Category Archives: series

Six Questions to Ask Beta Readers

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by Debbie Burke

@burke_writer

Cover by Brian Hoffman

Whew!

I just typed “The End” on the draft of Fruit of the Poisonous Tree, the ninth book in my Tawny Lindholm Thriller series.

But “The End” doesn’t mean THE END. Far from it.

Now the fun begins.

Print out the manuscript.

Pro Tip: print the hard copy in a different font than the one used onscreen. Errors and typos pop out more visibly.

Grab the red pen and let it bleed all over the pages. Look for inconsistencies, plot holes, chronology problems, dangling subplots, name or description changes (blue eyes to brown, blond hair to auburn), etc.

Oops. I changed one character’s name from “Fram” to “Framson” and hit “replace all.” But I forgot to put a space on either side of the name. Therefore, every time the letters “fram” appeared, it was changed to “Framson.” The same petite frame now read The same petite Framson.

Once you transfer corrections from the hard copy into the digital copy, it’s time to send to beta readers. Their fresh eyes are invaluable because the author is too close to the story and can’t judge it objectively.

How can you help beta readers help you?

  1. Choose beta readers carefully.

They don’t necessarily need to be other writers, but they do need to be avid readers. Their function is to assess your book as if they plucked it off the bookstore shelf.

Find people who read in your genre. You probably shouldn’t choose a fan of blood-and-guts action thrillers to beta read a picture book for young readers.

But don’t eliminate a possible beta simply because they don’t often read your genre. A viewpoint from a different perspective frequently gives additional dimension your story wouldn’t otherwise have.

  1. Find people you can depend on to read in a timely manner. If you have a deadline, let them know it.
  2. Find appropriate experts.

Do your books have legal, medical, law enforcement, professional, technical, and/or historical elements?

Are you writing about a society, nationality, culture, ethnicity, religion, or other group that you’re not familiar with?

If so, ask for an expert’s help to make your depictions authentic.

Experts are often busy professionals in their field and may not have time to read the entire book. You can send them select passages that you’d like them to review.

For instance, in Deep Fake Double Down, I wanted short, understandable descriptions about how to create and detect deep fakes, but not too many details to bog the story down. I sent several short excerpts to the expert (say that three times fast). He made suggestions and corrected out-of-date information. The review only took him an hour (including our phone conversation) and my story had accurate details.

  1. Ask specific questions.

Do character actions seem plausible and realistic?

Is the plot interesting? Can you follow it?

Does the writing flow smoothly?

Were you confused? Please note where.

Did you lose interest in places? Please note where.

Are there dangling threads that need to be wrapped up?

Please note anything that bothered you.

If you are concerned about particular issues, let betas know so they’re on the lookout.

5. Series writers need to consider additional factors when asking for feedback from beta readers.

Are your books a series?  Or are they serials?

Generally, a series (Sherlock Holmes, Sue Grafton’s Alphabet Series) features continuing characters in a common location, during a similar time frame, often with consistent themes. Each book stands alone with a self-contained plot arc of beginning, middle, end. A reader does not necessarily have to read the books in order.

PublishDrive.com defines serials as:

“…literary works published in sequential installments rather than as complete, standalone books. A serial is a continuing narrative that must be read in the proper sequence to understand the plot.”

Serial examples are The Hunger Games trilogy, Harry Potter (seven books), and Breaking Bad on TV.

Serials can be:

Duology (2 books)

Trilogy (3)

Tetralogy (4)

Pentalogy (5)

Hexology (6)

Heptology (7)

Octology (8)

Ennealogy (9)

Decology (10)

For this post, I only talk about series, not serials.

Generally, readers prefer to read series books in order even though that’s not necessary.

With each book, series writers need to establish the ongoing characters and their relationships to each other, the world where the story takes place, and the time frame.

My Tawny Lindholm Thriller series features investigator Tawny Lindholm and attorney Tillman Rosenbaum. All books (except one) take place in Montana. A common theme is justice will be done (although not necessarily in the courtroom!). Each is written as a standalone.

In the first book, Instrument of the Devil, Tawny is a 50-year-old recent widow who unwittingly becomes entangled in a terrorist plot to destroy the electric grid. Tillman is the attorney who keeps her from going to prison, then hires her to be his investigator.

Although their relationship arc changes and evolves through the series, the plot of each book is separate and self-contained.

For series authors, the balancing act is always how much review is needed to orient new readers vs. too much rehashing from past books that bores ongoing readers.

My regular betas know the series history. But with each new book, I seek out at least one fresh reader who hasn’t read prior books. For that person, I ask specific questions like:

Are relationships among characters clear and understandable?

Can you follow the plot easily?

When events from past books are referred to, can you still follow the current story?

Are past references confusing or unclear?

Do you want more information or clarification?

  1. What about spoiler alerts in a series? Over a number of books, continuing characters often undergo changes in marital/relationship status, children, mental or physical abilities, and even death. They can move to a different location. They shift jobs or functions.

The overall theme may even evolve. One great example is Sue Coletta’s Mayhem series. Hero Shawnee spends several books under attack from serial killer, Mr. Mayhem. Then (spoiler alert) they become unlikely allies as eco-warriors against common enemies that threaten wildlife.

Some spoilers are inevitable. The most obvious is the hero survives the life-or-death catastrophe from the prior book. Otherwise, s/he wouldn’t be around for succeeding stories.

Where does a series author draw the line about giving away secrets?

In Fruit of the Poisonous Tree, I wrangled with a difficult spoiler and even asked for advice from TKZ readers.

The surprise ending from the third book, Eyes in the Sky, comes back to haunt the ongoing characters in the ninth book. I had to weigh whether it was more important to preserve the surprise from Eyes or tell a current story built around that in Fruit. Ultimately, I gave up worrying about revealing it and wrote the new story that demanded to be told.

Fruit of the Poisonous Tree is now out to beta readers, and I’m interested in their reactions to this spoiler.

~~~

Beta readers are important friends for writers to have. To thank them, I always acknowledge them in the published book, give them a signed copy, and, if possible, take them out for lunch or dinner, or send them a small gift.

Make your beta reader’s job as easy and painless as possible. The resulting rewards are well worth it!

~~~

TKZers: Have you used beta readers? Any ideas for other questions to ask them?

Have you been a beta reader? Did the author include questions or concerns for you to watch for? Did that help?

~~~

Deep Fake Double Down was chosen as a Top Pick for the Silver Falchion award, sponsored by Killer Nashville, and was the Mystery Finalist for the BookLife Prize.

Available at major online booksellers.

 

Visit debbieburkewriter.com for more information and release dates for Fruit of the Poisonous Tree.

Spoiler Alert!

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By Debbie Burke

@burke_writer

Today I’m seeking advice from authors who write series fiction as well as people who enjoy reading series books.

Here’s the situation: I have an idea for the ninth book in the Tawny Lindholm Thriller series, but this new plot would reveal several surprise twists from prior books. These are major league spoilers.

Ideally, readers begin a series with #1 and read the books in order. They watch continuing characters grow and change with each succeeding book.

But as authors we can’t count on the series being read in order and must keep that in mind as we write.

Here’s some conventional wisdom about series writing:

  • Treat each book as a standalone.
  • If there are references to events that happen in earlier books, skirt around them to avoid giving away surprises.
  • Include only enough backstory from earlier books so the reader isn’t confused.
  • No spoilers.

Series contain one unavoidable spoiler: in each book, the lead character grapples with danger that is sure to kill them. But there are more books in the series so the lead must survive. As long as you keep readers up past their bedtime, they don’t mind that spoiler.   

With a series, relationship arcs develop over multiple books.

In book #1, let’s say two characters dislike each other but must work together to overcome obstacles.

In book #2, their relationship has changed after being in the trenches together. Changes might be:

  • They’re now allies and friends.
  • One emerges as the lead while the other becomes the subordinate.
  • Characters alternate positions. A secondary character in one book becomes the lead in another.
  • They continue to clash with each other in a running conflict.
  • They become lovers.

In book #3, the plot pushes them closer together with more shared adventures and lessons learned. The relationship grows deeper. More variations are possible:

  • One is killed off, leading to new problems for the survivor.
  • They are no longer personally connected but must still interact (e.g. on the job, as family members, sharing a child, etc.).
  • One finds a new interest, which leads to conflict with the other.

And so on, and so on.

Like real life, interpersonal relationships in fiction are complicated by death, distance, illness, injury, divorce, children, new romances, blended families, and more.

A while back, I received an email from a someone who had read the first book in my series, Instrument of the Devil. In that story, Tawny Lindholm is the lead character who’s targeted by a terrorist. Soon she’s in insurmountable legal trouble and facing prison. In the last quarter of the book, a brilliant, arrogant attorney named Tillman Rosenbaum shows up to represent her. She desperately needs his help but can’t stand him.

Initially, Tillman was supposed to be a walk-on character, a one-off. However, he was so much fun to write that I couldn’t get rid of him. He demanded the role of male lead and I had no choice but to give it to him.

At the end of IOTD, Tillman gets Tawny out of legal trouble but she’s broke and desperate. He offers her a job which, despite her dislike for him, she reluctantly accepts.

In book #2, Stalking Midas, Tawny constantly worries Tillman is going to fire her because the job is over her head. She gradually learns reasons behind her boss’s harsh facade and recognizes why he’s so cynical. Tillman, who doesn’t trust anyone, discovers Tawny can be trusted and she becomes indispensable.

Spoiler alert: by the end, they break their own two cardinal rules:

  1. Don’t dip your pen in the company inkwell.
  2. Don’t sleep with the guy who signs your paycheck.

“What??? Really???”
Photo by Amber Kipp on Unsplash

Despite ups and downs, their relationship grows. Responding to the email from the new reader, I mentioned in passing that their wedding occurs in book #5. The incredulous reader wrote back, “Tawny marries Tillman????”

Oops. Let that cat out of the bag. Fortunately, the reader continued with the series.

Here’s my dilemma today: the potential plot for book #9 would require revealing crimes and the killer’s identity from book #3, Eyes in the Sky.

At this point, I haven’t written one word of #9. The new plot vaguely swirls in my imagination but it’s far from pinned down.

That’s why I figured now was a good time to ask for help from the intelligent, thoughtful community at TKZ.

If you write series fiction, have you ever given away spoilers from earlier books?

Do you think that helps or hinders the series?

Did you receive feedback from readers about spilling secrets? What did they think?

Did it affect their reaction to subsequent books in the series?

Were they disappointed? 

If you’re a reader of series fiction, how important is it to you to be surprised?

Do you read series out of order?

Did spoilers from earlier books diminish your reading experience of a new one?

I’m interested in your thoughts, pro and con. Thanks for being my focus group!

~~~

 

Spoiler alert: the two main characters in the Tawny Lindholm Thriller series survive at the end of each book…so far!

Amazon sales link

 

An Easy (Easier) Way to Build a Series Bible

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Indexing our Fiction

The “One and Done Technique”

The “Hansel and Gretel Magic Breadcrumbs Technique”

by Steve Hooley

 

Today we are discussing indexing our fiction. That is something that is not often done, so you are probably asking why would anyone want to do that.

Recently, Sue and JSB posted on the importance of a having a series bible if you are writing a series. If you’re like me, you agreed that we need to have one, but you groaned at the thought of all the work involved in creating one.

So, today, we’re going to look at a technique that should make the process of building a series bible quicker and easier.

We will call it the “One and Done Technique.” Or you can call it the “Hansel and Gretel Magic Breadcrumbs Technique.”

And now, you’re probably wondering why there is a picture of a target at the top of the post. The answer: I’m going to lay out a plan that you will think is either hair-brain crazy or worth improving and considering. So, you can shoot it full of holes and sink it (thus the target), or you can help improve the idea into something that works for you.

Why Indexing?

In nonfiction the index links the reader back to the desired subject by the use of page numbers in a physical book or by hyperlinks in an eBook. For our series bible “indexing” we’re going to use an outline of our series bible as the index, and use a code (our “magic breadcrumb”) to link (find) a word, line, or paragraph in our manuscripts via the Find search tool.

It would be nice to hyperlink the two locations (outline and text info), but I don’t think that could be done between two separate Word documents. And, in some cases, we want the code to link to more than one text location. So, in today’s discussion we will use the Find tool.

Hansel and Gretel used breadcrumbs, hoping it would help them find their way back out of the forest. Of course, that didn’t turn out too well. Our magic breadcrumbs are going to contain a code (and a bird repellant) to get us back out of our series bible outline, and to a specific item or fact in the text of our manuscript.

The Process

  1. We will set up our series bible with an outline of all the subjects/facts we want it to contain. And this is where reviewing Sue’s and JSB’s posts will be very helpful.
  2. Each item in the outline will be given an alpha-numeric code that will be case specific.
  3. Next, we print out a copy of the outline and codes.
  4. And then we read through our searchable copy of our manuscript ONCE. With printed outline in hand, we look for any place in our manuscript where there is a fact we want in our series bible. We refer to our outline, and insert the proper code (magic breadcrumb) in front of the fact or data. If we find something we want in our series bible (but is not in the outline or has not been given a code), we add it to the outline and give it a code at that time. Remember, the idea is to go through the manuscript only once.

Once and Done

When we’ve made it through our searchable manuscript once, the hard work is done. We didn’t have to search through our manuscript multiple times for multiple facts. We read it and tagged it once. We wipe our hands together and smile.

Now we have two choices: We can use the codes to pull the answers for a separate document (our series bible), or we can consider our outline and codes to be our series bible and be done. Guess which choice I plan to make.

How do you search for the code in your manuscript?

You use your Find tool. And be certain to check the boxes for “complete word” and “case sensitive,” so that you will get only the code you are looking for. And, note that you may have linked multiple locations in your searchable manuscript to that code.

In Word: The Find tool is on the far right of the top ribbon or tool bar. Click the down arrow, then “advanced find.” At the bottom of the box that opens, click “More.” Then check the boxes “match case” and “find whole words only.” You are then ready to insert your code into the box at the top and find your data in your manuscript.

In Pages (Mac): Under Edit, click Find. Click the down arrow beside the “settings” symbol (which is to the left of the find box). Then check “Whole Words” and “Match Case.” Then fill in your code in the find box, and you’re on your way. By the way, Pages can open Word documents, if you do your editing on Word on a PC, and you write on a Mac laptop (where you want your series bible to be handy.)

In Scrivener: If you’re using Scrivener on a Mac, the process is much the same. You find “Find” under the Edit tab. Click on the “Find…” in the drop-down menu. Underneath the Find and Replace boxes, unclick “ignore case.” Click on the menu choices in the box above “ignore case.” Click on “Whole word.” And you’re ready to search.

If you’re using Scrivener on a PC, ask someone familiar with both. I have an old version of Scrivener on an old laptop with Windows 7. I’m afraid my advice wouldn’t be up to date.

Below is the beginning of an outline and codes (for an example)

CH – characters

     a – main character

     b – secondary characters

     c – allies

     d – antagonists

     e – shape shifters

     f – misc. characters

     g – pets and animals

          1 – name

          2 – description

          3 – age

          4 – birthday/anniversary

          5 – special power/role

          6 – favorite food, etc.

          7 – character arc

So, in the above, the code for a shape shifters’ description would be CHe2.

You can choose to make your outline as detailed or general as you wish. You can choose to join all your manuscripts together into one manuscript, or keep them separate. Make sure to not create a code that is specific for one book if you are searching manuscripts separately as separate documents (so the same code will work for any of your books). If you join all books into one document, you will need to consider whether you want a code to be specific for one book in the series or for all books.

Here’s where those of you who’ve created a series bible can help the rest of us. How did you organize your series bible? Or, did you create an outline of your series bible, and how is that organized?

Conclusion

This process seems so simple, I would not be surprised to learn that someone has already described this approach. I searched the internet and could not find it.

When I searched “Indexing Fiction,” I found Stephen Ullstrom’s blog site and an article he had written on Indexing Fiction: Thoughts and Suggestions.

Ullstrom is an expert on indexing. In his article, he states that indexing fiction is rarely done, but not a new concept. He suggests three areas where it might be useful: creating a joke index in a humous book, creating an index for historical novels that are being studied with a focus on customs, beliefs, objects, and other historical details, and finally, in an extensive series (such as sci fi or fantasy) where it is difficult for the reader to keep track of all the characters, world building, fictional cultures, and geography.

Ullstrom did not mention use of an index system for building a series bible. I contacted him and asked for any thoughts he had on the subject, and invited him to join us today to help direct the discussion. He has commitments today, but may stop by. If you’re reading this, Stephen, welcome to The Kill Zone, a great place to hang out when you add fiction to your writing projects.

For those of you planning a nonfiction project, Ullstrom offers a free 7-day email course on how to index.

Okay, time for discussion:

  1. Do you think this idea is worth pursuing? Or should it sink?
  2. What modifications can you think of to make it better?
  3. Would a “streamlined” approach like this make you more inclined to create that series bible you have been avoiding?

Creating a Series Bible

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by James Scott Bell
@jamesscottbell

It may be the most famous (infamous?) case of writer’s block in the annals of American lit: George R. R. Martin is having trouble completing his epic fantasy series A Song of Ice and Fire (of which A Game of Thrones is the first volume). It’s been over ten years since the last book, A Dance with Dragons, came out, and there is no pub date in sight for the next one, titled The Winds of Winter. 

So what’s the trouble? Martin himself admits:

Looking back, I wish I’d stayed ahead of the books. My biggest issue was when they began that series, I had four books already in print, and the fifth one came out just as the series was starting in 2011. I had a five-book head start, and these are gigantic books, as you know. I never thought they would catch up with me, but they did. They caught up with me and passed me.

Another clue to the blockage comes from something he told his friend Diana Gabaldon, “I’m having all kinds of trouble. Have you ever killed somebody off that you later realized that you needed?…I just painted myself into a corner.”

Now, Martin is a famous “pantser” who writes and writes and tosses and writes some more. But with the enormous cast of characters and plot lines in this series, it’s surely impossible to keep track of everything just by way of the gray cells.

Enter the series bible. This is a master document that keeps track of all the essential information you write, from book to book. It’s both a time saver and a mistake avoider.

When I began my Mike Romeo thriller series, I knew it was going to be more than three and less than 100 books. (Ha!) So I started a series bible that I add to when each new book is completed. I use Word for this, utilizing three layers of TOC headings. For example, I have epigraphs in each book. So part of my TOC looks like this:

EPIGRAPHS

Romeo’s Rules

There’s only one thing I need to know: Whose side are you on? – Paul Simon, “Paranoid Blues”

Wherefore art thou Romeo? – William Shakespeare, Romeo and Juliet, Act II, Scene 2

Romeo’s Way

Sing, goddess, the wrath of Achilles. – Homer, The Iliad

Everybody has a plan until they get punched in the face. – Mike Tyson

The most important sections of my series bible are:

Titles and Plot Lines

Under each title I have a squib of the basic plot line, which is usually all or a portion of the book description copy I use on Amazon.

Main Characters

Each recurring character has an entry so I can recall how they were described the first time they showed up. Nothing worse than having blond hair in Book 1 and auburn in Book 5.

I also have a summary of their backstory. Sometimes I drop in more backstory in a later book. I’ll paste that material into the master backstory for that character. This way I don’t repeat the info (unless it’s in short summary form for readers who are getting into the series other than by way of the first book) or write something that contradicts previous material.

Books

Romeo is always reading a book, or recommending one to his young friend Carter “C Dog” Weeks. This list keeps me from referring to the same book in different novels.

Philosophy References

Romeo is steeped in philosophy, and usually makes several references in a novel. To keep track, I list them in this section. That way he is not expounding on Plato’s Cave in more than one book.

Latin References

Romeo also likes to drop some Latin, which usually confuses bad guys. My go-to reference is Amo, Amas, Amat and More. I keep a running list so Romeo does not repeat himself (except for the tattoo on his forearm: Vincit Omnia Veritas. Characters ask what it means, others ask if his name is Vincent, etc.)

Fight Scenes

Romeo used to be a cage fighter and thus makes use of a wide variety of moves and blows. I choreograph the fight scenes using books and YouTube videos. I don’t want the same moves over and over. This section is a refresher on what I’ve done before.

Miscellaneous

I have sections with possible titles, possible plots (mainly What ifs), possible wisecracks, and bits of wisdom to impart. These things occur to me at various times and places. As soon as possible I record them here so as not to forget them.

That’s basically it. One thing I’ve been asked is if I keep a running list of every single character I put in a book. I used to do that on a spreadsheet, but not anymore. So how do I avoid using the same name when creating a new character?

First, I come up with a list of potential names using the Scrivener Name Generator (which is seemingly infinite in its offerings). I’ll choose one and run the first and last names through a Spotlight search on my Mac. Thus, if I’m thinking of naming a character Mandi I do a search…and up comes Romeo’s Town. Ah yes, now I remember! Then I can pick another name and run that one through Spotlight.

My series bible has saved me a lot of time and searching around in previous books. My way is just one method. Scrivener guru Gwen Hernandez has an article on how she uses the program for her bible. See also Sue’s post here. There are lots of ways you can do it…so long as you do it.

If you are a series writer, do you have a bible? What goes in it? How do you use it? Additional tips are welcome.

Tips to Create a Series Bible

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By Sue Coletta

Lately, I’ve been consumed with creating a series bible for my Grafton County Series. So, I thought I’d share some tips to help you avoid making the same mistakes. Mistakes like thinking highlighted notes on my Kindle were enough to jog the ol’ memory bank. Mistakes like scribbling notes on scrap paper or a whiteboard. Mistakes like tabbing umpteen pages in the previous paperbacks.

Yep. I’ve done all of the above and more. Hence why I’ve had to reread every book in the series. It’s been months since I’ve written in the Grafton County Series. When I set out to plan my WIP, I’d forgotten a lot of details. In my defense, I did write a true crime book, another Mayhem Series thriller, and new true crime proposal in between.

Though it’s fun to spend time with my characters, it’s also a ton of added work, work that could’ve been avoided if I had a series bible in place. Don’t be like me. Even if you’re writing book one, start your series bible now.

Format

We first need to decide on a format for our series bible. Some writers use Scrivener. Others prefer Evernote or a Word.doc. The most popular choice is to print the series bible and organize in a three-ring binder. Pick the format that works best for you.

Organize by Color

Choose one color for each book in the series. Every detail you list in the series bible should correspond to the book’s color.

Example…

Book 1: Blue

Book 2: Red

Book 3: Purple

Book 4: Green

By color-coding, if you need a detail from the series bible while writing, one glance will tell you when the fact occurred.

Details to Include

  • Description of main characters
  • Description of secondary characters
  • Description of villains, including monikers (if applicable)
  • Victims
  • Characters’ profession
  • Killers MO (if applicable)
  • Pets, including deceased pets (if applicable)
  • Tattoos/piercings (if applicable)
  • Scars, emotional and physical
  • Jewelry
  • Marital status/relationships
  • Important dates
  • Family ties
  • Themes
  • Setting
  • Backstory
  • Housing
  • Accent (if any)
  • Décor
  • Cherished treasures
  • Timelines
  • Future scene ideas

Most of the above list is self-explanatory, but I do want to point out a few things.

Character Description

An important part of the series bible is character description. Savvy readers will notice if your MC has a small ankle tattoo from her college days in book one, then claims s/he’d never be stupid enough to get one in book five or six.

In this section be sure to include the basics: hair & eye color, height & weight (approximate, if you’ve never detailed this attribute), style of dress, skin tone/complexion, tattoos & piercings (if applicable), favorite perfume/cologne, injuries and physical scars.

When I listed Sage’s injuries/physical scars, I couldn’t believe what I’d done to this poor woman. Here’s a small sample from my story bible.

  • thick neck scar that tugs at the skin
  • white lines zigzagging across her right forearm
  • lost unborn child from rape
  • scar from incised wound on right wrist
  • orbital floor fracture (broken eye socket)
  • fractured cheekbone
  • broken nose
  • faint scar from stitches on left wrist
  • faint scar from stitches on upper lip
  • faint scar from stitches on right cheek
  • faint scar from stitches on forehead

And that’s only the first two books!

Emotional Turmoil

Since I write psychological thrillers, it’s vitally important for me to track each character’s emotional toll. Past experiences define and shape our characters into the people they are today. An emotional sketch of each character allows us to find triggers and/or weaknesses to exploit in future books. *evil grin*

Incidentally, I do the same for pets. For example, Sage and Niko have two dogs, Colt and Ruger. These dogs have lived through harrowing experiences, and they’ve developed certain habits that stem from those experiences. Animals feel things as deeply as we do. If the pets emerge unscathed, the characterization won’t ring true.

Details

Tiny details matter. For example: When Sage gets nervous, she plays with a Gemini pendant, sliding it back and forth across the necklace. Now, the pendant is turquoise and silver, but for some reason, I wrote “gold” chain in book one. Because this necklace holds sentimental value, Sage would never switch the pendant to a different chain. This minor detail has never been a problem for me. Rarely, if ever, do I mention the color of the chain. Too much description slows the pace.

But what if I decide to kill her some day? Or fake her death? That necklace could become a key piece of evidence. See what I’m sayin’? Even if we never intend to use the minor detail when we list it, we still should include it in the series bible in case we change our mind.

Smell

The nose knows! In my Grafton County Series, the medical examiner practically bathes in Aramis cologne. Anyone within fifteen feet knows he’s entered the crime scene before they ever spot him. It’s become a running joke. I could never forget that detail, but I still include it in the series bible under his name just in case.

What did slip my mind was Sage’s perfume. This might not sound like a big deal, but for this series, it’s an important detail. During tender moments, Sage’s husband Niko breathes her in. The soft aroma of Shalimar mushrooms across his face, with notes of lemon, iris, jasmine, rose, patchouli, sandalwood, and vanilla. He loves that about her. If I didn’t include this detail in the series bible, future books wouldn’t ring true.

Side tip: If you’re struggling for a scent, ask your husband/wife or significant other. We all have a scent that’s uniquely ours. Maybe they love your shampoo, skin cream, body wash, after-shave, or scented deodorant. Once you find the answer, transfer that scent to your lead or secondary character. Or show your character cooking, baking, or eating. Food is an easy way to include one of the most under-appreciated senses in fiction: smell. If the character is eating, be sure to include taste, too. Bonus!

Décor

Does your character have a favorite chair? List it in the series bible.

Does your character hate the hard sofa? Jot down why in the series bible.

Did you focus in on an antique timepiece or cuckoo clock in a past book? Describe it in the series bible.

What about a wall safe or gun cabinet? Be sure to include the combination in the series bible.

Example: After a hard day at work, Niko collapses in his Lay-Z-Boy. I’ve never described the recliner in detail. Never had a reason to. Instead, I simply wrote “Lay-Z-Boy” under Niko’s name in the series bible.

He also has a favorite coffee mug, with #1 Dad inscribed on a gold shield. If Sage poured his coffee into a different mug, fans of the series would wonder where it went.

Minor details can impact series characters in an emotional, conflict-driven way.

What if Sage came home to find Niko’s mug shattered on the kitchen floor? Better yet, what if she found it on the bedroom floor? I’ve made it a point to mention this mug in every book. It’s a Grafton County series staple. One glimpse of the shattered mug, and Sage would leap to the conclusion that someone’s been in the house. In reality Colt or Ruger might have knocked it off the counter or bureau. How it wound up on the floor isn’t important (yet). What is important is that I’ve created conflict just by showing the shattered mug.

Future Scenes

A funny thing happens while creating a story bible. Scene ideas flood the creative mind. While working on my series bible, not only have I finished planning my next Grafton County Series thriller, but I gained at least one new premise for a future book, as well. I even stormed through writing the first few chapters of my WIP. And that may be the best reason of all to create a series bible—to get the creative juices pumping in the right direction.

Can’t think of a plot for your next WIP? Review the story bible. It’s a lot easier than re-reading the entire series. Trust me on that. 🙂

Need tips for writing a series? Check out the group TKZ post.

Do you use a series bible? If you do, any tips to share? If not, what’s your process to ensure consistency throughout the series?

His name is Paradox and he poses his victims in RED cocktail dresses, RED roses in place of eyes. He will kill again if his riddles aren’t solved within 24 hours.

Can Niko and Sage stop him before the clock runs out?

Look Inside SCATHED: https://books2read.com/SCATHED

 

 

Branding Through Cover Art

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Nancy J. Cohen

Series branding can be just as important as author branding. What’s the difference? Author branding tells who you are and what kind of stories you write. For example, my works blend elements of murder, mystery, romance, and humor. Readers know they’re in for an entertaining yet suspenseful ride with a satisfying ending. I also write stories set in Florida, and this tropical flavor adds a layer of depth to my work.

Currently, I’m working to revise and reissue my earlier mystery titles. I hired a new cover designer and liked her idea of putting a collage together of photographic images. Similar to an art sheet from a publisher, I filled her in on what might make an appropriate scene and what elements it might include. I looked at the images she subsequently sent me and picked ones that seemed perfect.
All went well until she put them together in a cover mockup. My stomach sank. It didn’t work for me. The images were fine. So were the colors and title placement. But the whole didn’t speak to me as a cozy reader. Where was the humor element? The fun factor that would make me smile and want to buy this book, like these covers below?

ManicureMM    Shear Murder

And so I did a search on Amazon for “cozy mysteries.” The overwhelming majority of them were illustrations, not photographs. I’d given this designer a list of covers that appealed to me, but she didn’t seem to “get” the genre. My original cover artist, who’d had to bow out for personal reasons, had sent me a mockup of a cover that I’d really liked. Looking at them side-by-side, I had a bad feeling about the photo-based imagery. It wasn’t right for the genre.

Even if I rebranded myself by having all my reissued titles have similar designs, would these more realistic covers attract cozy readers? I didn’t think so. It certainly wouldn’t appeal to me. As a cozy reader, I look for a certain style. Normally, you can identify a cozy just by looking at the cover. And so I regretfully parted ways with designer number two. I approached my original artist to see if she was available again, and to my joy she said yes. We’re back to fixing the details on the original cover, and I feel much happier about the process.

What is the lesson learned? It’s not only about your author brand. It’s also about reader expectations. Readers can tell from the cover what type of story to expect. Go for a change if you want to broaden your readership. But if you want genre appeal, stick to the tried and true. Flowers never did it for me as a romance reader. I still like the old-fashioned clinch covers. Remember the old gothics, with a woman in a gown running away from a spooky mansion? You could tell at a glimpse what genre it represented. So yes, your cozy or thriller cover at a glance might resemble others in the genre, but that’s what readers want and expect.

Whichever route you go, plan for series continuity via the same font, author name and title location, series logo, design style and color statement (i.e. pastels or bold and bright).

Does reader expectation figure into your cover art or does this aspect not concern you?

The First Conundrum

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Nancy J. Cohen

Often people will start reading a series with book number one. “You can begin with any story,” I’ll tell folks interested in reading my Bad Hair Day series. But they insist on starting at the beginning. “That’s fine,” I’ll say, but is it really?

coverPTD

I am thinking how that first book is not the best example of my writing skills today. How long ago was it published? In 1999. And the book had probably been in production for a year before. So that means I wrote it sixteen or more years ago. Don’t you think my writing has improved since then? Yet here is this potential fan evaluating my entire series based on that one book. You’d hope she would cut me some slack.

At least I got the rights back to my early futuristics. I revised those stories before making them available in ebook formats. No problems there.

I do not have the same opportunity with my mysteries. But even if I did, would it be a good use of my time to revise all of my earlier stories? Or is it best to leave them in their pristine state, an example of my earlier writing style? If so, let’s hope that the readers out there coming to my series for the first time will approve and understand.

Sometimes the opposite is true. A writer’s early works are his best efforts, before he gets rushed to meet deadlines or to quicken production. In such cases, the later writing might suffer. I’ve seen this happen with some favorite authors.

So what do you think? If you want to read a new series, do you begin with book one or with the latest title?
 
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Now for some BSP. My new book, Warrior Lord (Drift Lords Series #3) is being released on Friday, August 1.
http://www.wildrosepublishing.com/maincatalog_v151/index.php?main_page=index&manufacturers_id=831
August 1, Friday, Book Launch Party for Warrior Lord, 10 am – 4 pm EDT. Join the fun. Giveaways all day! https://www.facebook.com/NewReleaseParty

Sowing Seeds for a Sequel

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Nancy J. Cohen

How do you drop hints for a sequel into your current story, not only to let readers know more books are coming but also to whet their appetite for the next installment?
 
You can (1) title your book as part of a series, (2) include an excerpt for the next book after the last chapter, (3) plant clues foreshadowing another problem to come, or (4) drop an overt hint toward the end of your story.

Number four is what I did in Hanging By A Hair, book #11 in my Bad Hair Day mysteries due out on April 18th. At the end of this story, I drop a hint that leads directly to the sequel, Peril by Ponytail. The mystery in Hanging By A Hair is solved, so readers go away satisfied, and the main character learns a lesson. But anticipation is half the fun, and I’m hoping fans will be eager for the next installment. I did the same thing in Killer Knots when Marla announces she and Dalton have set a date for their wedding. That leads into Shear Murder, the wedding story and #10 in my series.

ShearMurder

But what if you haven’t plotted the sequel, written the first chapter for it, or even planned on one? And then suddenly readers are demanding the next book. What do you do?

Hopefully, you can still make additions in your current WIP. So here are some tips on how to drop in some subtle hints of what’s to come:

  • First plot your overall series story arc for the next few books.
  • Identify the main characters. Is this a series with a single protagonist in each volume, or are the stories spin-offs, wherein secondary characters in one story become the heroes in another? Either way, try to determine what personal issues will be driving these people in the next book.
  • Write the opening scene to get a feel for the story.

Now go back to the WIP and look for places where you can drop in hints of what’s to come.

In the Drift Lords series, a sweeping battle between good and evil is heralded. What happens after this battle when my heroes triumph? Is the series over? Not necessarily, because you all know that after one bad guy goes down, a worse one pops up to threaten humanity.

Spoiler Alert! I created an unusual situation by writing my first three books in chronological order because the story comes to its rightful conclusion in this trilogy. The next three books, as I’ve planned it, will take place in the same time period as books 2 and 3. I know it’s confusing, but bear with me. What will make this next set of books special, if fans know our main villains get vanquished in book 3? It appears our Drift Lords are not finished just because they’ve prevented disaster. A worse villain awaits them around the corner.

WarriorRogue750

I created a new story arc for books 4 through 6. Look at Star Wars. George Lucas made a wildly popular trilogy. Then he did another 3 movies, calling them prequels. Now the series will continue with a new story line into the future.

I drop hints in Warrior Lord (Drift Lords book #3) for the next trilogy in my series. I see them as sets of three with the potential for a total of seven or more. And like Terry Goodkind’s excellent Sword of Truth series, just because one nasty bad guy is defeated doesn’t mean there aren’t more waiting in the wings. Is evil ever truly vanquished?

Sword Truth

Do you like hints of what’s to come in stories subsequent to what you are currently reading? I’m not talking cliffhanger endings here. I hate it when the main story isn’t finished, and you have to wait for the sequel. But personal issues can continue in the next installment, or new problems might arise that cause trouble. One has to be careful not to frustrate the reader by leaving too many threads loose, but it’s good storytelling to offer a teaser about what may be in store. Just make sure you bring the current story to a satisfying conclusion.

NOTE: This post originally appeared on my personal blog at http://nancyjcohen.wordpress.com

The Trilogy Trick – Guest Spot with Michelle Gagnon

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Jordan Dane
@JordanDane

I am very excited to have Michelle Gagnon as my guest, but she is definitely no stranger to TKZ. Many of you know Michelle was a former contributor extraordinaire to our blog and I’m excited to hear her thoughts on trilogies and her latest release. Welcome, Michelle!

Don't Look Now HC C

Hi folks, I’ve missed you! So good to be back on TKZ.

With the success of The Girl with the Dragon Tattoo and The Hunger Games, trilogies are all the rage these days. In fact, when I first pitched an idea for a young adult novel to my publisher, they specifically requested a trilogy. I agreed, because hey, what author wouldn’t want to guarantee the publication of three more books? Besides, I’d written a series before. How much harder could a trilogy be?

The first one, DON’T TURN AROUND, turned out to be the easiest book I’ve ever written. The rough draft flowed out of me in eight weeks; it was one of those magical manuscripts that seemed to write itself.

I sat back down at the computer, confident that the second and third would proceed just as smoothly; even (foolishly) harboring hopes that I’d knock the whole thing out in under six months.

Boy, was I wrong.

Here’s the thing: in a regular series, even though the characters carry through multiple books (and occasionally, plotlines do as well), they’re relatively self-contained. In the end, the villain is (usually) captured or killed; at the very least, his evil plan has been stymied.

Not so in a trilogy. For this series, I needed the bad guy—and the evil plot—to traverse all three books. Yet each installment had to be self-contained enough to satisfy readers. 

Suffice it to say that books 2 and 3 were a grueling enterprise. But along the way, I learned some important lessons on how to structure a satisfying trilogy:

  1. Each book has its own arc. Well, that’s obvious, right? But what this really means is that book 3 can’t feel like a mere continuation of book 2. Even if your villain/evil plot spans all three books, you need to provide resolution at the end of each installment. This is a good place to employ what I’ve dubbed, “The Henchman Rule.” At the end of each book, someone needs to be held accountable; otherwise your hero/heroine won’t seem to be making any headway. And the best solution for this? Get rid of the main baddie’s number 2, his right hand man. My favorite example is the stripping of Saruman’s powers at the end of The Two Towers. Sauron must wait to be dealt with in The Return of the King, but his main wizard is handily dispatched by Gandalf (suffice it to say, I didn’t have much of a social life in junior high school). 
  2. Avoid “Middle Book Syndrome.” What I discussed above is particularly challenging in the second book of any trilogy. This is the bridge book, the one where the characters need to move forward in their quest, but not too far forward. Traditionally, this is also the book that concludes with your main character (or characters) beaten down, exhausted, and uncertain of the possibility of success. Which can be a pretty depressing note to end on, unless you also provide them with a key: something that will help them surmount obstacles in book 3. That key can be any number of things: more information about the evil plan, the villain’s only vulnerability, etc. But the main goal is to set the stage for book 3, while still wrapping up enough threads to keep your readers happy.
  3. Character arcs need to span all three books. In a standalone, the main character faces some sort of incident that jettisons her into extreme circumstances (ie: Katniss’s sister losing the lottery). An escalation of events follows: the character is forced to confront her own weaknesses, and to discover her hidden strengths. At the end of Act 2, the character is usually at a low point, facing potential failure. Then, in the final act, the character rises to the occasion and ends up saving the day. In a trilogy, these same rules apply: but the conclusion of each book corresponds with the act breaks. Example: at the end of The Girl who Played with Fire (#2 in the trilogy), Lisbeth is horribly injured; she needs to overcome that incapacitation in order to finally vanquish her father in book 3.
  4. Avoid information dumps. Always a good rule, but trickier with trilogies. While working on the final installment, I kept butting up against this issue: when characters referred back to earlier events, how much background information was necessary to keep readers from becoming irrevocably lost? In the end, I provided very little. The truth is, it’s rare for people to start with the third book in a trilogy; I’m sure it happens, but it’s the exception, not the rule. So what you’re really doing is giving gentle reminders to people who might have read the last book months earlier. Provide enough information to jog their memory, without inundating them. It’s a tricky balance to strike, but I’d recommend erring on the side of giving less, not more.

So those are my tips, earned the hard way. Today’s question: what trilogies (aside from those I mentioned) did you love, and what about them kept you reading?


Michelle_Gagnon_color_09_optMichelle Gagnon is the international bestselling author of thrillers for teens and adults. Described as “The Girl with the Dragon Tattoo meets the Bourne Identity,” her YA technothriller DON’T TURN AROUND was nominated for a Thriller Award, and was selected as one of the best teen books of the year by Entertainment Weekly Magazine, Kirkus, Voya, and the Young Adult Library Services Association. The second installment, DON’T LOOK NOW, is on sale now (and hopefully doesn’t suffer from “middle book syndrome.”) She splits her time between San Francisco and Los Angeles.

Going Deeper With a Series Character

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Today’s post is brought to you by my new boxing story, “King Crush,” now available for 99¢ exclusively for Kindle. And, as a special inducement, for a limited time the first story, “Iron Hands,” is available FREE. 
Today I have a question: What do you like to see in a series character? The same “feel” over and over, or deepening and changing?
There are two schools of thought on this.
Lee Child once remarked that he loves Dom Perignon champagne and wants each bottle to be the same. He’s not looking for a different taste each time out. So it is with his Jack Reacher novels. And millions of fans are tracking right along with him.
There are other enduring series where the character remains roughly static. Phillip Marlowe didn’t change all that much until The Long Goodbye. James Bond? Not a whole lot of change going on inside 007.
At the other end of the spectrum are those characters who undergo significant transformation as the series moves along. The best contemporary example of this is, IMO, the Harry Bosch series by Michael Connelly. What he’s done with Bosch from book to book is nothing short of astonishing.
Lawrence Block’s Matthew Scudder was traipsing along as a pretty standard PI until Block made a conscious decision to kick it up a notch. He did that with Eight Million Ways to Die, a book that knocked me out. Here we have Scudder not just on a new case, but also battling his alcoholism and the existential angst of life in New York City in the early 1980s. By going deeper Block created one of the classics of the genre.
In my Mallory Caine, Zombie-at-Law series (written as K. Bennett) I have a lead character who is a zombie hungering (you’ll pardon the phrase) for change. She doesn’t want to be what she is. The just released Book 2,The Year of Eating Dangerously, begins with Mallory in the hills looking down at a motorcycle gang and thinking, Lunch.And then reflecting on her damaged soul.
Book 3, due out later this year, begins with Mallory at a ZA meeting—Zombies Anonymous. She is trying to stay off human flesh (substituting calves’ brains) but it’s not easy. And I say without hesitation that I was inspired by the above mentioned Eight Million Ways to Die.
So here’s my series about boxer Irish Jimmy Gallagher. These are short stories, and I’m going for “revealing” more of Jimmy in each one. “Iron Hands” was the intro, giving us Jimmy’s world and basic personality. Now comes “King Crush.”
The new story takes place in 1955 and revolves around an old carnival attraction they used to have in America, the carny fighter who would take on locals. If the locals stayed with him long enough, they might earn back their five bucks and some more besides. But these carny pugs knew all the dirty tricks, and it was usually the hayseeds who ended up on the canvas.
Jimmy just wants to have a good time at the carnival with his girl, Ruby, and his bulldog, Steve. He’s not looking for trouble. But sometimes trouble finds Jimmy Gallagher.
I started writing these stories because there’s something in me that wants to know Jimmy Gallagher, what makes him tick. And that’s my preference as a writer and a reader of series. I want to go a little deeper each time.
So who is your favorite series character? Is this character basically the same from book to book? Or is there significant change going on?

If you’re writing a series, do you have a plan for the development of your character over time? Or is it more a book-to-book thing?