Breaking a too-long book into two(moved from Roundtable)

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Chrisla

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I have too much material for one book, and have determined that a better option would be to restructure it into two books. However, the first chapters portend events that will not now happen until book 2. Is this permissible, or must I rewrite those initial chapters? (they are important, in that they draw the reader into the story.)

Suggestions? Opinions? Better yet, examples?
 

Soccer Mom

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I'm going to move this to the novel forum since it is specifically about how to structure a novel (or two).

Happy writing.
 

Dale Emery

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Can you remove subplots until the book fits within your limits?

One strong caution: As you draw the reader into the story, make sure that you don't inadvertently promise that this book will deliver things that are delivered only by later books.

Dale
 

FennelGiraffe

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The first book needs to stand alone. It shouldn't have any issues set up that aren't apparently resolved at the end.

"Apparently", because it's OK if some issues only seem to be resolved-- until the next book reveals they're still active.

So, the odds are that you do need to re-write those chapters.
 

jenstrikesagain

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I'm for the Tolkein method: Write the whole danged thing and then let the editor decide where to chop it up. Course that worked better in the 1950s...I managed to break mine into three parts but I kind of had to be arbitrary between parts two and three.
 

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Have you finished a first draft yet? Or are you just projecting what you think the total word count might be?

Finished or not, first thing to ask yourself -- is all of the material truly necessary to tell this story? It may be, it may not be. Do you have too many subplots? Can this truly be shortened/reigned in and kept as one novel?
 

ChaosTitan

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I'm for the Tolkein method: Write the whole danged thing and then let the editor decide where to chop it up. Course that worked better in the 1950s....

LOTR wasn't his first published work. This method may work for a seasoned author (although I can't personally name any who've done this in the last ten years), but certainly not a newbie hoping to get published.
 

kaitlin008

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I sort of did this. I had a 140,000 word monster that I split into two, but there was a pretty clear natural break in the middle. I was almost forcing together two separate books, and I like the story much, MUCH better now that I've separated them. However, while the first one easily leads to the second one, it stands alone. You don't want to leave too many unanswered questions, just in case.

Is it possible that you just need to cut out some extraneous stuff to get the word count down? If you really do have to separate it, like others have said, you might have to change your first chapter, because otherwise you're misleading people.
 

NeuroFizz

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The best reason for breaking a long manuscript into two shorter ones is the longer version actually tells two separate stories that are connected by an umbrella theme or story arc.

Checkbox quiz for breaking up a manuscript (not all inclusive):

Does the first one have a story resolution (or resolutions) that allows the reader to stop there and be satisfied?

In the new two volume organization, can the second one survive without the first one (in other words, can a reader pick up the second one and not be at a huge disadvantage compared to a reader who has read the first one)?

If separated into two stories, will each of them require some additional fleshing out of scenes that are already in good shape, storytelling-wise and craft-wise? In other words, will you have to pump up the word counts of each of the new volumes?
 

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Books seldom 'accidentally' get too big. They get too big because authors are weak at design or inattentive to editing. (I don't believe that the final version of LoTR was too big; it just needed publishing in several volumes).

My suggestion is to start deleting scenes that don't progress a major character's throughline. Delete passages that are setting and background if they're irrelevant to mood or any major character's development. Then start deleting your dramatically weakest scenes and keep going until you don't have any weak left scenes in your manuscript. You may find that you have a) one strong story, b) multiple strong stories or c) one story that's still not very strong:

a) Polish it and query it;
b) Take your best and rewrite it;
c) Take the remaining manuscript and rewrite it to make it strong.
 

Phaeal

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Basically the first book must stand on its own but hint that more could follow. This is called in query lingo "having series potential."

The Lord of the Rings is not a good example. Tolkien wrote it as one book, not a trilogy or series. That it was originally published in three volumes was a publishing, not a literary, decision. Not that unusual a procedure, actually -- many 19th century novels were published in multiple volumes for practical reasons.
 

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Ironically I'm dealing with the identical problem. What's worse is that I've tried to cut away at subplots, which pretty much consist of character development and introducing information to fill in the plot, but all attempts to shrink it down to a more manageable size without having 'snapshots' of the character's behavior and knowledge changing without warning haven't worked so well.

I think, though, I've found a way around it, though I won't know until I've finished my first technical installment; I had the idea of setting a smaller goal for the protagonist to complete, one he hoped would solve the problem. He would even face the primary antagonist towards the end and 'kill' him, or so he thought. (Fantasy novel, resurrection ain't impossible! =D )

The novel would end with the successful completion of the goal, but it wouldn't try and define the aftermath of the event, or go 'and they lived happily ever after,' which would hopefully leave both a small hook of interest in readers who liked the novel and want to see more happen.

At the same time, those who just thought it was decent, but aren't really interested in any more, would have a conclusion that is, while not leaving the situation entirely repaired, would still lay down groundwork to say 'Okay, they did this, this, and this, so things should improve for them now!'

It's tricky; I'd be settling for a smaller narrative and leaving most of my ideas for a second one untapped, and so I wouldn't want to completely close off any hopes of continuing the story line. At the same time, I'm trying to make sure it actually has an ending.
 

timewaster

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I have too much material for one book, and have determined that a better option would be to restructure it into two books. However, the first chapters portend events that will not now happen until book 2. Is this permissible, or must I rewrite those initial chapters? (they are important, in that they draw the reader into the story.)

Suggestions? Opinions? Better yet, examples?

I'd be tempted to look at what you've got very critically. Do chapter by chapter summaries and lose everything that does not contirbute to the impetus of the book. Most long books, especially long books by new authors tend to be very flabby and vast chunks can be lost without damaging the plot or the character development or any of the good stuff.

Demand that every chapter : advances the plot, tells us something new about the characters or their relationships, gives a strong sense of place/background and is entertaining and or tense/scary /sad/whatever. Ask the question what is this chapter/scene/ sentence/ word doing? and if the answer is ' nothing much', lose it. Get rid of everything that is just OK. Cut out all the boring bits, trim all description, reduce any lengthy conversations, axe all repetitions of similar events or ideas/emotions. Make every scene justify its existence. Strip out any inessentail sub plots ( which is most sub plots) If it's still long after that, rinse and repeat - chances are you are not being ruthless enough.

I'd try that before attempting to market some vast tome - however it is divided. ( I wouldn't write a sequel for an unsold book unless I was desperate for the writing practise and that is basically what you would be doing if you divide it.) Besides a flabby book divided in two is two short, flabby books! IMHO YMMV
 

Chrisla

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Thank you, one and all for your comments. That said, it's unfortunate that this was moved to "novels," because I am not working with a novel. It's a family saga and a true story, starting in the Great Depression years. I have already printed it, in hardback, for family, and considered it finished. However, it has spread beyond family and friends, and I am getting good feedback from people who read it. They say it "reads like a novel," and are urging me to publish.

It has some structural problems, in that the last few chapters are weaker than the rest of the book. I know what the problem is, and how to fix it, but it will involve adding more--not less--material. Certainly too much for one book.

The book begins with a daughter cleaning out her mother's apartment and finding a treasure-trove of memorabilia. It is that material that sets up the story--theme, title, and introduction of characters. It includes a child's books (saved long after the child died,) old photographs (one of a teen-aged boy and girl kneeling by two flower-strewn graves,), WWII ration books, letters from sons fighting in that war, dog tags and even a military cap. Besides the usual graduation and wedding announcements, there are yellowed newspaper clippings and telegrams and even a few old report cards and work permits.

Much of this material not only pulls the reader into the story, but portends future events. I can go back and chop out those things that won't happen in book one, but I'm not sure how I can reintroduce them to good advantage in book 2. (I'm thinking more Frank McCourt and his series of books here.) Yeah, ambitious, I know! But all these people keep pushing me. . .

Again, thank you, all of you, for your thoughtful comments.
 

Chrisla

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I'm going to move this to the novel forum since it is specifically about how to structure a novel (or two).

Happy writing.

Sorry I didn't make myself clear. This is not a novel, but a family saga--a true story--and I couldn't really determine where it fit. I thought the question might apply to many genres, so I posted here. If you can think of a better place to put it, rather than novels, would you mind moving it again? Thanks!
 

timewaster

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It has some structural problems, in that the last few chapters are weaker than the rest of the book. I know what the problem is, and how to fix it, but it will involve adding more--not less--material. Certainly too much for one book.

The book begins with a daughter cleaning out her mother's apartment and finding a treasure-trove of memorabilia. It is that material that sets up the story--theme, title, and introduction of characters. It includes a child's books (saved long after the child died,) old photographs (one of a teen-aged boy and girl kneeling by two flower-strewn graves,), WWII ration books, letters from sons fighting in that war, dog tags and even a military cap. Besides the usual graduation and wedding announcements, there are yellowed newspaper clippings and telegrams and even a few old report cards and work permits.


There is nothing to stop the daughter finding all of these things, but the writer might only concentrate on a few of them for the first book and then return to look in detail at others for the rest.
You don't have to do a saga in chronological order - you could tell the stories of the artefacts and deal with different ones in each book.
However, if you are aiming for a wider audience then actually the fact that it is based on truth makes no difference. Once you are appealing to people outside the immediate family you probably do have to use a novelist's ruthless editing and not tell everything in the interests of brevity and pace.
 

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You need to know as much as possible, but the reader doesn't.
So cut with all ruthlessness, treat the story like a plant in need of pruning, trimming it down can be good for it.
 

Shweta

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Sorry I didn't make myself clear. This is not a novel, but a family saga--a true story--and I couldn't really determine where it fit. I thought the question might apply to many genres, so I posted here. If you can think of a better place to put it, rather than novels, would you mind moving it again? Thanks!

Chrisla, your first post sounds like you're talking about a novel,since you're thinking about story structure. Might want to specify next time :)

However, while you're here -- do you think the novelists can help you think about this *in terms of * story? If not, do you see this more as memoir or more as general non-fiction?
 

Chrisla

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Chrisla, your first post sounds like you're talking about a novel,since you're thinking about story structure. Might want to specify next time :)

However, while you're here -- do you think the novelists can help you think about this *in terms of * story? If not, do you see this more as memoir or more as general non-fiction?

I had assumed that true stories, too, need structure, and that many of the same rules apply to them as apply to fiction, especially a true story "that reads like a novel," as readers tell me that mine does.

On the other hand, some of the rules can't apply, because I can't cut any of the many characters (it's a family story with eleven children!) or scenes that either develop those characters or advance the story. And setting is just as important as the storyline--descriptions of the way things were done, the way people lived, the historical context.

To be honest, I'm not sure where it belongs. I'm not sure memoir covers an entire family, but it may come closest to that.

Had I started out to write this for publication, it might have taken a different form. Unfortunately, I approached it as a "family story," never dreaming there would be so much interest and that people would be e-mailing me that "I couldn't put it down."

The comments from the novelists were thoughtful and appreciated, especially those that specifically addressed the question I asked. Some of those responses have reaffirmed my own thoughts--that I must chop the book off earler (I know exactly where) and that I must rewrite those first chapters. There's simply too much for one book.

Thanks so much for your interest.
 
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