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Posts tagged ‘series’

Mar 15

14 Comments

Story from the Start: 3 – Story Bible?

Before we go any farther into the stories, let’s stop and review.

We’ve looked at openings, and setting the scene. We’ve outlined some characters, and either hinted at or stated what the conflicts are going to be. We don’t have antagonists/villains yet, or motivations for the Bad Guy/Gal/Thing.

Before you go too far in your work, step back a little. One thing you need, especially for a book or a work in a series, is a Story/Series Bible. You can call it story guide, whatever, but it is a single document with all the important information about characters and settings in it. How detailed and how long depends on you and what you are using to write the story. Read more

Feb 7

33 Comments

Entwined Series

What do you do when two series decide to get friendly with each other?

One of the problems with spending January wrestling alligators instead of writing is that it left my muse free to plot in the shadows… and she has a nasty sense of humor. Read more

Nov 20

30 Comments

And the light dawns

Day before yesterday, I downloaded a bunch of books. They were of different genres. Some were from traditional publishers. Others were small press or indie published. My goal was to simply sit back for an evening or three and read. I haven’t done that in a very long time and looked forward to it.

Of course, as with battle plans not surviving the first encounter with the enemy, those plans went up in flames, at least metaphorically speaking. The first book, which sounded so good from the blurb and seemed well written from the sample, soon fell flat. There wasn’t a trope the author didn’t like and embrace to the point where I wanted to bang my head against the wall. Fortunately, it was one I’d gotten as part of Kindle Unlimited. It was returned. Read more

Feb 14

23 Comments

Beginnings, endings and everything in-between

I’m not sure I’ve mentioned it here — I know I have over on my blog — but I got jumped about 9 days ago with a new novel. Well, new in the sense that it hasn’t already been written. Not new because I knew I had to write it and had planned to get to it this summer. Oh, yeah, new in that this novel doesn’t remotely resemble the book I had planned in my head. Yeah, yeah, my muse is evil but we all know that.

Now, I don’t have time to sit down and write an entire novel out of my publication order. I keep telling myself that. More importantly, I keep telling Myrtle the Muse that. So, I bargained with her — what, don’t all writers bargain with their muses? And no, it’s not like bargaining with the Devil. Myrtle makes the devil look like a rank amateur. — and we agreed that she would get one week, give or take a day or two, to get the basics of the book down. Then I had to get back to the final editorial check and formatting for Dagger of Elanna (Sword of the Gods Book 2). Hopefully, Myrtle is going to stick with our agreement. Otherwise, I may have to murder my muse and I learned long ago that’s easier said than done.

And that, in a way, gets to the topic of today’s post. When I first screwed up the courage to show Sarah something I’d written — and, believe me, it took her pointy boots and threatening not to let me beta read anything else she wrote before I agreed — she looked at me, shook her head and told me I had the dreaded “start in the wrong place’ disease. What I’d written was serviceable but I had started about five pages too soon. Then, on rewrite, I started two pages too late. She finally got me to start it where it needed to begin. Then she nursed — and begged and bullied — me through the next few books with the same issues.

Beginnings are hard. You can spend pages giving your reader beautiful descriptions of the setting and what your characters look like. You can start with the day your character arrives in town. There are so many ways to start but, all too often, those ways fail in the biggest challenge we face as writers — they fail to hook the reader. You have to give enough about your character — and it doesn’t have to be your main character. It can be the antagonist or the victim who won’t appear except as a reference after those first few pages. But you have to give your reader a reason to keep turning the page to see what happens next.

I picked up a book a month or so ago that had gotten great reviews. The writing was supposed to be “alive” and “beautiful”. The characters well-developed. The plot engaging. And I should have known better. The opening pages read like a travelogue. There was nothing in them to give me any hint what sort of book I was reading, what the potential conflicts might be, etc. In other words, it gave me no reason to keep reading.

Another book, one I checked the sample for ten days ago or so had the opposite feel. I knew exactly what I was going to be getting by the end of the third paragraph. How? Because those three paragraphs read like the author and/or editor had a checklist of issues and characters that had to appear in the book and they were all listed right up front. It was a grocery list of social issues. Now, there is nothing wrong with having social issues in your work — as long as you make them interesting for your readers. And that has to be done from page one. Otherwise, you give your readers no cause to go forward with your book. You have to get them interested, have them want to see what is going to happen next. In other words, you have to tease them with the reward that will come as they continue reading.

That becomes more difficult when you write series. You need to offer your reader enough to catch them up on what’s been happening, especially if that reader is new to the series, without your first few pages becoming nothing but a synopsis of earlier books or stories. You need to also give the plot arc a push in such a way you readers, old and new, know something important or exciting or whatever is about to happen.

Even now, after more than 10 novels, I hate openings. I have to stop myself from writing and rewriting them so many times they lose any emotional resonance they might have had. There was a time when Sarah threatened to not let me edit my work at all if I didn’t stop editing the life out of my first chapter or two. I try to keep that in mind but it’s hard at times.

So, fast-forward to this book that demanded it be written NOW! It is the fifth book in the Nocturnal Lives series. I’ve known from the last few books that this book would be where several of the major plot lines would come together and life for the main characters would be thrown up in the air and some of them might not come through it. As I said earlier, I’d planned on writing the book this summer for release in the fall. I even had the basic plot figured out, notes taken and some research done.

I’ve worked on the book a little more than a week now. Today is the last day I’m letting Myrtle drive that particular plot line. So far, I’ve written approximately 25k words. So, I have a good feel for where the book is going — well, not really. Myrtle is making this a true pantsing novel. But at least I’m not screaming in fear — or hate — with it.

I even got up the nerve to send the opening sequence to Sarah to look at. Yes, I caught her at a weak moment. In other words, I caught her when she made the mistake of looking up from her computer screen and then I begged. Okay, I begged that she delete the file without reading it (for some reason, I am still terrified of letting Sarah read my work. I think part of that is I’m afraid she will realize she has spent all this time mentoring me for naught). Instead of deleting it, she read it.

Dum-dum-dum.

And said that, for once, my very rough draft didn’t read like I started it too soon or too late.

I even made her repeat it, just to be sure I heard right. Then I did a happy dance. And then I beat Myrtle and told her that, no, Sarah’s compliment didn’t mean she got to stay out and make me write the rest of the book.

Anyway, for those of you who haven’t seen the scene yet, here it is. As with everything, copyright applies. Also, this is a very rough draft. No editing, spell checking, etc., has been done. All of which means, things may change before Nocturnal Rebellion is released.

***

The bullpen fell silent as Chief of Detectives, Luis Santiago, moved to the front of the room. The look on his face mirrored how they each felt. Disbelief, sorrow and anger – but mostly anger – burned in his dark eyes. Every cop, not to mention every cop’s family, faced this possibility each time they stepped out the door. But that didn’t make it any easier, especially not when it hit this close to home.

Santiago looked around the squad room, making eye contact with every person there. It didn’t surprise him to find more than just the day shift present. He had no doubt were he to check the other squads under his command, he would find the same thing. When a cop went down in the line of duty, no one worried about vacation or sick leave. Every cop in the department would be doing all they could to find the perps responsible. That knowledge made him glad to be part of the family. Even so, it did nothing to make this part of his job any easier. Fortunately, it was not something he had to do very often but even once was one time to many.

Standing there, seeing how each of those assigned to Homicide waited, hoping he had good news to tell them but knowing he did not, he drew a deep breath. He could have let someone else handle this but that would have been the easy way out and he had never been one to shirk the uncomfortable parts of the job off on someone else. Besides, he owed it to them, and to their lieutenant, to make sure they knew that even though he no longer worked cases on the board, he was still one of them. He hurt with them and he thirsted for the same vengeance they did.

“I’m not going to tell you this gets easier. It doesn’t and each of you knows it. Let’s be honest. This squad has faced more than its fair share of challenges the last two years.” He paused and reached up to rub his eyes, burning with unshed tears, with thumb and forefinger. As he did, he felt every one of the last twenty-six hours he had been awake. Twenty-six hours of sitting vigil at the hospital room and then talking with family members, of briefing the chief of police, Darnell Culver, and of doing all he could to head off any interference by the feds. One of his own had gone down and he was damned if he was going to let the feds or any other agency take over the case. Then he cleared his throat and continued. “Each and every time, you have risen to the challenge and done what was necessary to carry out your duties as detectives for DPD. I know I’m asking a lot now, but I need you to do so once again.

“The next few days are going to be difficult for the entire force, but especially for you. You lost one of your own yesterday. I’ve spend a great deal of time with the family and they asked me to let you know that arrangements have been made. They thank each of you for all the time you have spent with them since the ambush. They have asked that, until the funeral, members of this squad be with them. They know you were all family and they will feel better having someone who knew their loved one with them. Sergeant Collins, I’ll leave it to you to arrange schedules to accommodate this request.” He glanced at the squad’s acting commander and she nodded, her expression grim.

‘In three days, we will lay your fellow detective to rest. I expect each of you to be there in dress uniform, representing not only this squad but the best of the force. Show the city that we bleed blue. Then show them that DPD does its job, no matter what. Find the bastards responsible for the ambush and bring them in to face justice.

“It would be easy to seek vengeance. I understand that feeling because I share it. No one, no matter who they are, is allowed to kill one of our own. But we will not lower ourselves, or the rest of DPD, down to those bastards’ level. Find them and bring them in. We will let the courts deal with them and, when the time comes, we will be sitting on the front row of the viewing chamber when they are brought in for their execution.” He glanced around as detectives, uniformed officers and clerical workers nodded grimly. “Do your lieutenant proud and find those bastards before they manage to kill anyone else.”

As one, everyone present turned to look at the darkened office with its closed door and silence so profound it felt almost alive filled the squad room. Then a tall blonde with short cropped hair, her expression stone-cold but pain reflected in her eyes, stepped forward. The others waited, watching as she approached Santiago.

“Sergeant Collins, the squad is yours,” the chief of detectives said. “Close this case before the feds try to take over. We will not step aside for anyone, not this time.”

The blonde nodded. As she did, she blinked back the tears burning in her eyes. “Yes, sir.”

He nodded once and then shook her hand. Then he turned, leaving the squad room. As the door closed behind him, Pat drew a deep breath. Whether she liked it or not, the squad was hers and she had a duty to do, a duty to the DPD, her former partner and her squad.

“The chief’s right,” she said softly. She did not try to hide her grief. Each person in the room, shared it. “We have to work this like any other case but let’s be honest. This isn’t just any other case and it never will be. We will have the press looking at everything we do, questioning each move and every word spoken. Worse, IAB is going to be nosing around.” She held up a hand before anyone could protest.

“Hear me on this. No one likes the idea of the rat squad poking around. This squad has first-hand knowledge how they can twist things to meet their own needs. So, I want every i dotted and ever t crossed in the investigation. Work this case like your own life depends on it because it very well may. We have cop killers running loose on our streets and none of us are safe until they are behind bars. So, when IAB comes calling, you will answer their questions. The quicker we do, the quicker we get them out of the squad and out of the investigation. Don’t play games with them. If they ask or allude to anything that sets off your warning bells, let me know.

“From now until this case is solved, it is all hands on deck. All vacation time is canceled until further notice. If you call in sick, you’d better damn have a doctor telling me you are on your death bed. Work your contacts and get your CI’s on the street and asking questions. Finding these bastards is our priority now. That said, make sure your other cases are worked as well. Don’t miss any court dates but this is our priority. We will find the bastards behind the ambush and we will be the ones to bring them in.”

With that, she strode across the bullpen. Pausing before the door to the office that had been her partner’s she reached down to turn the knob. As she did, her hand shook. A sob rose in her throat. She choked it down. She had to maintain control until she was behind closed doors. The squad was hers, at least until Chief Culver found someone to replace Lt. Mackenzie Santos, not that anyone could ever fill her shoes as a cop or as a partner and friend.

Aug 16

28 Comments

Characters can break

The last couple of weeks have been busy. There’s been the writing and the editing. There’s been family stuff and medical stuff. There has also been a lot of reading, most of which was for entertainment. There has also been recharging of the creative part of my mind — as well as beating my muse into something that, at least on the surface, looks like compliance.

It is the reading for enjoyment that sparked today’s post.

Last week, with my muse demanding I put aside the current wip to make some fairly detailed plot notes for something that hit me out of nowhere, I stepped back some and read. Over the course of two and a half days, I read eight or nine novels. One of them, Monster Hunter Memoirs: Grunge by Correia and Ringo, kept me up much too late. It was a fun read and shows what happens when two talented authors who care more about story than some artificial checklist. They created a story I want to continue, characters I loved reading about and left me smiling and laughing. Oh, and there are guns and things that go boom!

I also read a multi-book series by another author and found myself scratching my head and then shaking my head and, finally, realizing that I needed to finish reading the series not because I was enjoying it but because it showed how not to do something. In other words, it became a lesson in character development or, perhaps, un-development.

Let’s face it, if our readers don’t have a reason to care about our characters, it doesn’t matter how beautiful our prose happens to be. They don’t have to love the characters but they have to feel something for them. It can be hate. It can be fear. But they have to connect with them. If they don’t, and if you are writing genre fiction, you won’t keep those readers for long. More importantly, they will remember they didn’t connect with your characters the next time they see one of your books and possibly pass on it.

What happened with this particular series is the author started off creating characters who were engaging, competent and flawed. In other words, they were human. They had their strengths and their weaknesses. They had hopes and fears. They were, in other words, interesting.

In this particular case, the books could be classified as modern fantasy or romantic fantasies. Each book had male and female main characters. There was a common set of characters between the books with the leads being supporting characters in one book and then the leads in the next. When done properly, that makes for a strong series, not only for the reader but for the writer as well. For the reader, you have that sense of family. You already know and are invested in the characters. You want to know what happens to them, not only in the book where they are the leads but in the other books as well.

As a writer, if done properly, it means you don’t have to worry about making sure readers are reminded of the backstory in each book. Each book can stand on its own but you have characters that are, even as supporting characters, fully developed and who can hook new readers into going back and reader the earlier books. But done poorly it can cost you not only new readers but those who have been fans of the series.

In this case, it was done badly. After the third book, it felt as if the author was doing nothing more than retreading the worst parts of the plots of not only their first three books but also of every bad romance out there. This isn’t anything new, especially not in the romance genre. I could name any number of best selling authors in the genre and books where all they’ve done is change the names and locations and then dropped in the same plot used in other books they’ve written.

But, in this particular case, it was worse because the author broke the characters and not in a way where they were going to grow stronger or anything else in the process.

You can, as an author, break your characters. You can put them into situations that will be more than they can handle, or close to it. It will scar them, perhaps physically or maybe psychologically. If you do it properly, you will then show them digging their way out of whatever sort of hell you have put them through. They will relapse and they will be fragile. They will have temper tantrums and want to run away. But they will struggle, often with the help of a lover or a friend, to overcome. The person they are at the end of it is someone who has learned from what happened and who has, in one way or another, grown.

But when you begin a story, or a series, and your characters are strong, self-sufficient and willing and able to stand on their own, you don’t take all that away from them without cause.

Now, I am not one of these women who are going to get all up in arms because a man saves a woman in a story — at least not if it makes sense that he does so. But I will get perturbed if a woman goes from being able to stand on her own two feet to standing back and smiling and waiting patiently as her man goes off and does what she would have a book or two earlier, especially if there is no reason for her to do so. What changed? What took her from the take charge and stand shoulder-to-shoulder with her man to waiting at home to find out if he lived or died?

I swear, in this series, even the strongest — and I don’t mean physically — of the women turned into someone who sat back and waited for the macho men to do their thing. Hell, I expected the guys to start beating their chests and the women to have the vapors. With each book that passed, the women became more helpless and the men more of a macho stereotype.

And it was all for no reason. If the author had kept with the tenor set in the first book, the women would have been partners with the men. Not all of them would have necessarily stood shoulder-to-shoulder with their man as he went striding into danger but she also wouldn’t have been waiting at home, passive and weak. They would have done something that fit their particular talents.

What happened instead was the books turned into stories about the guys banding together and the women banding together and then sex scenes. Oh, and if you have a woman who has been beaten and raped and violated in other ways, know what the psychological wounds might be before you have her jumping into bed with the macho mountain man. That almost sent my kindle flying across the room.

In other words, just as the rules of your world have to make sense and if you break those rules, you need to have laid the groundwork for it or your readers will lose faith in you, you have to do the same with your characters. You will lose readers if you break the mold you cast your characters from without giving a reasonable explanation. Not every character has to be strong and capable. But, if you have a character who starts out that way and who proves himself or herself during one book, don’t make them all but incapable of helping discuss tactics or standing up for themselves in the next — unless you give a reason for it and that reason had damned well better make sense.

The overall impression I got as I read the series was that the author had gotten tired of it and of the characters. By the end, it felt as if the books were being written on autopilot. If an author doesn’t care about the characters or plot, the readers most likely won’t either. No one wins then. To be honest, the only reasons I kept reading after the fourth book was because I wanted to see if the author managed to right the course and because the author was very good at developing the third layer of characters — the shopkeepers and neighbors, etc. —  and setting.

Just as it becomes boring to read a series where the main character is either a Mary Sue or someone so perfect he or she can make no mistakes, it becomes frustrating to see characters you came to care about turning into something that is nothing more than a pale shadow of what they were. As authors, we need to keep that in mind, just as we need to remember that if the writing feels like it is becoming rote, we need to step back and take a long hard look at our work and decide what has gone wrong. Yes, wrong because that sort of writing rarely has emotion in it and genre fiction demands emotion, whether it is fear or that sense of soaring to the stars. We have to engage with our words. If we don’t, we will lose the reader.

And now for some self-promo:

Now that my muse has been satisfied regarding the new plot it infected me with, I am back toworking on Dagger of Elanna, the sequel to Sword of Arelion (Sword of the Gods Book 1).

War is coming. The peace and security of the Ardean Imperium is threatened from within and without. The members of the Order of Arelion are sworn to protect the Imperium and enforce the Codes. But the enemy operates in the shadows, corrupting where it can and killing when that fails.

Fallon Mevarel, knight of the Order of Arelion, carried information vital to prevent civil war from breaking out. Cait was nothing, or so she had been told. She was property, to be used and abused until her owner tired of her. What neither Cait nor Fallon knew was that the gods had plans for her, plans that required Fallon to delay his mission.

Plans within plans, plots put in motion long ago, all converge on Cait. She may be destined for greatness, but only if she can stay alive long enough.

Like all my other books, Sword is available for purchase or for download through the Kindle Unlimited program.

 

Apr 1

21 Comments

When a book becomes a series

Jason is being held hostage by work this week. He mumbled (can you mumble via IM?) something about 120 hour work week. So I said I’d stand in for him. The following post is one I wrote for Nocturnal-Lives a couple of months ago (with a few updates today). I thought I’d run it here today because Honor from Ashes (Honor and Duty Book 3) will go live in a little more than two weeks.

How did I find myself writing a series? Usually, I don’t set out to do so. Honor and Duty (3 Book Series) was the exception. I knew it would be a series. The initial plan was for two books, three at the most. I wanted to do a story arc that took the main character, Ashlyn Shaw, from betrayal to redemption. I wanted it to be a mix of space opera and military science fiction. What I didn’t expect was that it, too, in many ways would take on a life of its own.

The first inklings of the plot for Vengeance from Ashes (Honor and Duty Book 1) took root some time ago. A hint of a plot here, a glimpse of a character there. When I finally decided it was time to sit down and see if I could get it all to gel together, I had the basic premise firmly in mind. What I hadn’t expected was that this would be a book that resisted all attempts to outline, basic or in detail. It had a way it wanted to be written and nothing else would do.

So, after fighting it for a while, I gave in and let the muse — I have mentioned before she is not only evil but stubborn, or maybe evilly stubborn or stubbornly evil — have her way. What came out is a novel I’m proud of. It is also one I had fun writing, once I quit fighting it. More importantly, Vengeance does exactly what I wanted it to do. It is peopled by characters who aren’t perfect. They are flawed and know it. Sometimes they fight those flaws and other times they give in and do things they will come to regret. The heroes make mistakes and have “bad thoughts”. The villains might enjoy what they are doing but they do, on the whole, have some redeeming qualities. Not all of them mind you. After all, there needs to be at least one sociopath in any evil scheme, right?

Ashlyn Shaw has been betrayed by the Corps she devoted much of her life to. Worse, that betrayal led to the deaths of some of the men and women who had been under her command. The result was that she had been court martialed and, along with the survivors from her team, sent to a penal colony where brutal conditions would be an improvement most days. When she is returned to the capital without warning, the last thing she’s willing to do is trust those who now ask for her help. That changes when the capital is attacked and she slowly begins to understand that things have changed and those who turned a blind eye to the way she and her people had been betrayed were no longer in power. Not that she is willing to put aside all her doubts and suspicions, even when her people are freed and every one of them receives not only a pardon but full exoneration of all charges against them.

After all, she has a duty not only to the Corps or her homeworld but to those who had looked to her for leadership and protection. She would discover who had betrayed them and that person (or persons) would face justice, even if it came at her hand. Especially if it could come at her hand.

Duty from Ashes (Honor and Duty Book 2) picks up where Vengeance left off. Ash is starting to settle back in to her role as a Marine. She watches closely as the investigation into the events leading up to her court martial continues. Trust is slowly returning but that niggling voice of doubt is still there. It is something she fights on a daily basis, except when she is with her son. He is her anchor and her reason for not doing anything foolish. They had been separated during her time at the penal colony and she would not let that happen again. Duty might take her away from him for extended periods of time but, short of death, she would always return home.

War is now a way of life for Ash’s homeworld and its allies. The enemy is one they know well, one they have fought before. But there is something different this time. Tactics and strategies have changed. More importantly, the enemy now has ships and weaponry it hadn’t had just a few years ago, before a ceasefire had been agreed upon. That bothers Ash as well as some of her superiors. Is the enemy receiving aid — or more — from a third party they have yet to identify? Or is this simply a case of them putting to use material gained as a part of the renewed hostilities?

In spite or, or maybe because of, her time at the penal colony, Ash and her Marines are sent on a mission to help liberate one of the systems seized by the enemy. Finding allied prisoners being held in conditions similar to those she had endured almost sends her over the edge. The only thing that keeps her from killing the commandant of the camp were her own people stepping in. That, and seeing how they understood and agreed with her but how they were also determined not to let her do anything foolish, causes her to step back. It is hard and she knows how close she came to breaking. More importantly, she is ready to face the consequences when she returns home, not that she wouldn’t do it all over again because it helped get them the information they needed to not only save more POWs but because of the possible intelligence it led to.

Honor from Ashes (Honor and Duty Book 3) is currently available for pre-order. In this book, the war is in full swing. As the intelligence Ash and her people found, as well as that being sent from other units, is reviewed, it becomes clear that their suspicions were correct. There is a third party involved in the battle, one no one suspected. Add to that the fact the third party has operatives on-planet who are determined to make sure those who set up Ash and her people never reveal what they know.

Because it is war, people die. Ash is going to face the loss of not only some of those under her command but of people close to her. The first is expected. They are Marines and their unit is the one often sent into the worst possible situations, the unit expected to do the impossible. The latter is something she has always known to be possible but never something easy to take.

Here’s the blurb:

War isn’t civilized and never will be, not when there are those willing to do whatever is necessary to win. That is a lesson Col. Ashlyn Shaw learned the hard way. Now she and those under her command fight an enemy determined to destroy their home world. Worse, an enemy lurks in the shadows, manipulating friend and foe alike.

Can Ashlyn hold true to herself and the values of her beloved Corps in the face of betrayal and loss? Will honor rise from the ashes of false promises and broken faith? Ashlyn and the Devil Dogs are determined to see that it does, no matter what the cost.

Honor won’t be the last book in the series. There will be one more to complete this story arc. However, my evil muse is already telling me that there will be more stories written in this universe. Some will have Ash and company as supporting characters. Others will focus on some of the characters we’ve met but who didn’t play major roles in this series.

Or, my muse could fool me again and decide that there will be another two books in the series. I just have to remember to remind her that there comes a time when all series, no matter how much she loves them, must come to an end.

Jul 12

Raptor shark laser
52 Comments

A Fresh Look

Cedar here: I’ve been a bit overwhelmed with school and work this week, so when Sanford emailed me this I was delighted. Not just because it meant less work for me, but because we talk all the time, and this has been a topic recently. When is it time to stop? Do you leave them wanting more? I mean, personally I love series and following characters as they grow and age, even when it leads to tears as it did with the Vorkosigan series. Sanford has been reading both the Monster Hunter series by Larry Correia and Butcher’s Dresden series in parallel, recently, which led to lively discussions about series. But he has a good point about the Big Bad in the series getting too big, and the Hero becoming invincible, and the series jumps the shark… Although I want to see this scene: Franks fighting the creatures in the picture, standing knee-deep in the surf! The MHI series could literally jump sharks and it would work. 

Raptor shark laser

I wonder what the PUFF on this is?

Hi, Cedar is a bit busy with school, etc. this week, so I’m pinch hitting today. I’m Sanford and you’ve probably seen me around here on occasion. 🙂

I’m not a writer but I am a reader so I can discuss things pretty well. What I want to talk about this week is keeping a series fresh.

I’m old enough to remember the Destroyer series about Remo Williams, government hit man. There were about 3 decent novels in that series, after that it got ridiculous. I think most of the rest (around 150) were written for… well I’m not sure why anyone would read them. You have seen series jump the shark, most of you know the Xanth series which even the author admitted he was phoning in after a while.

So, how do you keep your stuff from getting that bad? OK first things first, if you can sell books that bad go ahead, cry all the way to the bank and write good stuff in your spare time. That’s exactly what Anthony did. I’d do it too. Problem is that most of us have no chance of developing such a cult following. So we need to figure out how to balance our fans requests for more against the dreck we will eventually be churning out. Better yet, let’s avoid getting to the dreck stage.

Again the question is how? Well there are several ways to do this that I’ve seen. The simplest and best in my opinion was the way Heinlein did it. He didn’t write a series so much as use a loose universe that he could write almost anything in. The major drawback to this is that it pretty much ignores doing a run of novels about the same character(s). Cedar has three Pixie For Hire novels planned starring the same characters Lom and Bella. She doesn’t plan to write any more Bela and Lom stories after the third comes out. We are looking at doing more stories set in the same world/time frame but focusing on other characters (Cedar: well, he really wants me to write Alger’s story, for instance… LOL). This is more or less the Heinlein model but, those wanting more Lom and Bella will be terribly disappointed. Note, we have discussed a series of x short stories filling in all of Lom’s background, selling them as collections as we get enough.

The next way is to do stand alone books or duologies or trilogies and introducing the stars of the next book/duology/trilogy in the book/last book. This way the reader doesn’t realize you having been doing the old bait and switch because the old favorites are still there, just faded into the background. This is somewhat unsatisfying because it is the old bait and switch. It can be very successful though, I would love to see John Ringo do a series based around Portena the armorer from his March series.

I saved the hard one for last because it is hard. Jim Butcher is writing the Dresden Files series. There are 20-25 books planned in the series and he has outlined the entire series from the beginning. This way he can pace the characters and not have his mage become all powerful too soon. Larry Correia has apparently done something similar with the Monster Hunter series, which is why he can foreshadow 4 books in advance. Most of us are going to have trouble looking that far forward. I admire them but would hesitate to attempt emulating them.

Those are the ways I see to do it. Any of you have any decent ideas how to keep series fresh? One of the neatest things about this blog is that the bloggers can learn as much from the commenters as the readers get from the blogs.