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Writing Series: When Do You Walk Away?

Come January (ish) the third book of The Saga of the Redeemed, No Good Deed, will be released. It’s still in the editing stages right now and needs a fair bit of polish, but I think it’s a fine follow up to The Oldest Trick and fans of the series will be tickled pink to go adventuring with Tyvian, Artus, Hool and company again.

But then what?

When I originally envisaged this series, when my expectations for my writing career were still glittery and untrammeled by the forces of reality, I thought I might write something like nine books detailing Tyvian’s story. Had the first novel been a runaway hit, I probably would have. Now, while it has sold relatively well, it is not a bestseller by any stretch of the imagination. Writing this series for the next seven years seems a poor career move at this juncture.

No Good Deed doesn’t complete Tyvian’s journey, but it does leave us somewhere comfortable-ish. There is still more to say, though. At least two books’ worth. If I could get a contract to write those two books with Harper Voyager, I’d be happy to walk away having completed a solid series with a satisfying conclusion (even if there was potential for more to be done at a later date). The question, though, is whether that’s the right career move.

Two roads diverged in a yellow wood...something, something...

Two roads diverged in a yellow wood…something, something…

There’s other books I’ve got that I can revise and get ready for publication. I’ve got some Urban horror/fantasy, I’ve got some multiple-reality stuff, I’ve got a space opera and a military scifi and another epic fantasy series all waiting in the wings. Maybe, if the Saga of the Redeemed isn’t taking off, I’d be wiser to let it go and get a new title ready instead.

If I had an agent, perhaps I’d ask her. That’s part of the problem, though – I don’t have one. Can I get one when I’m midway through a series? I’ve got some leads on some agents, but I don’t yet have a complete manuscript to send them (book 4 is still very rough), so e-mailing them seems premature. Of course, if I wait too long, then they’ll forget who I am. Strike while the iron is hot, they say.

I’ve gotten conflicting advice on this, too. On the one hand, some folks say finishing what you start shows you’re a professional and a reliable person. On the other hand, some folks think it’s a mistake to get locked into a series this early in your career. They both make good points. Also, a sale to continue a series that hasn’t flopped with a publisher I already have a relationship with is probably a lot easier than selling a brand new idea to somebody I don’t know, even if that new idea might be a hit. There’s just no way to tell.

The conundrum reminds me of that oft-misunderstood poem, “The Road Not Taken” by Robert Frost. Most people assume, given the last line, that it is a story about bucking convention and making your own way in the world. It’s not, though. A careful read reveals that the speaker has no idea which road is actually less travelled and, furthermore, it is notably ambiguous that choice that made “all the difference” is even a positive thing. The poem is more about the arbitrary nature of fate and the illusion of self-determination. It is far darker than all those commencement speakers would have you believe.

And so here I am, at the diverging of a road. Do I keep telling the story of Tyvian (whom I dearly love), or do I go somewhere else and resolve to come back (“Yet knowing how way leads on to way…”)?

For now, I press on with Tyvian and his gradual, theoretical redemption. I have a bit more time yet. Hell, the decision might be made for me – The Oldest Trick could become a sleeper hit or my publisher could turn down a request to extend the series cold. Who knows? I do, then, what I have always done as a writer: put one foot in front of the other, place one more word on the page, and let the gods decide my fate.

The Long Arc: The Challenges of Writing a Series

When I sat down to start writing the Saga of the Redeemed, I knew where it was all going. Maybe not on a micro level (like, the individual scenes for all the books were pretty damn far from being plotted out), but in general, I knew where I wanted Tyvian Reldamar to start and I knew where I wanted him to end up (don’t worry – I won’t spoil anything). I also knew it wouldn’t be contained in a single book. Probably not even three books.

How did I know this? Well, I don’t really know. I think it was because of two reasons, and I think these two reasons are pretty important factors to consider anytime you’re planning to write a book or series of books:

#1: How Big is the World?

Excellent book! Recommended highly!

Excellent book! Recommended highly!

I don’t mean physically, either. Maybe “deep” is a better word – basically, how much story is there to explore in the setting you’ve created? If you don’t visit every single nation on your world map, will the audience miss it? How much of the world matters in the story, anyway? For Tolkien, of course, he had a vast mythology and epic forces of good and evil clashing, and so he needed a bunch of books to give the story the space he felt it deserved. Likewise, Jim Butcher’s Dresden Files just keep going and going and going because it always feels like there’s more to discover. On the other hand, there’s The Goblin Emperor by Katherine Addison – an excellent, excellent book, mind you – which is contained in a single volume. Why? Well, Maia’s story fits there, neatly and cleanly. There simply isn’t a need for more.

#2: How Much Does the Character Change?

This is crucial. For the most part, stories are about how the protagonist changes as a result of their experiences. Now, there are exceptions (*cough*JamesBond*cough*), but mostly that’s true of almost every story, regardless of genre. We are reading to experience some kind of change, subtle though it may be. The further a journey your character has, the more books you’re going to need to write. Tyvian, in my novels, begins as a shallow, narcissistic, self-involved criminal. The story is about his slow change from that to…something else. Now, I don’t think people change on a dime, nor do I think stories of redemption accomplished in a weekend are convincing (sure, sure – Uncle Paul found Jesus this weekend and is going to stop drinking – what’s this, the seventh time?), and so I feel that Tyvian’s shift must be a gradual one. It is going to take several books to accomplish.

The series, however, presents some significant challenges for the new author, such as myself. At a basic level, you need to get a publisher to keep buying your books (or, I suppose, you can self-publish, but then you need to keep paying for cover art and editing and so on and so forth, so the basic problem is the same, even if the specifics are wholly different). Are my books selling? Well, sure they are! They are pretty steadily floating between 1000th and 2000th place on Amazon for Fantasy novels! So…yeah, people are buying them, but nobody is putting a down-payment on a summer home. I’ve got a contract through Book 3 (which, technically, is Book 2), but I need two more books to finish the story to a point where I feel satisfied walking away.

Can I get a contract for those other two? Can I score an agent to represent me? I don’t know. It’s worrying, frankly, and it’s something you need to consider about your series. They might not want to publish books 5 and 6, no matter how dear they are to you.

Of course the other, perhaps more daunting problem (even if it is more under your control) is actually writing a satisfying series of novels. You know how you read the first book in a series and you’re like “whoah! That was the most awesome thing ever!” and then you read the next one and you’re like “Oh…uhhh…it was okay, I guess,” and then by the time you’re at book 3 you’re totally fed up and the story is lame and you don’t care about the characters anymore?

Yeah, nobody does that on purpose.

All writers try to make their second and third and fourth books every bit as awesome as the first one. The problems, however, are two-fold as I see it. A sequel must:

  1. Be true to the original in tone and feel.
  2. Advance the story so that things are totally different.
Oh. Now a short guy with a lightsaber. How interes...zzzzz...

Oh. Now a short guy with a lightsaber. How interes…zzzzz…

Clearly, these two things are potentially at odds. Doing it well requires you to have a keen grasp of what matters in your story and what does not. This is harder than you think, too. First off, you’ll probably guess wrong – the things you love about your series might not be the same things your audience loves (hence: WRITE REVIEWS, PEOPLE!). Secondly, even assuming you guess correctly, you still need to change things to keep it fresh enough. Remember the Star Wars prequels? Remember how boring they were? Well, each Episode did not sufficiently advance the story we cared about enough to make it work and, furthermore, the world as presented was not deep enough to support all three films. Could you have done them so they worked? Sure! But we would have had to focus on Anakin and his gradual change into a monster rather than on four-armed lightsaber duels and CGI effects.

The pitfall of keeping it fresh, though, is losing the thing that made it fun to begin with. To use George RR Martin’s series, A Sword of Ice and Fire, I’ve basically checked out of the books at this point because the thing that kept me invested – the struggle between the Lannisters and the Starks – is basically over and done with. Everybody I loved is either dead now or changed so as to become lame. The books go on and the world is certainly deep enough, but the characters just aren’t there anymore for me. I’m out.

So, to circle back, I find myself writing Book 4 of The Saga of the Redeemed at the moment and I need to keep reminding myself of why I love this series in the first place (answer: the characters) and what has to change in the story to keep it fresh (maddeningly enough: the characters). It’s a balance, and a difficult one. I mean, honestly, how many more swordfights can Tyvian get in before it becomes boring?

(looks at notes)

Gosh, I hope it’s a lot.

Publicity Notes

Just wanted to take a moment to remind new readers of the Saga of the Redeemed that the first two books are being released in one volume – titled The Oldest Trick – which is how I always intended them to read. A great opportunity to get started and save yourself some dough, to boot. It is currently available for pre-order from:


Barnes and Noble


Google Play

And probably on Apple iBooks somewhere, but I can’t figure out for the life of me how to find it.

Anyway, preorder today!