How to Write a Book Series

Writing a book series

First thing you want to do is to consolidate the ideas you have for the plot of your series. You' ve planned the plot of your entire story as well as you can. They can get on the fly with writing a book - many people do that. However, planning is essential if a series is to have coherence and coherence. There are three decisions you should make early in the planning process.

Writing a series - Writer's Edition

Series' brings different feelings to different authors. A few may smile at the idea of publishing several volumes to explore the worlds and histories they have made. Some might shake the potentially profitable advantages of a long-running series. More than that could just cry in horror:'A series?

It'?s difficult enough to write a book! Whichever camp you belong to, there is no question that the series will remain here as a literature notion. The series has been worked for authors of all kinds of genre and style, from Arthur Conan Doyle, Enid Blyton and Agatha Christie to J. K. Rowling, Terry Pratchett and Patricia Cornwell.

So if you wonder if you should make the obligation to write a series, you'll find everything you need to know here. Once you've found out if a series is right for your storyline, this Ultimate Guide will help you every move. You' ll see how to optimally design and run your series and how to build storylines, character and topics that become a convincing, multi-volume series.

Shall I write a series? The most important thing first: before you do anything else, you have to determine whether a series is the right one for the storyline you want to tell. There is no sense in writing a series just for its own sake; it has to be the right ship to provide your particular history.

Consider these quizzes to decide whether you should write a series or adhere to a separate book. Do you think my style is suitable for a series? While not every style is suitable for a series, some are made for it - in fact, there are some categories in which independent fiction is actually quite rar.

In general, the most suitable categories for a series are: When you write in one of these categories, it might be worthwhile to see if your storyline can be worked out into a series. For example, many publishing houses shy away from acceptance of independent phantasy books, since phantasy writers are usually accustomed to the series standard.

Well, a phantasy series sells much better than a lone one. When you write in another kind of literature, such as literature or business literature, an independent novel is probably the best choice. Of course there are some exemptions to this rule: series like Cormac McCarthy's Border Trilogy or Elena Ferrante's Neapolitan novels and popular commercials like Helen Fielding's Bridget Jones series.

It is important to remember, however, that these types of series (especially literature ) do not adhere to the usual convention of a series. Ferrant and Fielding's series tell the ongoing tale of their key figures, which is sufficiently traditional, but series like The Border Trialogy are different. McCarthy drama is classed as a series because it has recurrent character and attitude as well as powerful theme connections.

For a long storyline (or series) to be short: If you are in a different category than the above, you must have some very convincing character or another very good excuse for choosing to write a whole series. Will my storyline be suitable for a series? Whilst you may think that your storyline needs to be narrated across several ledgers, your action can't really go that far.

You have to take a good, long look at your story before you write a series. It is fleshy enough to eat on more than one book? Ask yourself these from the beginning to see if your story is suitable for a series.

Is my story following a simple story sheet or does it contain many individual strings that can be interwoven? Is the time axis of my action spanned over a long or brief time? Are there potentials for comprehensive personality evolution, global education and side stories within my core story? As soon as you have replied, you will have a better idea of what kind of action you have and whether it will work within a series.

Can I use my character in a series? Consider some of the best-known and most popular book series you know. Ranging from Harry Potter to the Millennium Tricilogy, each hit series includes a character and line-up of side actors who are captivating, sophisticated, developing, endearing, and more.

By committing to read a series, they do so for one major reason: because they take caring about the people. It is important that the readership follows the personalities on their travels, meets them as true acquaintances and families and becomes involved in the results of their work.

In addition to a sound plots evolution, a series must concentrate on a consistent evolution of personality in order to have the hopes to keep itself alive. You have to change your personalities during the course of the game. At the end of the series, they should not be the same persons as at the beginning of the series. Have a look at the personalities you have in mind for your storyline.

Failing that, you either need to rethink the character and their bows or consider the option of a novel in its own right. May I write a series? It'?s a big responsibility to write a novel. A series of fiction taking things to a whole new dimension. Be it a duo, a trialogy or an expansive ten-part epos, you must seriously consider your engagement before embarking on a series.

As soon as you begin, you have a certain feeling of commitment (both to yourself and to your readers) to quit the work. To what extent you want to reach the objective of a series. Well, if you are passionate about typing, if you have a history that begs to be recounted, and if you are willing to work really harder to write a series, then it will sound like you are dedicated and willing to try it.

But if you are considering to write a series just to see how it goes or to try to make a fast one? Instead of spending your precious little hours giving up half of a series, you are better prepared to investigate other alternatives such as stand-alone fiction or shorts.

This is how you have responded to all these and come to a decision: to write a series is the right one. You may be nervous as you are about jumping right in and typing, but unfortunately that's not the best way. To write a winning series, you need to prepare a little first.

But before we take a look at some important stages in your series design, remember that these are just policies, not specifics. Everyone has a different write cycle; some of them are plotter, others are'pants', and the remainder is somewhere in between. That could mean that you decide not to take on every part of the design processes we are outlining.

However, remember that well thought-out storylines, attitudes, character and overall structures are the things that can make or make a series. Let's start with the first stage in the process: plotter. First thing you want to do is to consolidate the idea you have for the series.

Describe a brief overview of all the important incidents you have in your head so far and form a general timeline. First of all, focus on presenting the most important historical occurrences. Don't be worried if you don't know exactly how things will end at this point; some authors like to be guided by the plot instead of know everything from the beginning.

But you must at least have a general notion of the course the history takes. Otherwise, your write processes - and the history itself - are rather pointless and inconsequential. Next, you need to complete the following information about your property:

Will the action be determined by the action of the character? This will help you to pinpoint all important problems with your previous plan. You' ve planned the storyline of your whole affair as well as you can. It' s a good idea to think about the history and how it will influence the texture of your series.

In order to understand the overall framework, ask yourself the following question. In how many ledgers should you split the series? It is important for a genre like sci-fi and Fantasy to know how many titles you want to write for the series before you do it. Remember that each of the volumes in a series should be a novel in its own right.

Every single book should have its own, included storyline, which flows into the bigger storyline of the whole series. Have a look at your whole history and divide it into chapters. You will find that there are places where history can be broken off and continued - places of change. When you look closely, you should find independent stories in the bigger storyline.

It is useful to have a certain feeling for symmetrics or equilibrium within the series. The Harry Potter series, for example, can be seen as book one to three, followed by book four as a turning point (Voldemort's Return), completed by the last three volumes that lead to the definitive culmination of history.

There are many different kinds of structure in detective stories and modern series. Perhaps there is a less specific response to the issue of how many to write. Instead of fitting into a huge overall narration, these kinds of series are rather episodic in character. Every book tells a history that is not necessarily chronological.

Every Holmes tale is about an idiosyncratic enigma, and while there are strings connecting all the tomes, the structures are not as inflexible as those of a fictional series. This does not mean, however, that the texture is not an important thought for those categories that do not adhere to conventional "series" convictions. Without the texture, you wouldn't really be making a series - just a compilation of vague related stories!

It is important that you concentrate on your character as a link between the novels of a thriller, mysteries or modern series. Like we have mentioned above, your character has to especially expand and transform in the course of the series. Take advantage of the most important points on your own travel and career to determine how your series will be organized.

There is one thing to bear in mind: your series as a whole must have a highlight, but every single book must also have its own highlight. Of course, the highlight of the whole series will approach the end of the last book. Have a look at your general layout for each book and make sure there is actually a highlight in each book.

But if not, the book does not really constitute an independent narration. You may need to revise the texture or plotter to insert a highlight or turning point. Which topics are combined in the individual volumes of the series? The series is connected by its topics as well as by the history itself.

The series usually has recurrent topics that cover the entire history, but can also contain topics that are researched or highlighted separately in each part. All in all, the topics of a series must combine to form a wide, relatively complicated gobelin. Each book, however, highlights a wide range of different topics such as prejudices, violence, sacrifice, election, charity and deaths.

Throughout the series, these topics evolve to form a lively and multi-faceted portrayal for the readership. Besides storyline and character, the topics of a series are important to ensure that your audience stays with you through a series. Exploring universe issues of man will help our readership refer to the history you tell, which is important if you want them to come back for each and every book in your series.

Topics can also inspire reflection on issues of the rest of the world that they have not yet taken into account, especially when they cover an entire series. Just a wordforewarning word: Try not to be too clumsy when researching your topics. Appreciate something to your reader; don't try to spelt everything out for them and don't make recurrent topics too repeating.

Let the topics of your storyline come into being and evolve as a lifelike sub-text through your storyline and your character. Often you will only realize what your topics really are when you are involved in the write processes. That' s perfectly common; many ideas come about in a quite simple way when you write the game.

When you have completed your letter and read about your work, your topics will be much more clear. You are as important (if not more important) as your action. So, the primary explanation why people will read a tale is that they have put their money into the character. Obviously, a compelling action is important, but the reader must also take note of what happens to your character.

The series began almost 20 years ago, and the reader is still waiting anxiously for its next episode. In view of Martin's rather sluggish typing progression, all his writers would have disappeared off the grid long ago if they didn't matter what happens to the character. In this sense, you must make a serious attempt to consider your character before you begin to write.

It will be very useful in the long run to develop your personalities and to know them well before you enter the game. Begin the design phase by setting up a general characteristic for each of your major actors, with particular emphasis on your star. Describe everything you already know about her, from her looks to her most important personal characteristics to her background.

While not all of this information will be contained in the real storyline, it is important for you as an writer to know your personalities inside out so that you can write them efficiently and real. Next, it's primordial to look at the bow of each and every one of the players - the transformations or journeys they will make throughout the series.

Like described above, developing your own personality is important for each series; they simply don't intersect your own staticals. By the end of the storyline, most of your personalities (especially your protagonist) shouldn't be the same as they were in the beginning. Which changes and evolutions will each personality experience in the course of the series?

Are their mentality and world view going to be different at the end of history? Are there any information you can keep from a person to unveil later in the game? What will the relationship between the different personalities evolve throughout history? They go together with your action and build the basis on which your series is built.

As your personalities go through a transition, there must also be some degree of consistence in their portrayal. It is not possible to enforce their evolution by means of quick changes, nor can the action be driven forward by acts that are either unlikely or strikingly atypical. Texture is something you will mainly check during the review procedure, but it doesn't harm to keep it in the back of your head as you write.

This could spare you precious amount of work at the end of the whole procedure. CONSUMPTION TIP: Be aware of how and when you are adding new players to keep things interesting. Whilst it is prudent to focus on investing the reader in the protagonists from the beginning, one cannot anticipate that they will remain involved through several novels covering only the same group of personalities.

Maybe you are considering waiting for the introduction of one or two pivotal characters until later in the series, rather than all at once at the beginning. Attitude is crucial in a series, regardless of gender. You have to want to go back to the real life you create, whether it' totally imaginary (like in imagination or sci-fi ) or real (like in a thriller series).

Whatever type of series you write, you should begin this part of the scheduling procedure by recording everything you already know about your attitude. Write down all the issues you want to consider, large or small, and keep the report within reach throughout the entire write and review proces. In order to disaggregate things a little, let's take a look at how the set is used in two of the most popular serial genres: hedge speculation and crime/mystery.

It is often called the creation of a backdrop in the fictional worldview. After all, in imaginary and sci-fi stories, authors create whole realms from the bottom up. The magic, futurist, dystopian oder technical features that distinguish your book from other types of music.

You have to set the basis for your global construction before you begin to write your spec-fic series. Look at the following items of your universe and if/how they come into the series:: You may want to make a paper for each of these items and use it to collect your memos before you begin to write seriously.

Learn about your life as much as possible so that when you start to write, you can delve all the way into the history instead of trying to find out tiny settings in it. Settings is just as important in a thriller series as in a fictional game.

But in this category, the main feature of the settings is to generate the whole series. There is a feeling for the place in most books, but in contemporary detective story writing, I think it's virtually an imperative. It' a feeling for the place. "In order to plot the scene of your criminal or mysterious series, think about the kind of ambience you want to have.

If you are for example a dark, dark investigative play, you should try to let these emotions (darkness, sandness) flow into your surround. This can be achieved by describing things like the climate and the surroundings your character is in. Familiarize yourself as much as possible with the meaning of your history before you begin to write.

Immersion in the history of your series will help to give it a uniform, genuine feeling. TIP: Consider setting up a Windows Vista Express client exclusively for your series schedule. Being a great inspirational tool and a great way to visualize attitudes and character as you plot your series can be a great way to get started.

Have a look at our How Authors Can Use Pinterest For Fiction Authoring & Novels to learn more about this practical utility. Stage 5: Begin to write! You' ve made it to the last stage of the trial - and it's the most pleasant of all! With all your work and meticulous scheduling, it's past the point where you should get into the real story of your series.

Hold a full file of your thoughts and thoughts about the series, whether it' electronic or physically. That will be your Bible to which you will no doubt have to refer constantly during the protracted write time. When you get bogged down in a certain part of your series, try to keep going so as not to disturb the stream of your work.

Keep in mind that you don't necessarily have to write in order; you can write the scene as it appears in your header and put them all together later in the correct order. Attempt to turn such stereotypes upside down and undermine readers' hopes with inventive storyline, themes and theatricality.

Whilst the commitment to a series is a big move, and can sometimes be daunting, it is important to recall why you choose to do it in the first place. You' ve chosen to write a series because you have a history you want to tell and because you have a penchant for it.

Allow this history and excitement to support you throughout the entire journey and you will be on the right path.

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