“… Devlin … took his sweet time getting to a point. A conversation with him was like being out with a Sunday driver, having a long way to go, but being in absolutely no hurry to get there.” While this is the main character’s observation of a minor character's mannerisms, in author Joanie Lunsford’s “The Gap,” it’s also the perfect description of the novel. It’s filled with great characterizations and a vivid sense of place. However, its overlong, literary style dampens the dramatic impact it seems the author strives for.
Kerrie Brannon, the main character, is a young author whose first book (metaphorically titled “Misguided”) becomes a Hollywood movie. Wanting to capitalize on her success, Kerrie packs up and heads to Tinsel Town to hopefully become a star. From there, however, life takes many twists and turns. The first half of the book features plenty of sensual scenes; hunks and hotties indulge in the typical pool boy/gardener fantasies and jet setting to exotic locales. Kerrie’s biggest concerns appear to be over things like whether to wear a bikini or one piece to a lunch date, for example. Then, there’s her matinee idol of a love interest, Kirk Garrett, complimenting her on her sultry, silver screen features (“…brown wavy hair, pale green eyes, high cheekbones, perfect nose and chin”) and vice versa (“Kirk Garrett was very attractive, with sparkling blue eyes and shoulder-length brown wavy hair”). Romance enthusiasts should be pleased and hooked.
However, the second half is supposed to show just how vapid an entertainer’s lifestyle can become if she doesn’t stay focused on the business side of show business, by having Kerrie go into a personal tailspin. However, her “fall from grace” becomes much more literary in style. That is, the plot doesn’t matter as much as the relationships between the characters. This isn’t necessarily a bad thing if there’s greater development of the characters. That development takes a bit too long to get to and when realized hasn’t the gritty, rock bottom impact that the book blurb may lead one to believe. There were also [intentional?] instances of shifts in first person narration and long stretches of pure dialog which, in the end, made “The Gap” feel better suited for screenplay, rather than novel, style.
Nevertheless, this isn’t a bad first outing for author Joanie Lunsford. The story is well-edited, in terms of grammar, and definitely shows a keen eye for recognizing important aspects of what hardcore fans of romantic drama enjoy, by delivering an always vivid sense of place and cast of characters. However, “The Gap” is ultimately like that Sunday driver’s idyll: Overlong and slow-paced, it's more like taking The 101 to Santa Barbara instead of being the fast, dangerous L.A. joyride that casual romantic drama readers might expect.