Either the book company or Kelly Bowen's editor (or maybe both) did her a great disservice in sending The Paris Apartment to press in its current form. It could have been so much more.
Ms. Bowen is, you see, a pretty good writer, and the two narratives she crafts in The Paris Apartment -- a contemporary romance and a World War II spy-thriller -- had heaps of potential. But that potential was squandered in two halves that were underwritten, plot heavy and too quickly wrapped up.
There are a number of ways in which The Paris Apartment could have been improved, and I -- had I been Ms. Bowen's editor -- would have urged her to keep writing, keep improving her tale, and given her these options to choose from.
Option 1: Focus on WWII -- Too often lately, I have read books that split the narrative between some past and our present, attempting, I think, to hook us into a narrative with characters from today because, for some reason, storytellers seem to think we can't connect to characters from the past without characters from the present to guide us. Apart from the actual apartment (an apartment discovered in 2013 that hadn't been opened in 70 years) that inspired Bowen's title, there is no real reason for The Paris Apartment to offer a contemporary story line. Putting us back in WWII and WWII alone would have made for a tighter thriller, given us more time with the story's most compelling characters, and it all could have been focused on the Paris Ritz rather than The Paris Apartment.
Option 2: Tighten the Events -- If Bowen felt the need to keep both narrative threads, I would have advised her to shorten the time span she was covering in both threads. There is much in her plots that was work that she could have kept in her preparation file folders, work that an author needs to do but that readers don't need to read. Had Bowen dropped us right into the middle of the Paris Ritz and the mission, she could have deepened the tension and provided much more detail. The same goes for her parallel tale in today's France, dropping the poor romance and focusing, instead, on the much more compelling mystery she'd concocted for her contemporary characters.
Option 3: Expand -- As I said before, Bowen is a really good writer, so perhaps the best answer to what ails The Paris Apartment is for everything to be expanded. It is clear that Bowen wanted to cover a lot of ground. If that was the case, her publisher and editor should have let her, and if that meant that The Paris Apartment was twice its current length then fine. With more time, more attention, more storytelling, we would have cared more for all the characters, and Bowen would have been able to overcome some of her characters' (specifically her present day characters') more annoying personality traits. Moreover, this would also have allowed her to make her villains more realistic and, therefore, more frightening. Bowen's Nazis were ridiculous caricatures of villainy (the sort of lazy, Nazi-as-evil-villain we've grown accustomed to), but with hundreds of additional pages and more time spent amidst the occupiers of Paris, Bowen could have made them characters rather than caricatures, which would have made them far more compelling.
I think I would have preferred a mixture of Options 1 and 3. Had Bowen cut the spoiled contemporary brats and given us 600+ pages of Paris in WWII, that is a story I would have loved to read. As it is, The Paris Apartment was a disappointment, and a disappointment that made me feel sad for the author more than anything else. Kelly Bowen deserved better. Her writing deserves better. And if her editor and her book company failed her, that makes me despise the publication industry more than I did already.