Continuing
on to a second minor aside, ConDor Con was pretty fun. It was a bit stunning to hear that another
writer, Art Holcomb, reads this little collection of rants on a regular
basis. So expect me to be very
self-conscious for the next few weeks.
Anyway, on
to the reason you all bother to show up here...
I know I
hinted that I was going to talk about dialogue this week, but two weeks back my
friend Bobbie (who I know from a far classier place on the web) asked about
sequels. I started thinking about
responses and the more I thought about it, the more I realized I had to say. This wasn’t just something to jot off a quick
answer to in the comments —it was a full post.
So, here’s
my thoughts on sequels.
First
off—and I can’t stress this enough—here’s my first thought about writing a
sequel.
Don’t do
it.
I don’t
think you should ever write a book or screenplay with a sequel in
mind. Ever. The only time to do this is when the person
paying you says you’re going to get a sequel.
If I go to a publisher or a producer with a story that is “the first in a three part epic,” there is no possible reality in which I am
going to be making a sale. It’s just
good math. Most publishers and producers
don’t want to be stuck with one manuscript from an unknown writer that doesn’t
sell, so why would they possibly want to get stuck with two or three or more? Why risk signing a contract for a three book/
movie series when you don’t even know if the first one’s going to do well?
Okay,
that’s a bit of an exaggeration. There’s
always some chance of someone buying a series. But the odds are already slim for an unknown
writer, so why trim them down to almost nothing by writing something that’s
going to put the publisher in an awkward position?
Seriously, would you think this was getting a sequel? |
Now, if you've bothered to read any of the stuff I’ve written past this blog, you
may be poised to respond. Some of you
may have already skipped to the comment section. Yes, Ex-Patriots was clearly
written with a sequel in mind. And the
only reason I got to do that was because the first book did so well the
publisher guaranteed me two sequels.
When the third book comes out you’ll notice everything stops there. If they both do well, maybe Permuted Press
will offer me a fourth and fifth. Or
maybe just a fourth. Or maybe another three. It’s foolish of me to plan on anything until
both of us know where things stand.
So, to
recap, never write something that depends on a sequel. Never. Ever.
With that
out of the way, let’s talk about writing sequels.
One of the
big challenges in writing a sequel (but not the only one) is making it
accessible for everyone. Readers can’t
feel alienated and left out. If my
manuscript doesn’t have an entry point for them, I’ve just ruined the chances
of anyone randomly picking it up and enjoying it. And they won’t say “oh, I should’ve read Book
X first,” they’re just going to say “It sucked.”
As a
writer, I need to make sure everyone is up to speed. I don’t need to revisit every detail of the
first book in the sequel, but I do need to make sure readers have a basic grasp
of my characters, the world they’re in, and any key events that happened in
their past.
Here’s a
few ways you can do that.
First
is just honest recollections. People
talk about things that have happened to them in the past. I do it here all the time. Someone could go back and reconstruct a
semi-decent history of my life just from this blog. I didn’t lay it all out in order, but a lot
of it’s come up at one time or another. When
my lovely lady and I talk, it’s not unusual to mention “the last time your
parents were out here” or “that place we went mini-golfing.” My friend Marcus and I talk about theater
shows and movie nights and miniature wargames we’ve played. When I talk with my friend Patrick, we
sometimes discuss films or shows we worked on—some separately and some we
worked on together.
The trick,
of course, like all dialogue, is that it has to be motivated and
it has to sound natural. Patrick and I
don’t randomly discuss films, after all, it usually spins out of another conversation. If I’m just going to have a character do an
infodump then it’ll come across as awkward at best, false at worst.
Second
is character descriptions. Hopefully my characters have grown and
changed a bit since the first story, so I can also add in hints of things that
happened in the last book. Maybe someone
has a special coat or a piece of jewelry or maybe a new nervous habit. It’s easy to mention where these things came
from or the circumstances that led your character to them.
In Ex-Patriots,
for example, St. George now wears a long, dagger-like tooth on his jacket, a
trophy from the final battle in Ex-Heroes. He’s also got a web of scars on his arm where
a zombie demon bit him. And he can
actually fly now, unlike the extended leaps he was doing in the first
book. Since all of these elements are
part of his character, it’s simple to bring them up early on in the story.
The Third
way is the ignorant stranger. Sometimes I have to tell someone else what
happened before and why things are the way they are. Maybe I need to explain why I have all these
scars (like St. George had to explain to Captain Freedom in Ex-Patriots). Perhaps Han Solo has to remind Leia he’s glad
to help the rebellion, but he’s also hiding from Jabba the Hutt (in The
Empire Strikes Back). And I’m sure
more than a few of us had to explain to the new kid what happened last summer
between Wakko and Dot. There are always
meetings and debriefings and those awful Christmas catch-up letters.
The
ignorant stranger works very well with sequels because odds are I’m going to be
introducing new characters. As long as
I’m not trying to do the “they were here all along” bit, that’s an instant
excuse to explain things and talk about the past.
And the Fourth
thing you can do is probably the most important to remember. Don’t do anything. Sometimes we don’t need to know what happened
before to understand what’s going on right now.
Most of the Friday the 13th films didn’t felt the need to explain
Jason’s origins. They understood that
there’s not much we need to understand about a psychopath past “he’s here” and
“he has a machete.”
Tell the
things you need to tell, but don’t be scared to leave some things mysterious,
too. Let the audience piece a few things together on their own. You want
a story with an entry point, but you also want it to entice readers to go back
and see what happened before. If I spell
out everything that happened in book one, there’s no need for you to go back
and actually read it, is there?
The best
part about all these methods, of course, is that they’re all pretty
natural. I can slip them into
conversations and introduce them into a story without much effort. And that means I’m getting this information
out to the reader without making it look like I’m beating said reader over the
head with it.
Speaking of
sequels, I need to get back to Ex-Communication.
Next time,
that rant about dialogue.
Until then,
go write.
Hmmmm....
ReplyDeletelet me make sure I have this clear though.
What exactly do you consider a sequel?
A continuation of a story?
Or any story that takes place with the same people/world that was in another book?
What if you have this great character or three then how would you work in various story lines that won't fit in one book?
Or are you only talking about sequels when it comes to sales pitches?
Good question. I would say that a sequel is any story that depends on the events of a previous story for it to make sense, or for elements of it to have the intended depth.
ReplyDeleteFor example, Lee Child's Reacher books are a series, yes, but they're really not sequels. You can pick up any book and it stands alone fine. I'd say the Harry Potter books are sequels, however, since each one builds on the previous ones and requires you to have a bare knowledge of what's going on.
I'm trying to think of a good "bad" set of sequels. One where book three or four is just unreadable if you haven't read the previous ones...
Unreadable I would say The Sword of Truth Series by Terry Goodkind.
ReplyDeleteWheel of Time by Robert Jordan.
Then there is guys like Jim Butcher who can churn out long series where is book stands on its own merit in every way. Sure its nice to have read books 1 through 9 but the story isn't reliant.
Ugh...I need to create an account
ReplyDeleteI'm the above quote
Very helpful, Pete!
ReplyDelete