in bronze letters into the flesh of each stem. She pondered for a moment, trying to decide how to sort them next. The length of the word, she decided, which meant that the red pencil, currently sitting on the right side of her array, would have to be far to the left. She looked down, readying her hand to take it, to discover the pencil was already wedged between her fingers.

To Miranda it felt a little bit like finally solving a riddle she’s been turning over in her mind. She hurried to get the remaining colors in order. One by one, she watched with a tickle of amusement as each popped into her hand. She just grabbed them by the information and watched them disappear and reappear on her palm, like a switch flipping. She grinned and jumped a little bit in her seat, full of glee.

But Miranda was old enough by then to know that there were some things people did by themselves that they never showed other people. Like peeing in the shower, or picking your nose, or leaving the bathroom without washing your hands. This seemed to be the same thing. She’d never seen anyone do it. So she never showed it to anyone.

Miranda’s mother encouraged her unusual thinking process by reading to her tales of the wild and surreal, stories in which the usual order of things was turned upside down in clever wordplay and philosophical tangents. Alice in Wonderland. The Phantom Tollbooth. Miranda learned to never take a word at face value, to delight in homonyms and puns and unexpected reversals of meaning. She would sit on her mother’s bed, holding her baby brother in her arms, and giggle as Cassandra told her how Tock the Watchdog was named and how Humpty Dumpty felt about the meaning of words. It was there that her love of books was born, under a tiny skylight and beneath gray-green blankets. Listening to her mother’s wheezing get steadily worse.

Giving birth to Todd had taken the last bit of strength from Cassandra’s immune system. She was ever more frail now, having had a weak heart since childhood but stubbornly insisting that she live long enough to pass on her love of Shakespeare and rainstorms to children of her own. Miranda had even been named with the same care Cassandra gave her literary pursuits– the Iliad giving birth to the Tempest– but by the time Todd came along, she had run out of energy and acquiesced to her husband’s request to give him a “plain name, something he can use. He’s a boy, after all, Cassie.”

Jack Baker was like that. Rugged, impatient and unfailingly normal, he nevertheless was the epitome of manhood to the literarily inclined Cassandra. He called her Cassie and Miranda Randy, and he was like a splash of water to the dry refinement of mother and daughter. Cassandra adored him, and Miranda liked him well enough. Her mother was always Mother, never Mom, but Jack was Dad, and it gave her an awkward balance between elegance and practicality that manifested in her surprisingly adroit sense of humor. As junior high school approached, Miranda began to let fly some one-liners that stopped classmates and even her parents in their tracks. “Why do you call me Randy?” she challenged him during one impromptu summer barbeque. “Why not Randa? There’s no Dee in my name, Dad. And you don’t call Mother Sandry. Why aren’t I Mary? It doesn’t make sense, Dad. Explain!”

“The explanation,” Dad had said, “is that I’m Dad and you’re not.”

“Fine,” Miranda said. “But I’m right and you’re not.” And that was the end of that conversation.

As time went on, those jocular exchanges faded into the din of despair surrounding her mother’s worsening illness. There were nurses and hospitals and anxious, wakeful nights, and when Miranda was about to turn sixteen, her mother passed. She died as she had lived, in a quietly romantic summer evening. Her spirit passed on a breeze, touching Miranda’s hair and Todd’s bare toes, and flew up into the glittering constellations above.

Miranda didn’t cry during the funeral. Her mind had fixated around her mother’s wedding ring, and she spent the entirety of the ceremony and burial remembering everything she’d ever known about it. Where it came from, what the stones looked like dull and translucent and heavy on her mother’s long finger, what her mother had told her about the day she’d slipped it on and fallen in love. The ring wasn’t jewelry, it was a story, and it was one Miranda refused to give up. As the dirt started piling on the coffin with those sickening, sad thuds, Miranda reached out her hand. She left the cemetery with the ring clutched in her fist.

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