Take Veronica Roth and the Divergent series. She finished her books and then did a whole spin off series based on the character Four. She wrote shorts, novels and all kinds of other crazy empire expanding nonsense and of course the fans all loved it.

I hadn’t even considered writing more than my planned number of books for my Fallon series as an option. But then I read James Howell’s latest book, Guinea Pigsand realised I’m half way there anyway and I haven’t even published the first book.

So here’s some tricks on maximising your book series empire inspired by Howell’s latest book.

If you haven’t heard me talk about Howell before, I’m surprised. I’ve interviewed him here and his first book A Disturbed Girl’s Guide to Curing Boredom is on my all time fave list.

But his latest book isn’t related to his Disturbed girl trilogy. It’s different. It’s a set of three longish short stories. Set in the same world (ours) albeit with a lot of fucked up individuals! Each short story has a different protagonist and all the stories culminate in a final joined up ending.

Veronica Roth (author of Divergent) took her protagonists love interest, Four, and wrote another set of stories too.

But what she did was dangerous. We were used to one character, frankly I liked the protagonist I wouldn’t have spent weeks worth of baths and bottles of wine indulging myself in the story if I hadn’t. AND lets face it – not many people like change – taking another character into a spin off series is riskier than knife throwing under the influence.

But Howell didn’t do that, he took completely different characters and embroiled them in a completely different story – I thought it had no connection, no relation to the original series and I’ll be honest, that concerned me. I worry when reading an authors ‘other work’ because nine times out of ten, if I love one book series, I’ll hate the next. It happened with Charlaine Harris’ True Blood, and I’ve no doubt it will happen again.

But it didn’t with Howell.

I’ve heard of other indie authors doing this, writing longer shorts and combining them all in the final story, but I wasn’t sure it would work, let alone work off the back of a trilogy.

But it did.

The reason it worked, was the way he connected the stories to his original work. There is a reveal, it’s tiny, barely a sentence but it clearly links back to his original series and opens the door WIDE to a whole other storyline (in new books) with our fave protagonist – just when we thought it was all over too.

And who knows, maybe it was really all over. Maybe ‘just carry on your story’ sounds too obvious. Except that it really was over for JK Rowling until apparently it wasn’t and now we have a whole new book/play thing coming out. Likewise, Roth executed her main character, how much more over can you get? Except that it wasn’t either because now there’s the four series. This is an emerging trend and I don’t think it’s going away.

This trend is like the ultimate cure for a book hangover – and selfishly, means that even when you write ‘the end’ on a trilogy/series you (the author) get to continue to write about that world you love so much too.

I’ve had to write shorts to work out plot problems, and back story in my own novel. In fact, I have entire chapter length stories that were written about side characters, all of which I was happy to leave in some obscure e-folder never to be opened again. But given this trend, maybe I’m missing a trick. Who’s to say these won’t be useful for something else once the series is over.

8 Different ways to maximise your series

1. Use world building short stories – explore different worlds, or cities and locations within your own world. What happens in them when the reader isn’t looking.
2. Use minor, secondary characters or love interests to write spin offs whether thats a short or an entire series in its own right.
3. Move your world on, what happened 100 years after your trilogy ended? World buildings hard work – why waste an entire world on just one series.
4. Use brand new characters but in the same world
5. History (write the prequel to your novel)
6. Like twilight, write the SAME story from the love interests POV (E.L. James copied Meyer once by publishing 50 shades as fan fiction but, is it just me, or was she taking the piss by publishing the grey series when Meyer tried to do it first and had her MS leaked?! talk about copycat)
7. Write a radio play or a Westend using your characters or your world
8. Write short stories about the main characters past or their future

and here’s a bonus one, inspired by this post from Linda, write your protagonists autobiography.

I contacted James, to see what his thoughts were and asked a couple of questions on how he has maximised his series:

James, what made you put the reference to hannah in when you had finished your trilogy?

Although the Disturbed Girl trilogy finished quite neatly with Hannah (or what was left of her) sailing off into the sunset, I always thought there was scope to explore what she did next. Where does she go after Cyprus? How does she recover from her injuries? Does her relationship with Luisa survive? Can she really be a mother to Naomi?

I suppose I semi-retired her at the end of A Disturbed Girl’s Redemption, meaning that I could move on to other characters – as I’ve done with Guinea Pigs – but still bring her back if my readers wanted more and I felt there was a worthy story to tell.

Readers have told me they want more Hannah, and to be honest I’ve rather missed her, so my plan is to bring her back in some way for my next novel.

Because “Boredom” was written as a one-off, I found it tricky coming up with a realistic plot line for the sequel. Some people have said that the plot of A Disturbed Girl Implodesis too much of a stretch, and that’s probably a fair criticism. I’d certainly urge authors to consider sequel options while they’re writing their debut novel (killing off your hero isn’t a good idea, for example!)

How else can you maximise your series? Let me know in the comments.

If you haven’t signed up for my newsletter already, there’s still time before the next one is due out. It’s full of tips, tricks and hacks for writers. Sign up HERE.

Find out more on about James and his genuinely amazing Disturbed Girl series on his website follow him on Facebook or buy the book using the amazon blurb link.

Amazon Blurb

This dark collection of short stories examines three seemingly unconnected people as they slide along separate paths towards chaos and tragedy. Will any of them find salvation, or will they all be destroyed by the terrible deception that unites them?

Guinea Pig 1 – The Man Who Couldn’t Laugh
Colin Jones is a neurotic suburban nobody who has a serious problem with his new neighbours. Spurred on by what he reads in the tabloid press, how far will he go to get them evicted?

Guinea Pig 2 – A Wild Life
A damaged woman travels to Africa to escape from her life of sex and violence. As she touches down in the Gambia, she has no idea that her nightmare is just beginning.

Guinea Pig 3 – Red Demon
Detective Josh Brody works in the bleak underbelly of south London trying to protect victims of hate crime. It is a grim world, and he might be closer to the misery than he realises

The post 8 Ways to Maximise Your Book Series appeared first on Sacha Black.

Instead, I discovered it was one of those literary techniques I knew, but didn’t know I knew.

Have I lost you yet? I have, haven’t I? You’re thinking Sacha’s pulled one too many all nighters, lost her shit and fallen into a caffeine induced hallucinatory coma.

Okay, let me start again… I had one of those, mythical childless evenings the other day. So the wife and I hot footed it to the movies before my mother came to her senses and promptly brought the terror tot back. We watched Deadpool, the latest Marvel comic hero movie and in my usual style, I dissected it in order to bring you some kick ass (did you see what I did there?) lessons.

Imagine you are at the theatre, sat in velvet red seats shovelling over priced wine gums in your gob. The lights go down and you hear the first shriek from a glass shattering soprano. You expect to be entertained. Not interacted with. This isn’t a ‘he’s behind you’ Panto or an interview. This is theatre, or the movies.

The point is, they’re on stage, you’re not. There’s a barrier between you and the actors. Whether that’s a movie screen, the invisible line between the stage and the neck breaking front row, or the page between the reader and the character. It’s there, and it has a name.

The Fourth Wall

But, breaking that wall, is a whole can of literary device awesomeness in itself. But what do I mean breaking the 4th wall?

Breaking the 4th wall means the character acknowledges that’s what they are and they speak directly to the audience.

Ever seen: House of Cards, Ferris Bueller’s Day Off, American Psycho, Lord of War or what about my two faves: Spaceballs and Fight Club. Each one of those films breaks the 4th wall and has a character speak directly to the audience.

And because I like examples, here’s a 1 minute clip from Fight Club. Note – Explicit references and content.

https://www.youtube.com/watch?v=ru4glg0RJxA

The fourth wall separates the reader or viewer. The wall allows us to view the world through the eyes of the protagonist. In effect, we become the protagonist, seeing the story enfold through their eyes, opinions and emotions. When that fourth wall gets broken, we can no longer embody the characters in the same way. They become entities in their own right.

Breaking the 4th wall is often confused with a soliloquy, but don’t because it is not the same thing. Soliloquies are when characters speak to themselves like in Hamlet or Macbeth.

Why break it?

Well, it is an unusual literary device that’s rarely used for one, which means it helps give your story a unique selling point. It’s often used for humour or satirical purposes. But it also makes readers feel engaged with what they are viewing on another level – we are no longer passively viewing we are actively engaged with what’s in front of us.

As a note on Deadpool the film, it’s rated 15, personally, I felt it ought to be an 18. There was an excess of graphic violence at the beginning, scenes of a sexual nature and a serious amount of bad language! None of that stopped me loving it though.

Here are 5 tips I took from watching Deadpool’s use of breaking the 4th wall.

ONE – Humour

Deadpool was hilarious. Not only because of the ridiculous insults, comebacks and prolific use of swear words. But because it used a plethora of satirical humour, sarcasm and dry comedic timing. They would stop fight scenes to add in witty narration, for example in the 50 second clip below (bare in mind all the warnings I have given about content)

https://www.youtube.com/watch?v=ybV9mrVBZDs

TWO – Use It When You Least Expect It

Like in the clip above, the writers would break the 4th wall when you least expect it, like in the middle of a fight scene. This keeps the use of it fresh and the viewer engaged. Same can be said for Fight Club. It’s such a serious intense film, you don’t expect to be spoken to as a viewer, therefore when the narrator/Tyler Durden talks to us it’s a surprise.

THREE – Use It Sparingly

Just because you decide to break the 4th wall, doesn’t mean you then need to do it all the time. In fact, I’d recommend you don’t; use it sparingly. Breaking the 4th wall jars the viewer. It’s a shock tactic. So if you use it too often the shock and awe impact decreases each time, making it a less effective tool.

FOUR – Narration

Ultimately, breaking the 4th wall is a narrative technique. So if you break it, you need to ensure it’s for a reason. Comedy is great, but it should serve a purpose deeper than just comedy. For example, giving viewers insight to the protagonists mindset or character. This deepens the relationship with the viewer and also gives depth to the character, and all that can be achieved even if you are using humour.

FIVE – Find The Balance Between Subtlety & In Your Face 

Whilst breaking the 4th wall is great, it is also a difficult technique to use. You have to find the balance: Not funny enough and you’ll fall flat on your face, use it too often and you jar the reader so much they no longer enjoy reading. Using this technique you remind the reader they are in fact participating in the act of reading, rather than just being embroiled in the pleasure of it.

There are other subtle benefits though, like the ability to let the readers know something other characters (other than the protagonist) don’t know.

If you’re interested in literary books that break the 4th wall. One of the best most insane books I have heard of and is on my TBR pile is House Of Leaves, everyone I know that’s read it says they feel a little less sane at the end!

Can you blame them when it looks like this on the inside?!

Other books include: Don Quixote, The Gunslinger (The Dark Tower Book 1)by Stephen King and Storm Front: The Dresden Files Book 1.

Have you heard of the 4th wall? What do you think of it as a literary or film technique? Do you like it when it’s used? Let me know in the comments below.

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Katniss climbed into bed with Peeta, gave him a hug and he leant in to say:

“You love me, real or not real?” and Katniss said, “Real.”

Time to admit a dirty secret I have been harbouring for a while now – yes, I’m ashamed! I haven’t read the Hunger Games. I know. I know. I’m a YA Fantasy/Dystopian writer, how could I NOT have read the Hunger Games…? It just sort of happened. Lets not talk about it. I’ll fix it…Soon.

Anyway, there we were in the cinema and I leant over to to Mrs. Black and did the unthinkable, whispered in the middle of the film. I said… That right there, that’s the last line of the book. She raised an eyebrow and asked me how I knew. I didn’t have the answer, so I shrugged, “I just did.”

But it got me thinking, how did I know? And what was it about that line that made it so obviously a last line?

After we left the cinema I frantically scanned the kindle app on my phone to see if I’d downloaded it and could check. I had, and low and behold, ignoring the epilogue, there was the last line of the book, exactly as I had predicted.

‘So after when he whispers, “you love me. Real or not real?” 

I tell him, “Real.”

Suzanne Collins – Mockingjay (Book 3)

So I scoured a bunch of other books to find their last lines and not only are there clear things I learnt, but there is also quite an obvious difference in the style and content between the last lines of first and last books in trilogies.

But first, the endings:

The Hunger Games (Book 1 – Suzanne Collins) – Out of the corner of my eye, I see Peeta extend his hand. I look at him, unsure. “One more time? For the audience?” he says. His voice isn’t angry. It’s hollow, which is worse. Already the boy with the bread is slipping away from me.

I take his hand, holding on tightly, preparing for the cameras, and dreading the moment when I will finally have to let go.

***

The Testing (Book 1 – Joelle Charbonneau) – I blink as the small room fills wth a voice that sounds like my own and listen as the voice speaks words I don’t want to believe.

***

Angel fall (Book 1 – Susan Ee)- I never realised why a triumph it is to simply be alive. My sister is with us. Raffle is flying. Everything else is secondary. And for now, that is enough.

***

End of Days– (Book 3 – Susan Ee)- My whole world turns into Raffe sensations as our lips explore each other.

***

Matched (Book 1 – Ally Condie)- My words never last long. I have to destroy them before anyone sees them. But. I remember them all. For some reason, the act of writing them all down makes me remember. Each word I write brings me closer to finding the right ones. And when I see Ky again, which I know will happen, I will whisper the words I have written in his ear, against his lips. And they will change from ash and nothing into flesh and blood.

***

Divergent  (Book 1 – Veronica Roth)- Abnegation and Dauntless are both broke, their members scattered. We are like the factionless now. I do not know what life will be like, separated from a faction-it feels disengaged, like a leaf divided from the tree that gives it sustenance. We are creatures of loss; we have left everything behind. I have no home, no path, and no certainty. I am no longer Tris, the selfless, or Tris, the brave. I suppose that now, I must become more than either.

***

Allegiant (Book 3 – Veronica Roth)- Since I was young, I have always known this: Life damages us, every one. We can’t escape that damage. But now, I am also learning this: We can be mended. We mend each other.

But what can we learn from these last lines?

ONE – The difference between book 1 and book 3

The most obvious difference between first books and last books that in a series, is that the first book, although drawing its story to a conclusion, leaves something open.

For example, the Hunger Games says: “and dreading the moment when I will finally have to let go.”

The key word for me is dreading. It tells us not only that there is more to come, but it is foreshadowing a gloomy future – telling us that there will come a time when she will let go for the last time.

Again, in Divergent (the first book), Tris says:

“I suppose that now, I must become more than either.”

Similarly here Tris spent the previous paragraph rounding every storyline off, but the

TWO – YA Philosophy

There’s this thing in YA books, I don’t know how to describe it other than ‘YA Philosophy’. I think because of the emotional rollercoaster YA’s go through and the fact they are still learning about life, there is always a big emotional truth revelation in a YA novel. An “oh yeah?!” moment when they learn something they will never forget.

It’s a fundamental truth that most adults will likely just ‘get’ intuitively. But here’s the clincher, I think the reason so many adults still like YA novels is because we forget our inner child and the lessons we learnt. Sure, we know them deep down. But we become numb to life because of the monotony of the suburban nightmare and the daily grind. Which means when the protagonist says something philosophical and emotionally fundamental, we are propelled back to our youth and our own “Oh yeah” moments. A poignant reminder that life is still beautiful in its innocence.

In essence, this is the characters arc – their personal journey but in YA its typically much more emotional than in other genres.

Two basic examples from the Hunger Games:

“Destroying things is much easier than making them.”

“You don’t forget the face of the person who was your last hope.”

***

In the final books, these revelations happen more frequently and more intensely, and Allegiant, the last in the Divergent series, the last line is precisely one of these YA Philosophy moments:

“But now, I am also learning this: We can be mended. We mend each other.”

Two examples from divergent:

“Then I realize what it is. It’s him. Something about him makes me feel like I am about to fall. Or turn to liquid. Or burst into flames.” 

“We believe in ordinary acts of bravery, in the courage that drives one person to stand up for another.” 

***

THREE – Endings are endings for a reason

Endings are endings – so although in lesson one I learnt that in book 1 specifically something is left open, that ‘thing’ is tiny. Because ultimately, the previous paragraphs or chapters depending on how an author has paced their novel, rounds off all the story lines in that book.

YA readers generally are impatient. I know I am, and I love to feel satisfied at the end of a book, which means no unfinished business.

It feels like this is a careful line to tread because a lot of YA books at the moment are trilogies. So you have to leave something open. Generally, although obviously ever author is different, these novels resolve the major conflict, or plot problem, and leave a hook for the next one (see point one).

Interestingly, when I went back and checked the first books, three of the five mentioned the male love interest in the last paragraph – that was the hook into the next book’s storyline. Two didn’t, (divergent and the testing) and both those were about the self growth and journey of the protagonist.

FOUR – Foreshadowing

I talked about foreshadowing recently in 6 Tricks to the Perfect Reveal. One of the things I mentioned was it is never too early to foreshadow. Including, before book two even starts. All of these books are foreshadowing, whether its the reuniting of lovers, a self sacrifice or a war that still needs to be fought. The last line is key to setting up the premise for the next novel.

***

Every genre is different, but what do you find is essential for a book ending?

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