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Changing Theme Throughout A Series

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13Clovers

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Since I began writing my first book, I've planned two subsequent works, of the same supernatural theme. Shortly after, I drafted some more works. I set them in the same universe, but the cast and their problems are different from the dream-like spectrum as they deal with elemental magic.
The potential problem I find is that the shift between focus might turn away readers. Or the essence I initially conceived may become lost. I believe change can be good, but I also find that veering off too far can turn off readers.
I was wondering other people's ideas on changing, or evolving a theme over the course of a series. Do you find it off-putting? Do you find it helps with telling a wider scope of your world?
Perhaps I am thinking too much into this, and the dream-like compared to the elemental magic is similar enough where it won't cause a problem. In case I'm not making much sense here could be another similar course: The books start out as mystery detective works, but gradually turn into books on cops dealing action oriented cases.
The idea isn't necessarily that any change is permanent. It's just what the story needs, and later on it could change back into the original style.
Am I thinking too much int this? (-3-;
 

Re-modernist

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In speculative fiction the best-selling British writer Richard K Morgan’s books about Takeshi Covacs are all different from each other. From cyberpunk noir to galactic marine heist to classic sci-fi adventure.

In historical detective fiction the best-selling Russian* writer Boris Akunin explores a different detective subgenre in each installment of the superb Erast Fandorin series (this was his plan from the start; he’s got postmodern leanings).

In film, The Matrix trilogy is made up of three very different films.

In TV, season 2 of Fargo is different from season 1.

So, in short: if you’re absolutely brilliant, it’ll work:)

___
*Very outspoken critic of the current KGBist Tsar, but continues getting away with it because he’s too big to suddenly get popped by random mugger. One hopes.
 
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13Clovers

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In speculative fiction the best-selling British writer Richard K Morgan’s books about Takeshi Covacs are all different from each other. From cyberpunk noir to galactic marine heist to classic sci-fi adventure.

In historical detective fiction the best-selling Russian* writer Boris Akunin explores a different detective subgenre in each installment of the superb Erast Fandorin series (this was his plan from the start; he’s got postmodern leanings).

In film, The Matrix trilogy is made up of three very different films.

In TV, season 2 of Fargo is different from season 1.

So, in short: if you’re absolutely brilliant, it’ll work:)

___
*Very outspoken critic of the current KGBist Tsar, but continues getting away with it because he’s too big to suddenly get popped by random mugger. One hopes.

Interesting! It's good to know my interests are shared :3. I'll have to check out Covacs and Akunin. Though, unless Akunin's work are translated... >:c
Thank you for sharing! It's eased my brain considerably.
I never thought of Matrix changing, but thinking back on it, they completely do.
Now then... to become brilliant. :3
 

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In the interest of continuing this discussion, I suppose the next question to ask is: can this be done by studying the technicalities of how to make such a transition rather than having a natural instinct for 'being brilliant'?

I have a couple of ideas if anyone is interested.

1. My first thought would be to sprinkle in hints of the second theme among the first, and then let it take over for a bit. So in your mystery example, there would be no to minor action (but realistically some cops) in the first book, a little more in the second, a lot more in the third, and the fourth would be mostly cops and action. In the dream case, you might have a small mention of elemental magic in book one, a minor character who practices it in book two, book three might feature elemental magic as a more major player than your MCs expected, and dealing with it is the setup for the plot of book four, etc.

This way it's right with your readers from the start, they are prepared for it and engage with it because it's been part of what they liked about your books all along.

2. Depending on whether your MC in book one becomes a cop/consultant in book four, or whether s/he is no longer in the picture and another character has taken over, you might even consider adding a few scenes of cop POV in the first few books, so that it isn't too unexpected when book four is entirely from the cop's POV.

Of course, how thoroughly you can implement them depends on what stage you're at.

Plus, I'm not an authority, nor am I published. Does anyone else think these suggestions are headed in the right direction?

I hope I haven't hijacked this thread and that it's still relevant to you, Clovers. Also, you might be interested in how Richelle Mead wrote her six-book mystery/paranormal/romance Succubus series (starting with 'Succubus Blues'). The basic mythology stays the same (vaguely Christian Heaven and Hell, with no Jesus and a few succubi, vampires and imps thrown in) but variations, such as Greek gods and psychics, get explored every so often. These variations tend to be introduced well before they actually appear as a book's major plotline.
 
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Medusa

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As an addendum: I would hazard a guess that if it's a change of subject you're worried about, ultimately the success or failure of the novel would depend on how your characters deal with it. A common thread I see in reviews is that people tend to come for the premise, and stay or leave because of the characters. Putting the same characters in a new environment or forcing them to deal with new subject matter can only create more interest and narrative tension, surely. And perhaps you can use this new subject matter to expand on a theme that has stayed during the course of the series.
 

Asha Leu

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As a reader, it certainly wouldn't bother me. I like variety, and will generally prefer a series that goes in a somewhat different direction or style with each entry to one that simply raises the stakes while otherwise keeping things business-as-usual. As long as its executed well and feels credible within your setting, I can't see a problem.
 

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IMHO, there is some risk in having different books in a series very different. One of the great things about a series is that you (hopefully) build readership. If a book later in the series appeals to a different set of readers to the earlier books, you could risk losing your fans.

Perhaps I'm being overly pessimistic. I'm thinking of Wilbur Smith's series that starts with River God. I read and loved the first book, which was set in ancient Egypt and contained, to the best of my recollection, some fantastical elements. A couple of books later, the setting changed to the modern day. I still read the book, but I was upset about this change and didn't enjoy the book nearly as much as its predecessors.

I don't know how the change you propose compares with this, but consider whether a large proportion of your fans are likely to be disappointed by the direction you take. Still, you can't please everyone ... :)

Wow, sometimes I'm really unhelpful, sorry.
 
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