In picking up on the ending of my first published novel as the starting point for my most recent work, 50 years later, I’m given a foundation to build on. There’s a set of central characters (five siblings plus our hippie-boy) within existing situations (the tragic car crash, the restaurant, the campus). Can you also see this as presenting a larger puzzle to work out? How many more pieces will be required? Just how big will it be? Will it really fit on our table?
There’s also a backstory, one that can’t be ignored even when the new book is expected to stand on its own rather than as a sequel. In this case, a backstory with parts I feel need to be downplayed or softened. After all, some of it’s downright embarrassing! Go take a trip with Subway Hitchhikers if you want to know why.
Still, one thing that pleases me with my new novel is how much of that past recedes into the background. This is the daughter’s struggle, after all, years later. What’s Left is ultimately about what’s happening with her as she relates it, even when she’s looking at old photographs or asking questions. Here she makes her debut as an 11-year-old when her father vanishes and moves forward.