Balancing details between novels that must be read sequentially
- Thread starter blackcat777
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Not every book has to read well as standalone. That is the recommendation in many circles, but I personally prefer series books (in fantasy, especially) which are tightly cohesive.
I have outlines for the other ones too and I can tell you right away I plan to write them the same exact way I'm writing this one. Narrator is also a character and I plan to continue in the same tone and voice. I'm not gonna ruin the series with weird flashbacks because someone didn't read the first book. That's like ruining the final chapter with copy/paste scenes and crap because of fear that someone skipped all other chapters prior to that one 
Though there will be plenty of connections and clues and I'll probably make the first book free after publishing the second one so that people can get into it properly, or at least upload few chapters. What do you think about that? ^^
Though there will be plenty of connections and clues and I'll probably make the first book free after publishing the second one so that people can get into it properly, or at least upload few chapters. What do you think about that? ^^
Same. Most of my favorite series wouldn't make any sense at all read out of order, as they're basically one long story broken into multiple volumes. There's nothing wrong with a connected series of stand alone books, but it's certainly not the only way to do a series, and seems less common than non-stand-alone series in published fantasy.
I hate when a series clearly not intended to be stand-alone repeats descriptions and information in later volumes, so I don't do it in my writing. Either I'm writing a stand-alone book, in which case I don't rely on any characterization or foreshadowing which may have happened in other related stories, or I'm writing a series, in which case I don't repeat myself.
As far as I'm aware, the advice is to make the first one standalone, because if the first one doesn't sell there won't be a series, in which case at least there is still the option of adjusting the rest so they may have a better chance of selling.
I know, but for sff in particular, I tend to think go big or go home. Series which are written together are almost always a head and shoulders in quality above those which are done one at a time.
For reference, I refer to Wheel of Time (done the latter way) versus book of the new sun, done the former.
I agree t is riskier but it isn't riskier with no pay off. If the books sell, IMO they will sell better because they are complete and cohesive, and anyway, you can always self pub.
For self pub particularly, being able to release a whole series of books in a short time frame (every couple of months) is a proven strategy for effective sales and garnering fans.
For reference, I refer to Wheel of Time (done the latter way) versus book of the new sun, done the former.
I agree t is riskier but it isn't riskier with no pay off. If the books sell, IMO they will sell better because they are complete and cohesive, and anyway, you can always self pub.
For self pub particularly, being able to release a whole series of books in a short time frame (every couple of months) is a proven strategy for effective sales and garnering fans.
I wasn't talking about being 'written together' or not, but on re-reading, the thread seems to be orientated towards the self-pubbing of series, so my comments probably won't be relevant.
Well, I think they are linked. Written together, with the intention of being read as a whole, means less catch up between books
I'm writing a series and the individual books are being published three to four months apart. I try to give just enough recap to ground the reader in the world again, then move forward. It's something I struggle with myself - finding the right balance between re-orienting someone who's reading the series as it's released, and not boring a reader who doesn't have that lag time between books.
However much exposition you decide on, make certain it occurs in a scene where something else is happening. I originally opened my third book with my MC standing in a field brooding over past events, but even 200 words of it was too much, and I hacked out that pity party. He's still standing in a field brooding when the story opens, but I segued almost immediately into the introduction of a new character, and used that as a way to drop in the necessary exposition (being careful to avoid the dreaded "as you know, Bob" conversation).
One of the most important things I've learned here at AW is to R.U.E. - Resist the Urge to Explain. Trust that your reader is going to get it, and keep moving forward. If it's confusing, a good beta will let you know (or your editor will hammer you on it later).
However much exposition you decide on, make certain it occurs in a scene where something else is happening. I originally opened my third book with my MC standing in a field brooding over past events, but even 200 words of it was too much, and I hacked out that pity party. He's still standing in a field brooding when the story opens, but I segued almost immediately into the introduction of a new character, and used that as a way to drop in the necessary exposition (being careful to avoid the dreaded "as you know, Bob" conversation).
One of the most important things I've learned here at AW is to R.U.E. - Resist the Urge to Explain. Trust that your reader is going to get it, and keep moving forward. If it's confusing, a good beta will let you know (or your editor will hammer you on it later).
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Many a series is clearly intended to be read in order, but the author (perhaps on the advice of the publisher?) makes allowances for someone who buys book five and dives right in. IMO, you'd be making a mistake if you didn't help that reader who bought book five at the airport.
How do other authors manage? The POV character may be spurred to recall important information from previous books by current events. ("The sound of rustling leaves reminded him of that time when...") Or may have to explain something from the past to another character. (Plenty of mysteries, police procedurals, and detective novels have the rugged lead explaining his scars to some impressed woman.) Sometimes the author just has to step in and explain Meyer Meyer's name yet again, because not every reader will know it's the albatross on the poor detective's neck.
There are good examples out there for summarizing events that occurred before the current book's present. Find a series you're going to like and read it not just for pleasure but to see how this aspect is crafted. Or simply buy book five at the airport.
How do other authors manage? The POV character may be spurred to recall important information from previous books by current events. ("The sound of rustling leaves reminded him of that time when...") Or may have to explain something from the past to another character. (Plenty of mysteries, police procedurals, and detective novels have the rugged lead explaining his scars to some impressed woman.) Sometimes the author just has to step in and explain Meyer Meyer's name yet again, because not every reader will know it's the albatross on the poor detective's neck.
There are good examples out there for summarizing events that occurred before the current book's present. Find a series you're going to like and read it not just for pleasure but to see how this aspect is crafted. Or simply buy book five at the airport.
Cannot agree more.
My only complaint about J.K. Rowling is she constantly rehashes everything in the Harry Potter books. I don't need Quidditch explained to me in every book.
particularly since the rules don't work very well... why remind the reader of that >.>
I guess for me there's also an issue of target audience. I don't think I have the capacity to write a commercial book such as you'd buy at an airport (not that I necessarily have the capacity to write one anyone would read full stop, but you know) so there's not much point in me worrying about that demographic, I feel.
I guess for me there's also an issue of target audience. I don't think I have the capacity to write a commercial book such as you'd buy at an airport (not that I necessarily have the capacity to write one anyone would read full stop, but you know) so there's not much point in me worrying about that demographic, I feel.
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