This is my 17th blog entry, and as far as I can tell none of previous 16 have been read by anyone. So I’m going to assume this is a place for my private musings. I’ll imagine a reader coming across these posts after I’m dead, so if you’re that person you’ll be privy to a lot of blather and perhaps an epiphany or two. As of tomorrow EVELYN MARSH will have been out four months. In that time it has sold somewhere around 375 copies. The reviews have been good, which is of course gratifying.
I’m trying to concoct a new story. I want to write an ensemble piece about people in Moss Beach, although I’m calling it Rum Beach and moving the lighthouse to a more scenic location. I’ve come up with a few characters. There’s Emily Abbot, a closet novelist whose greatest strength (loyalty) is also her greatest weakness (as she’s taken for granted). There’s Steve Wexler, the erstwhile bassist for a long defunct band, who is still trying to ride on the crest of a fading celebrity. There is Gary Myron, a simple fisherman. And there is Tom Blankenship, a wine importer who unexpectedly meets Fate. I know how it starts. I know how it ends. But as usual the middle section eludes me. And setting the hook early alludes me. I really don’t know what the unifying concept is. How do all the characters tie together? I’m planning for a 230 page book. My only goal is to make it interesting enough for readers to continue to turn the pages to the end. I don’t know exactly how to pull it off. I’ve been trying to come up with an outline. It’s partly done, but I’m stymied on other parts. I believe in the efficacy of an outline, but I think an outline can be effective even if it’s not detailed. You really only need to know the purpose of a particular scene. I’ll explore the usefulness of an outline tomorrow. I’m tired tonight and want to get to bed.