Wait for It

Author Anne Frasier just announced that Pretty Dead, her third novel in the Elise Sandburgh series, will be released September 1st. This book was #1 on my summer reading list but I don't mind waiting a couple of extra months for it. Some authors are worth the wait, and the first two books in the series were among my favorite reads of 2014.

Sometimes I lose track of long series that follow a chronology of events, which frustrates me. I was doing okay with Rachel Caine's vampire novels until I stopped at the fifth, sixth or seventh book and then lent the series to someone who never returned them (which also aggravates me, but I know better, so that's my fault.) I can't remember who I gave the books to or where I left off. I'm going to start over with that one by checking out the first books from the library and read them again until I can figure out which book I need to pick up next.

There are a lot of series that are readable from any point because there is very little chronology or no timeline at all, and/or the protagonists and support crew seldom undergo any big changes. Janet Evanovich's Stephanie Plum series is a prime example of this; same thing with Lee Child's Jack Reacher -- in ten or so books I think the only things that have changed about Reacher is how he banks his money and that he broke his nose. I'm not especially faithful to cookie cutter series, but I do think many readers like them simply because they can miss a book or two and not really miss anything important happening.

As for the other series I'm currently following, I might start making up and maintaining lists of the books I've already read. How do you guys track the series you read? Share some tips in comments.

Dimensional

In the past I've mentioned that I want to get away from writing long series. My readers are wonderfully loyal and patient, but I don't care to leave them hanging for years as I did while struggling to bring back StarDoc. Most series authors also don't attract the followings we did ten years ago, which given all the books being published is entirely understandable.

Many of you who have invested in my new Disenchanted & Co. series (for which I thank you) have been asking when the next book will be released. There is no next book (yet) and before I accept any offers or even write any more books I really have to decide how long I want to make the series. Five books would work best with my original series plan, and I think that's a decent length for a series these days, so that's what I'm inclined to make my goal. Or I could condense my plan, wrap things up with one more book and end the series as a trilogy, which would definitely guarantee closure for the readers and less headaches for me.

I thought I'd get some opinions from you all -- what do you consider an ideal length for a novel series? Let me know what you think in comments.

Image Credit: Smosh

6-1/2 Weeks

Since wrapping up the StarDoc series back in 2010, more folks around the biz than I can count have let me know that they were a silent, unknown part of my readership. The mentions range from You should write more SF to God, I loved those books. Often the way they tell me (usually a quick aside in an e-mail or during a phone chat) seems like a confession of bad behavior, like we're discussing something that has to be whispered so as not to be overheard by others.

In a strange way it reminds me of that weird interval following a bad divorce. After it's all over, people you know who have never once commented on the situation begin confiding how happy they are that you're free of the jerk, or the many reasons why they disliked your ex, or even how they knew he was cheating on you but never said anything because they didn't want to hurt your feelings. It's nice that they want you to know, but . . . why tell you now?

It's also difficult to know how to react to these confessions. Of course I say thank you, and I am grateful (who wouldn't be?), but for me personally it's history. This is because for the readers StarDoc came to an end in August of 2010, but for me it happened in 2007, when I discussed wrapping up the series here. While back then I still had a couple of books under contract to write, I knew I was heading down the same road as I had with the first five books, and I couldn't put my readership through that again.

It's been five years since I made that very difficult decision, and while I will always love StarDoc and the readers who kept me writing the series, I've moved on.

Now that I'm returning to writing Darkyn novels, I do wonder at times if history might repeat itself. For the second time in my career I've revived a series that my publisher killed but that the readers wanted me to keep writing. I have three new Darkyn novels under contract, and if these do well, I can certainly write more after this trilogy concludes. Since this has been my bestselling series to date, and readers have been very vocal about wanting more books, I think I have a fairly decent shot.

That said, I can't take anything for granted. While how well the new trilogy does is 99% dependent on things beyond my control, I know I can make more of an effort to do what I can for the series and its readership. So this time around I'm trying to approach the problem differently. Primarily I'm focused on selling all the books that share a storyline under one contract; this should keep me from getting entangled in a series that I may or may not be able to end. I think this works better for the readers, too, as from what I've observed most of them don't seem interested in following lengthy series any more.

I'm also getting more involved and taking some new directions with promotion and marketing for this trilogy. That's been more painful -- I'm always going to be better at writing than self-promoting -- and I don't know if it will actually make a difference. I figure if nothing else I'll learn from it.

Nightborn will be hitting the shelves on March 6th, and as part of my do-more effort I'm also trying to make myself more available. So: if you have a weblog and would like to interview me, get some info about the book, or have me write a guest post for you, and you can post that between now and March 6th, please e-mail me at LynnViehl@aol.com to let me know. I have a few ARCs of Nightborn left that I can offer as giveaways (not many, so this will be first come first served) or signed copies of my other Darkyn novels. In late February I should have the final edition author copies of Nightborn if you'd prefer those as prizes.

If you were one of the readers or a reviewer who got a Nightborn ARC (either from me or my publisher), and you have the time and inclination to post a review on your site or at one of the online booksellers' pages before the book is released, that would also be great, and much appreciated.

I'm also going to put one last signed Nightborn ARC up for grabs here, so if you'd like a chance at winning it, in comments to this post name a novel series that you wish other people would read (or if you can't think of any, just toss your name in the hat) by midnight EST on Saturday, January 21, 2012. I will choose one name at random from everyone who participates and send the winner a signed ARC of Nightborn along with a surprise (and no, I won't tell you what that is, but my surprises are always good ones.) This giveaway is open to everyone on the planet, even if you've won something here at PBW in the past.

Let It Snow V

My final shopping trip for the holidays took me a few towns over to the nearest mall, where I stopped by a BAM that was twice the size of mine. The bargain tables were chock full of neat stuff, and I picked up three remaindered hardcover copies of books I wanted to read but missed them when they released: Rainwater by Sandra Brown ($6.97), Chalice by Robin McKinley ($4.97) and The Angel by Carla Neggers ($4.97).

I also raided the 2012 calendar shelves, the magazine racks and the humor section to pick out some gifts for the non-readers on my list. I am committed to making non-readers read, and I've found humor or a mag on their favorite subject usually does the trick. For those who won't read those, I get a block-type desk calendar with funny jokes or quotes on each page that I know they'll read when they're bored at work (my guy reads his Jeff Foxworthy calendar quote to me every day.)

While browsing I found some new widgets at this BAM that weren't at mine:

1. BAM's Bookmark pen, a pen encased in a flat faux alligator bookmark with a small crystal embellishment ($4.99)

3. Folio's set of 8 Get to the Point magnetic reusable page markers in a nice rainbow of colors ($3.99)

3. BasicFun.com's six pack of Unravels crayon pencils, each wrapped in 30 little messages with lucky fortunes, jokes & riddles and friendship themes ($5.99)

4. Andrews + Blaine's trio of monogrammed magnetic bookmarks ($4.99)

At this BAM I was able to put together some novel series gifts, as they keep a decent stock of backlisted titles. I find it's easier to hook people on an established series if you give them the first three novels all at once. I often stockpile extra copies of the first three books in any series I really love to save for future gifts (as well as investing in a series I want to keep reading.) Series in paperback are the most affordable, as you can buy up to three for the price of one hardcover. As gifts this year I'm giving away series by Gail Carriger, Emma Holly, Larissa Ione, Sofie Kelly, Marjorie M. Liu, Anne Stuart and Rob Thurman.

Today I'm also adding to the Let It Snow tote a now very hard-to-find hardcover copy of my SF novel Blade Dancer; Soulless, the first novel in Gail Carriger's extraordinary Victorian fantasy series; and a mini Snowflake Origami kit (they shimmer!) Two more books will also be going in the tote, and the hint for them is that they're also novels by one of the series authors I've mentioned in this post.

If you'd like a chance to win this giveaway, in comments to this post name any novel series you think would make a great gift (or if you're not into series, just toss your name in the hat.) I will draw one name at random from everyone who participates by commenting on this or any of my other Let It Snow giveaway posts from now until midnight EST on Wednesday, December 21, 2011, and send the winner the tote with all the contents. This giveaway is open to everyone on the planet, even if you've won something here at PBW in the past.

Added: Swiped this very cool heads up from Gerard over at The Presurfer: today if you go to Google's search page and type the words "let it snow" in the box, it (virtually) will snow, frost over your results and give you a chuckle.

Novel Series Outlining

My newest editor gave me an interesting task last week that I thought I'd share. First, the backstory: In January the editor I'd worked with for the last seven years decided to quit the business. When something like this happens, most writers quietly have a cow (and I admit, for a day or two I had a small calf) but it can also be a good thing. Shortly after the bomb dropped I recognized the sterling opportunity peeking out from under the rubble, and moved quickly to request reassignment to an editor I've wanted to work with for some time -- and got it.

The only pickle still floating in the party punch was what the new editor inherited along with me: the new Darkyn trilogy. Since my new editor hadn't worked on the original series, she doesn't have first-hand knowledge of all the characters, plot lines and world-building in those books. And while I always try to include enough history in every book to keep new-to-me readers from getting lost, an editor needs to know a lot more. When she asked me to write up an overview of the characters and stories from the original series, I jumped right on it.

Outlining an entire series after you've written it might sound easy, but for me it meant condensing over 1700 pages of notes, plots, synopses, character outlines, research etc. into a reference document that someone with no knowledge of my novels could understand and use. Basically I put aside all my notes, wrote up what I would say if we were talking about my books in person, and then edited that first draft down to the simplest details.

A series outline can include, but is not limited to:

A series premise -- the tag or hook line for the entire series.

Titles in reading order

World-building outline -- this is often difficult to summarize, especially if you've built your world(s) from scratch. My advice is to map it out as briefly as you can using broad points to illustrate only the most important elements.

Plot summaries for each book -- to avoid writing full synopses, try to limit your summaries to one paragraph.

Character outlines -- major facts only. You may want to add appearance references (i.e. which book(s) does this character appear.)

There are also some genre-specific details you may want to include, such as a timeline of story and historic events, an explanation of a magic system, family or relationship trees, planetary or technological features, or any element of your invention that contributes significantly in some way to the series. Just remember to avoid getting caught up in TME (too much explanation.)

Depending on what information is needed there are a couple of ways to do a series outline, so it's also a good idea to ask for specifics as to what the editor wants to see. I did, and my editor requested just the major players and their story lines, so I focused my overviews accordingly, and distilled the series down to eleven pages, which I think is pretty decent given the mountain of information involved.

If you're considering writing a series, this is also a good way to figure out your ideas in advance. This comes in very handy when you sell the first novel and the editor asks, "Are you planning to write a sequel or a series?" Having your series outline prepared can even result in an offer for multiple books versus one.

To show you how I wrote my outline, I've uploaded some samples from it, which you can read here (warning, this includes spoilers for If Angels Burn.)

Letting Go

When you're a series writer, the two words you never want to see are The End. Although like any novelist you finish every series book you write, by the time you type the last paragraph of one story you're already thinking ahead and planning the next. Until you reach the finale, the last book in the series, and you know there won't be anymore. Then you spend a lot of time second-guessing yourself (Maybe I could do a Next Generation series?) or sulking (it's not fair. I never got the chance to write Book X, Y or Z.)

You may get the writer version of series separation anxiety. You ask yourself Was it really worth it? a couple thousand times. You probably spend a few hours digging through old boxes of series memorabilia: the letter from the Big Name who thought your first novel was dazzling and gave you The Blurb to End All Blurbs; the first glowing fan letter; the dried flower you saved from the big bouquet your spouse brought to your first booksigning, that non-hatchet review published in the glossy publishing trade (then you re-read the hatchet jobs that promised your series would tank by book three, and yeah, you glance at your ten-novel series and smirk a little.)

At some point during this resentful, teary-eyed self-pity fest, you know you have to begin the process that will allow you to let go and move on. Because if you don't you will never write anything else, or you'll quit Publishing, or you'll spend the rest of your years doing something else while trying to forget what was or wallowing in tragic seclusion over what might have been and blaming everyone but yourself for it.

I've ended enough novel series now that I feel like I should know every inch of this particular emotional rollercoaster. I ought to; I've already built and ridden it six times (it seems weirdly appropriate that StarDoc would be the seventh series I've ended or had to end.) I'm fortunate in that I have other, ongoing series to write and keep me productive, and a couple of new prospects that are starting to look pretty solid. It still hurts to let go, but it's the only way to move forward.

In the end, nothing should get between you and the writing. Not even the writing.

Series Separation Anxiety

It's always tough on readers when for whatever reason a writer has to wrap up an extended novel series. Because the fans have followed it for so long and/or are so emotionally invested in the story, they never want it to end. That's why the inevitable finale always seems a bit like a betrayal on the part of the writer, especially if s/he is still around and capable of writing more.

On the writers' side of the equation, investing years in a novel series is no easy commitment. You have to gather and sustain a series readership. You have to keep writing in a universe that is hopefully built in such a way that it will hold your creative interest and not become dated. At some point your sales plateau, and these days if they aren't stellar-quality, publishers lose interest, often in mid-series. We all know the only thing that's worse than the end of a series is one that is left unfinished because the writer couldn't sell any more books.

Most readers aren't aware of what goes on behind the scenes, so it's natural for them to blame the writer. I wish readers did know how hard we fight for our series. When you're cut off without a contract, you feel as desperate as they do (I speak from multiple unhappy experiences.) But for the writer, writing is also a business. You write what you can sell. You don't shut down just because you can't sell what you love to write. If you want to stay in the biz, you write something else.

Today's popular solution for disrupted series is for the writer to self-publish. It's an acceptable compromise; one I've taken a hard look at myself. The problem with self-publishing in print is that it's expensive, time-consuming, and the results aren't always on par with what a traditional publisher can produce. It hardly ever pays what you can make via traditional publishing, so it's also an income drain. Distribution is severely limited or non-existent. Electronic self-publishing is the other option, but that withholds the novels from any reader who doesn't care to read books from a screen or e-reader (I'm one of them) and also usually imposes geographical restrictions that prevent overseas readers from purchasing the books.

At some point the disrupted-series writer generally looks at the growing stack of bills on their desk, throws up their hands, says, "There's nothing I can do about it" and moves on. One of my favorite writers has done that repeatedly, and left me with two of my most re-read series unfinished. And yes, I'm still pissed off about both, to the point of where I've seriously considered writing new books and finishing the series myself just so that I could have the ending I wanted.

Anyway, the point of this post is not to yell at series readers for their devoted loyalty or whine about how hard it is to sustain an extended novel series in today's "what have you done for us in the last five minutes?" Publishing industry. It is what it is, and until someone comes up with a solution that suits everyone, or series novels are outlawed, we have to live with it. If you're pursuing publication, and you see yourself writing an extended series, this is something you really need to think about carefully and make some contingency plans.

I've considered self-publishing more StarDoc novels. There were five I didn't have the opportunity to write or publish, and while I do consider the series finished with Dream Called Time, those lost books are still waiting to be realized. I also doubt I'll be able to turn my back on the StarDoc crew; they've been a daily part of my life for going on fifteen years. It's a big, wonderful universe, and I've never gotten tired of writing about it.

But I'm also realistic. Science fiction doesn't have much of a market share to begin with, and while (thanks to my readers) I have one of the longest-running series currently being published in the genre, the sales are slow and long-term. Those are two things Publishing hates. To give you a comparison, my first Darkyn novel sold more copies in the first six months after publication than the first StarDoc book sold in six years.

In addition to the usual costs of living, medical insurance, the growing list of stuff that medical insurance doesn't pay for, helping out family, etc., I have one kid going off to college in a couple weeks and another who will be following in a couple years. As much as I'd love to be artistic about it, there is no contest between writing what I like most and earning a decent income. Decent income always wins.

That said, you know with me it's not all about the Almighty Buck. Once the StarDoc series is officially finished in print, then I think I'll be in a better place to seriously consider what more I want to do from there. Right now I just have to get over my own separation anxieties, which I admit, are pretty intense. And I thought I had a handle on it, too.

Now it's your turn: what would you like to see writers of extended series do for their readers? What do you think the best solution to the problems involved with publishing extended novel series for the writer? Let us know in comments (also, if you want to vent at me about StarDoc ending, go ahead. Just keep your shoulder handy so I can sob on it.)

Complete . . . Almost

The proofs for Dream Called Time are sitting on my desk, waiting, ready to be corrected. One more read-through for typos, fax any corrections to NY, and I'm finished another series.

Well, not just any other series. The first series, the longest series, the series that has been a personal mission from day one. StarDoc. It's been a long time coming, and now it's here.

While I was doing my annual spring cleaning of the filing cabinets I found the very first incarnation of StarDoc, a short story titled Border FreeClinic. I always thought I wrote it in 1997, but turns out I was a year off: I wrote it in February of 1996. StarDoc is fourteen years old; just a little younger than my daughter. I'd also forgot what I first named the character who would eventually become Duncan Reever. Do you think StarDoc would have been the same if it featured Cherijo Grey Veil and an interpreter named Tyler Jackson?

(Okay, quit laughing. I have a nephew named Tyler, and a dear friend surnamed Jackson.)

I read the story, and after all these years I was surprised. Other than changing the interpreter's name, and making him a much more complex and important character, the original short story that inspired the series isn't all that different from the novels. I never sent the short story out anywhere; at the time I was just playing with concepts and really wrote it for myself. If you'd told me back then that a 22-page short story would turn into ten science fiction novels, I'd have laughed myself silly.

Moral of this story: You never know what might come from the next thing you write. Honestly.

To celebrate my final work on the series I think I should do a giveaway, too, so in comments to this post, name a book series that you've recently discovered that you're enjoying (or if you're not into series novels, just toss your name in the hat) by midnight EST on Saturday, April 10, 2010 Sunday, April 11, 2010 (entry deadline extended due to my unplanned absence.) I will select one name at random from everyone who participates and send the winner a signed photocopy of my original short story Border FreeClinic, as well as a signed, unbound galley copy of Dream Called Time, the tenth and final StarDoc novel, which will not be released until August 2010. This giveaway is open to everyone on the planet, even if you've won something here at PBW in the past.

Robin Arrives

Stay the Night, my seventh Darkyn novel and the story of Robin of Locksley, has made it to the shelves and now concludes this series. An excerpt of my upcoming November '09 release, Shadowlight, is included in the back pages.

I was going to post the actual pink version of the cover art, but evidently I'm not that mature yet.

I always like to finish what I start, and it's a good feeling to know this set of stories is complete. The journey from If Angels Burn to Stay the Night was not an easy one, but as I wrote my way down the road, I learned a lot about myself and what I can do. I know my approach to this series was decidedly different from that of my peers, but I hope I was able to contribute some new ideas about story to the genre.

That's about it. If you have a couple of bucks left on a bookstore gift card from the holidays, and you'd like to see how the Darkyn series wraps up, I hope you'll invest in Stay the Night.

Complete*

This story is for the NaNo'ers and other writers out there who are worried about what rejection will do to them. I've told it before, many times, but this time I can say it's finished.

Back in 1998, I received one of those resounding rejections that take a writer down a few thousand pegs. It was for a submission I'd made for a series of dark fantasy novels featuring, of all things, vampires. The editor who bounced it said something along the lines of there were far more talented writers out there doing much better books and that I should forget about it.

I wrote a couple more stories set in that universe for my online readers, but I did shelve the series idea and went on to other things in print. Five years later when I got the chance to pitch a new editor, I decided what the hell, I'd give it one more shot. I loved the stories, my readers were nagging me constantly about them, and I really hoped that maybe this new editor would be more receptive to my series idea.

She was.

The Beginning



The Print Novels




The Juliana Trilogy



The Standalones



As I've said before, I doubt this will be the last we'll see of the Darkyn, but just in case I get hit by a truck tomorrow, it's done. There's a lot of satisfaction in just being able to say that, and feel this sense of completion. I also owe so much to the nonstop generosity of my visitors here at PBW, the bookstore buyers and readers out there who invested in my work and spread the word -- thank you.

This is what you can do if you love the work, you do your best for the reader, and no matter how many times you're rejected, you don't give up: you can finish what you started.

*Before anyone yells, I know I haven't delivered Incarnatio yet; it's done but needs a final buff and polish before I put it online. As soon as I get my current contract book out of here that's next on the agenda (along with five or six other projects I had to put on hold.)

Character Distractions

Like most of my secondary characters who work out on the page better than even I expected, Rain and Farlae want their own book. Specifically, the story of how they met, survived disaster and fell in love (evidently the details I sprinkled around in Evermore were not enough to satisfy them.) They already picked out their own song (Two Princes by Spin Doctors) and Rain was making me listen to it at least twice a week. I outlined their backstory before I wrote Evermore, and I've been adding things to it ever since, but that was just making things worse.

When the same situation happened with Squilyp in Beyond Varallan, I let him live instead of bumping him off as I'd planned and dealt with him in other ways. This is the same reason you Darkyn readers will be seeing Rain and Farlae again in Twilight Fall. I gave them some story space primarily because their presence served the story, and to reveal a little more about their respective talents, but it was also a deliberate anti-distraction tactic on my part. To be frank, giving them more story also got them out of my damn head so I could concentrate on other things (P.S., they still want their own book, but Rain is presently playing a Strip Monopoly marathon with Farlae, and they both seem to be satisfied -- for now.)

The more life you breathe into your characters, the more they come alive on the page. The down side of this is that they also become more real and important to you. These are the type of characters who are always waiting in the wings, in some cases looking for any opportunity to tell or continue their story. Over the span of your writing career you can rack up dozens of characters like this, and unless you want to write one book with four hundred and ninety-three sequels, you have to find a way to deal with them and placate yourself.

A few other ways I deal with distracting series characters:

1. I write a short story about them. This is not as satisfying as giving them a whole novel to play in, but it takes less time and still gives me a chance to write out whatever's bugging me about them.

2. I send them off somewhere so they can't get involved in the current story. This is why Garphawayn is on Omorr at the moment with her sons, and Jema and Thierry are house-and territory-hunting in the Carolinas.

3. I outline their novel and/or everything I want to write about them. This works best with characters who haven't yet developed into full-blown major distractions, and may be the best way to deal with any character with serious distraction potential.

4. I bring them back with cameos or their own limited subplot thread. This works pretty well for characters who like Rain and Farlae are too developed to be placated with method #3. This is also what made Squilyp become such a pivotal character in StarDoc, something I fought for a while and then just caved in, accepted and worked him into the series plan.

5. Worst case scenario, I kill them off. This is a last resort only, and reserved for those series characters who threaten to derail and wreck things permanently, which to date has been only three (although Xonea has on more than one occasion come very close to being number four.)

The other thing to think about with character distractions is why you're being distracted by them. They may represent something you haven't expressed or addressed in your work, such as a subplot that didn't get enough attention or an unseen hole in the main conflict. Also, look for characterizations that suffer by comparison (i.e., if your secondary characters are more interesting to you than your protagonist, you can bet there's something wrong with or lacking in your characterization of your protag.)

How do you deal with character distractions?

Title Seven

My editor and I have passed around the alternate title possibility list for Rob's book and come up with a final pick. Although nothing is absolute until the cover flats are printed, I can say with a reasonable amount of certainty that Darkyn book seven, to be released in January '09, will be titled Stay the Night.

Book seven is the last Darkyn novel I have under contract. Usually this is the point where a writer like me has to decide whether to continue the series, go on a short sabbatical and do something else, or let it end there. However, I created the Darkyn universe to be, like StarDoc, open-ended, which means I can pretty much keep writing it as long as I like -- or end it whenever I want.

Right now I'm thinking that five years and seven novels is a respectable run for a series like this, and maybe it's time to do something else.

When you have a successful series, the temptation is to stick with what works versus trying something new. This is true of writers as well as publishers, and Darkyn is the most successful series of my career to date. But there are also other considerations that (in my view, anyway) are more important than the Almighty Buck. Being around to finish what I started, for one thing. There's nothing wrong with me, other than I'm not a kid anymore, but anything can happen. I guess since Robert Jordan passed away I've been thinking more and more about this kind of thing.

We talked about that and other factors when I was debating the same thing about the StarDoc finale. If I can impose on you all again, what do you think about the end of the Darkyn series? If you were in my place, would you keep it going, take a sabbatical, or end it with book seven?

Friday 20

Many of you out there are series writers like me. Used to be that a series was like a marriage; the ones that were well-loved, realistically planned and carefully considered could be expected to last longer than the Vegas-wedding types. The writer decided when to call it quits and move on, too.

As competition for slots has increased, and bottom line expectations have escalated, writers are finding that having a series is more like being involved in an illicit affair. If the series performs poorly, the writer is shown the door without ceremony. Publishing doesn't need to mess around with a loser when there are so many other pretty series virgins out there. If the series does well, the writer is praised and immediately put on a very short leash. Publishing doesn't need the writer to mess around writing anything else; it might not perform as well.

Either way it's a creative choke-chain, and if we're not careful, it's going to strangle us.

Writers don't have job security -- we know we're only as good as our last sell-through -- but I think series writers have to readjust the way we think about our novels. Certainly structuring them has become a nightmare. It's almost as if every series has to be open-ended, so that we can continue writing it if it does well, but every series book has to also work as the last novel if we get canned.

Trilogies are the worst. Take it from me: if you're planning to write a trilogy, do your best to sell all three books; don't sign for two and assume they'll buy the third with the next contract. Also, consider what you might write if, after the third novel is published, they tell you that they want more of the same.

I really can't complain too much. As a pro I chose to diversify early on for other reasons, but it definitely helped me avoid the leash. Multi-genre writing isn't for everyone, but if you're up to the juggling act you have a shot at never being owned an/or controlled by one publisher. Writing in more than one genre also flexes your talent muscles, broadens your horizons, and ups the wattage on your resume. There is no better employment insurance than showing that you've got range.

There is no series insurance except success, which can become a trap. There are writers who are happy to keep churning out the series novels for as long as they get contracts, and a few who apparently can only write the same book over and over; these people do benefit from being tethered to a series. However much we series writers love our playgrounds, though, most of us don't want to spend our entire career chained there.

If you're only interested in writing in one genre, then I'd go for writing in different sub-genres and avoid signing away your option to any one publisher. A romance writer who can write historicals, contemporary suspense and paranormals can sell them to three different publishers. You may have to assume a few pseudonyms to keep the powers that be happy, but you'll have three times the playgrounds and three times the store real estate that the one-thing-only writer acquires.

That's all the shop talk I have for you this week. Any questions for me?

Left Behind & Loving It

Virtual Workshop #1:
Building Series Novels

I've talked about how writing novels is a lot like building mansions, and I'd like to revisit that analogy with some material lists for writing series novels.

Novel series is the sort of book building I do most often. Series can be of various lengths, and although I've been labeled as a long-running series author, I'm more the middle-length type, averaging about seven to ten novels planned per series. Writing these type of books from the beginning of my career has taught me to prepare well in advance for the duration of the building.

Series Novel Materials List:

I. The Durable Premise

A durable premise is the foundation of the series, the driving force of the story that can be sustained for multiple novels. Epic themes, enduring story elements or extensive plot aspects serve a durable premise well. However you work it, you want a premise that can be revived in each novel in the series without repetition. Here are some examples of durable series premise foundations:

Alternate histories (Eric Flint's 1632 novels, John Birmingham's Axis of Time books)

Epic adventure/exploration (my StarDoc series, C.S. Forester's Horatio Hornblower)

Family or group sagas (Louisa May Alcott's Little Women books; Alison Kent's SG-5 series)

Haunted or paranormal settings, circumstances (Douglas Clegg's Harrow House novels, Charlaine Harris's Sookie Stackhouse series)

Historical settings (Diana Galbaldon's Outlander series)

Immortality (Anne Rice's Vampire Chronicles, Christine Feehan's Carpathian series)

Problem-plagued protagonists (Val McDermid's Tony Hill novels, Thomas Harris's Clarice Starling books)

Quests (Holly Lisle's Secret Text novels, J.R.R. LOTR series)

War/Epic conflicts (Star Wars franchise novels, Frank Herbert's Dune dynasty books)

II. The Standalone Conflict

Each series novel should stand on its own and provide the reader with a beginning, middle and end. So in addition to the durable premise you need a conflict that is autonomous to the current novel. This conflict has to have a resolution, but it should also connect with or feed into the durable premise. Like battles during a war, the standalone conflict can be resolved while providing some advancement (or regression, or flip-flop) of the durable premise.

Example: You remember John, our half-demon cop, who must protect Marcia the librarian from a murderous diamond thief. John's tasks are to defend Marcia and stop the thief; that's the standalone conflict. The fact that John is half-demon would be part of the durable premise; especially if I made Marcia half-angel.

When you're contemplating how to come up with your standalone conflict, think about a television series that you like to watch. Every week, you get a new show that has a plot for the episode that is completed by the end of the show, but also progresses the series story line along a little more (or regresses it, or flip-flops it, etc.) The series novel's standalone conflict should work the same way.

III. Memorable characters

Characterization is where I see a lot of otherwise excellent series fail. Series writers who build gorgeous, intricate worlds and then send out bit players to perform short-change their readers. When we read, we identify with the characters -- not the backdrop behind them. Forgettable characters can bury a series in mediocrity.

No two writers put together the same cast in the same way, so it's impossible to come up with the perfect character. What you can do is think about the traits and aspects of people that you remember best from all the books you've read, movies you've loved, and even people you've met through life. What was it about them that resonated with you? What made them stick in your head? Why did you love/hate/admire/envy these particular characters? Write up some lists and study them. These are the prime ingredients for making your own memorable characters, because these are the traits and aspects about which you feel passionate.

IV. Running threads

Running threads are plots or subplots that can be continued in the next/subsequent series novels. I tend to map these out on a grid in my head, and I once did an online workshop with plotting templates for single novels, trilogies and a mid-length series to show what I do in my mind. By the time I got to describing how to plot out seven threads in a three-phase, five-to-seven book series everyone was ready to give up and go home.

I've gotten over templating everyone, and I know that as with creating characters, no two writers plot or subplot the same way. When you're building a series, you have to think outside the single novel playground. A series runs on conflict, and some of that generally should be carried over from previous novels.

I like running threads that feed the durable premise, or eventually become part of it, but I also like small, hidden-in-plain-sight subplots that the average reader doesn't notice until I bring them into play. Your own preferences will relate to how your structure your series, but keep this in mind: the more subplots you and the reader have to track, the more likely you're going to drop a thread or tangle them, the more backstory you're probably going to have to lug over to the next novel, etc.

V. Resolution, Cliffhangers and Consequences

Every series book should have a resolution of the standalone conflict, but it should also give the reader a reason to keep reading the series. I like cliffhangers; I grew up watching television cliffhanger shows and they had a tremendous influence on me as a writer. Other writers like "the next chapter in the saga" approach or the "everything they fixed in the last book just went all to hell" wrench in the works.

Everyone's style is different, everyone has an opinion on it, and I'm not going to debate what is ultimately an individual decision and writing style. Whatever approach you use in your series, it should provide momentum for the durable premise and attract return readers.

One consequence of our very competitive market is that the series writer is rarely guaranteed to sell through to the end of the series plan. My novel Blade Dancer, for example, was planned as the first of an eight novel series. In the original manuscript, the story ends as Jory and crew go after Danea, who is abducted by slavers during the celebration on the homeworld. When the publisher bought only the first novel, and I was already looking at StarDoc being put on the back burner in mid-series, I changed the ending to wrap up the novel. Since then I've made sure that whatever I write as the last book of a series contract, I plan and leave the ending flexible enough so that I can change it into a series finale if I have to.

VI. Series Novelists of Tomorrow

As long as there are loyal readers, I think there will always be novel series. They may get a bit shorter -- the average length of a midlist series seems to be heading toward three to five books these days -- but like our premises and story lines, series novelists will endure. We may have to get creative with how we deliver what our readers want, but like our novels, they're worth the effort.

Post your comments, thoughts and questions by midnight EST on Wednesday, July 26, 2006, and you'll have a chance at winning today's Left Behind Goody Bag: A complete signed set of all six of my StarDoc novels, and unsigned copies of: Alison Kent's Deep Breath, Jo Leigh's Closer, and Holly Lisle's I See You; a Jane Austen writing kit with stationery, indigo ink and a pretty dip pen with changeable nibs, all packed in a blue "All on a Summer's Day" plastic tote bag from Barnes & Noble. I'll draw one name from everyone who participates and send you the goodies; giveaway is open to everyone on the planet, even if you've won something here at PBW in the past.

Related Links:

AbsoluteWrite.com's discussion board thread on The Novel Series.

Kate Elliott's article for The Swan, Why Writing a Fat Fantasy Series is a) really easy, b) very, very hard, c) fun, and d) not much better than beating your head against the wall until it's bloody – all at the same time.

My article for The Swan about series writing (my title looks so short now): When Once is Not Enough

G&G

If you're the parent of a child in America, you have read at least one issue of Highlights magazine. Long ago, some very smart marketing person at Highlights said, "Hey, let's put free copies in every doctor's office in the country. That might snag us some subscribers."

I don't know if the subscription angle worked, but I've been reading this rag for the last twenty-five years. I've lost count of the number of Science in Action articles I've explained and Hidden Pictures I've tried to find for my sniffly progeny (I can never find the freaking hammer. Never.) I know one thing -- if I don't see a copy of Highlights at a doctor's office, I leave, because the guy's medical license is obviously counterfeit.

I don't have anything against Highlights. It's hard enough to entertain a kid with strep throat during the obligatory hour sick room wait. Still, there's one thing in the mag that has always bothered me: the Goofus and Gallant (TM) page. For you parents with extremely healthy children, G&G are two comic boy characters who teach kids how to make good choices.

Gallant is the good boy, naturally, who always does the right thing. He's clean, neat, his hair is combed and he's forever smiling while he walks little old ladies across busy intersections only when the WALK light comes on. Gallant is kind and generous and always shares, and never, never runs out into the street after a fouled kickball.

The comic never offers much backstory, but I can guess what kind of life Gallant has: perfect. He lives in a pretty little Brady Bunch house in the nice part of town with Donna, his sweet mother, Rex, his manly father, and Muffy, his adorable sister. They have a dog named Rover, and Rex drives a station wagon to work while Donna cleans and makes delicious, well-balanced meals. At night they play board games or watch Disney movies together.

Yet this happy family might have some dark secrets. I've always suspected that Gallant and Muffy were secretly adopted. Donna and Rex remind me too much of Doris and Rock, and you know how unlikely it was that they, you know, [insert RWA approved phrase]. Also, who names their son Gallant? Did Mom & Dad even consider the nicknames the kid is going to be stuck with? Gal, Gall, Ant?

Goofus, on the other hand, is definitely the bad boy. He usually shows up scruffy or dirty, with his wrinkled shirt tails hanging out and his hair mussed. He doesn't look especially goofy, but instead glowers and scowls as he runs around kicking old ladies and throwing baseballs at oncoming traffic. He couldn't make a good choice if he stole it out of your locker at school.

Goofus is kind of cute, actually.

Okay, to me the bad boy is always more interesting than the good one. Especially Goofus, who is more like a real child, in his hostile, selfish and possibly psychotic way. Goofus is a force of nature; he doesn't mess with people unless it's to give them a reality check. Unlike that insufferable boy scout Gallant, who can't do anything wrong.

Now that I think about it, Goofus is probably the victim of a terrible home life. Sure, he's mean as a stepped-on snake, and only makes friends with kids named Chainsaw and Skull, but what chance does he have? Orphaned so young after Mom and Dad blew up in the home meth lab accident, and now stuck living at the trailer park with his drunk unemployed construction worker Uncle Rufus and his jailbait girlfriend Bobbie Sue. Look at how pale and skinny he is. Kid's probably been raised on a steady diet of Fritos, government block cheese and what lukewarm Budweiser Uncle Roof forgot to guzzle from the can. . .

Anyway. There is a writing lesson to be learned from G&G. When you go back to work on your WIP today, check out your characters and look for this Hidden Picture: Goofus and Gallant. Because we want the reader to cheer for our heroes and boo our villains, too often we write in dead ringers for G&G. So if you discover that you've got the Hitler Youth or Psycho Boy in your novel, try a little retooling. Let your characters be real people, not cartoon morality lessons.