Bash Kincaid runs productions by the clock, the spreadsheet, and the absolute conviction that control is the only thing standing between success and disaster. As line producer on a location shoot in Dalton, he arrives armed with schedules, backup plans, and no patience for small-town unpredictability.
Then he gets assigned Callum Ellis.
Callum is Dalton's local logistics lead, community connector, and the only person who seems capable of keeping the town, the vendors, the event calendar, and the film crew moving at the same time. He knows which problems matter, which ones only look urgent, and exactly how to make people work together without turning everything into a power struggle.
Bash hates that almost immediately.
He hates Callum's calm. He hates Callum's confidence. He hates the way Callum can solve in five minutes what should take three meetings and a formal escalation chain. Most of all, he hates how quickly respect turns into attraction-and how impossible Callum is to manage.
As permits shift, pop-up events collide with filming, and studio pressure threatens to flatten everything that makes Dalton feel alive, Bash has to decide what matters more: protecting the kind of control he's always trusted, or risking something messier, truer, and far more personal.
Because Callum Ellis is not a vendor.
He's not a variable.
And he is definitely not temporary.
Permits, Pop-Ups & Producer Problems is a small-town M/M romantic comedy featuring opposites-attract tension, competence chemistry, film crew chaos, community-centered logistics, emotional vulnerability, and a hard-won happily ever after.
