Page 69 of What I Like About You

“Autumn said they’re for talent. As Hetero Boy Number Six, I’d argue I qualify astalent.”

I turn the camera off and pop the cover on the lens. “Nash is also a diva. Noted.”

This is what we’re like now. Behind a screen, we actively stress about NYU and gossip about the latest publishing drama. In real life, I’m still anxious and awkward, but also surprisingly good at bantering with Nash.

In both worlds, Nash is my friend.

It’s kind of a perfect situation as long as I don’t think about it too hard.

Nash looks like he’s about to retort, but he’s cut off by thesharp pitch of Autumn’s whistle. She’s standing on a chair, looking authoritative AF, and announces that we’re ready to go, filming is about to commence, quiet on the set.

“Thanks for the camera lesson, Upstate,” Nash whispers before moving to his assigned post.

The buzz of chatter settles into quiet as everyone disperses to their designated spots. Nash’s is by the counter with the rest of the Hetero Boys. Mine is by Autumn’s side. I hand her the camera and give her the rundown of the settings I’ve selected, all based on her instructions. She double-checks anyway. I’m not offended; it’s what any good director would do. It’s her film, after all.

She looks at me. “Am I ready?”

I nod. “You’re ready.”

Autumn smiles at me. “Let’s do this.”

The next few hours are a blur of cinematography and cupcakes. First, we shoot a montage of boys for the opening scene in which the camera is Lil’s eyes. With each new boy, each new date, the shot doesn’t change—only the face at the center. Tall boys and short boys and black boys and Asian boys and multiracial boys (Nash) and blonde boys (Sawyer). In editing, I imagine these shots will be cut like a flip book.

Cut into this montage will be shots of Lil’s phone under the table. First, we’re not sure what Lil is doing, but as the dates continue it becomes clear that she is swiping through girls on a dating app. She swipes right and matches with Monique, and after suffering through a string of boring hetero dates, we move into the final scene we’re shooting now, Lil and Monique’s first date.

“Think about how much of our life we spend looking down,” Autumn says.

She’s standing on the second to highest step of a ladder, her Nikon D800 pointed downward to capture an aerial shot of two heads looking at their phones—cupcakes uneaten and coffee cups full. Autumn captures cinematic angles of Lil and Monique holding their phones under the table. Lil and Monique laugh off the awkwardness as they realize okay, yeah—they’re both still swiping through Bumble. More laughter as they decide to place their phones on the table—facedown—and finally,talk.

It’s beautiful, I think.

The magic is going to be in how Autumn captures the moment. Whenever I have an idea for a different camera angle or a creative shot, I suggest it. Sometimes it works, sometimes it doesn’t—but it’s so fun to be a voice behind the camera again.

But this is different from working on my parents’ docs. Those were so professional, so detailed as to be predictable after a while. Not in content but in process. Working on Autumn’s film with Le Crew is all about discovering the unknown. I learn Molly is anincredibledesigner—she handmade the dresses Lil and Monique are wearing. Sawyer has an unexpected eye for light design, and by the end of the shoot he’s adjusting the placement of a light for each scene without me even needing to ask. Nash is stupidly charismatic on camera even with just two lines, and I’m grateful Autumn is the one with the camera in her hand, controlling the shots.

Three hours later, Autumn says, “That’s a wrap!”

In my head, the final shot ofLook Down, Swipe Rightzoomsout on Lil and Monique through the bakery window and everything slowly fades to black.

Less than twenty-four hours later, Le Crew is back at Maple Street Sweets after hours—this time, though, we’re off camera, eating takeout pizza and studying for the SATs. Except no one besides me is actually, you know,studying. The exam is being administered next weekend and all seniors are taking an in-class practice test tomorrow. I pretty much need to accept my 600 math section fate, but I’m stubborn. So more practice tests it is.

“… I mean, it’s easy money and I’m building a portfolio so, like, win-win,” Nash says.

I’m scoring practice test number three, but my focus shifts from the College Board to Nash and Molly’s conversation. It’s everything Kels already knows—Nash is turning his art skills into a business. Still, it’s cool hearing Nash talk about Outside the Lines out loud.

“At this rate, I’ll have enough in no time,” he says.

Molly sighs loudly and it’s extra.

“For your applications?” I ask.

He shakes his head. “Have you heard of BookCon?”

I almost choke on pizza crust.

“BookCon?” I ask.

“It’s, like, this giant epic conference for YA fandom. Every major publisher is there, there are tons of author signings, and you’re allowed to fill suitcases with books. It’s basically the Holy Land.”

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