Writing A Series

There’s a difference between writing a stand-alone novel and writing a series. It’s mostly setting up other things which might run along as you expand the universe of your series, as new characters enter and old ones might retire. You might also want a plot arc or two which reach further than just one book, which might not be fully finished within the first novel they’re in. I usually avoid that, although the Syndicate in Knight Agency 5 and ongoing might count as one.

I admit that the first Knight Agency novel, “Secret Keeper,” wasn’t planned as the beginning of a series, but while I was writing it, I soon realized that I had enough material for more stories and that I wanted to continue writing Jane’s adventures. So I continued, drawing on running gags like Steven’s ruined suit, trying to establish some specifics (like the ‘brat/old man’ thing, the berserk, or Jane’s tendency to get up late).

When I wrote the first story about the Black Knight Agency, I already knew I wanted to go on. The first novel, “Criminal Ventures,” was meant to set everything up and establish not just the other Jane, Steven, Brock, etc, but also the Black Knight Agency at the end. I made it an origin story of sorts, which is why it starts with Jane as a ten-year-old in the foster care system and not, like “Secret Keeper,” with Jane as an established agent of twenty-five.

Would I change that today? No, I wouldn’t. I feel that Jane Doe needs the origin story, the background of abusive foster homes, the strange way in which a criminal mastermind raised her - well, that reality’s Steven did. Jane Browne has some background, told through memories during the first three novels - Jane at ten, eleven, twelve, and thirteen. There’s also mention of her being caught making out at fifteen. But Jane Browne is all about being a secret agent. Jane Doe needs the background to explain her knowledge and skills as the former right hand of a criminal mastermind.

The John Stanton novellas which make up the first volume of “John Stanton - Agent of the Crown” came one by one, but it was clear to me early that I wanted to write several stories about John and his adventures, so I started building the world and the background in the first one, “The Case of the Modern Bluebeard,” and continued with it afterwards. The Loki Files, on the other hand, are finished, as far as I am concerned, so Volume 1 and Volume 2, six stories overall, will be all about this version of Loki and his adventures. I had a great run with them and they showed me I could write something again (after years of not really finishing a story), but after the sixth novella, I knew the end had come. Loki had had a lot of adventures, he was married, he’d found his final place in Asgard’s society, and he’d become the foster father of a small griffin. It was time to leave him to his own devices, as fun as most of the writing was (I did have quite a bit of a fight with “Heart of Ice,” since I, too, suffered from a slight depression for a while).

On the other hand, when I wrote my current book, “Alex Dorsey,” it became clear very early on that this one was going to be a standalone novel. I have no idea what else I should write about Alex. She’ll have had her personal development by the end of the book, the problems which I laid out for her will have been solved, she will even have found love. What else should I tell about her? She deserves a bit of peace and quiet after the time she’s had.

I also want for the Magpies to be a series, so “One for Sorrow” (out now!) will not remain the only adventure of Inez and Tom, but I’m not quite sure what the next one will bring for them - although I know the title, “Two for Joy.” I do have potential titles for ten novels about them - which is more than the Knight Agency as my longest-running series currently has. “Grave Diggers” is number eight and “Ignition Rites” (working title) will be number nine.

Writing a series of stories can be a challenge. Each book, I believe, should be a standalone, even if parts of what is happening make more sense if you read the full series. I started the Syndicate theme in “Changing Times,” because I wanted another challenge for Jane - organized crime goes deeper than just the regular variety. Then I realized it would be unlikely for it all to be over in one story, so I continued it in “Death Dealer,” diving deeper into the mechanics of the organisation. I’ve been taking a break from the Syndicate with “Grave Diggers,” though, and don’t currently plan to bring them back for “Ignition Rites.” Afterwards, all is fair game.

Perhaps that is up to my kind of writing, though. I see the stories about Jane, Inez, and John as some sort of pulp - adventure yarn for reading when you’re in the mood. It helps to read them in order, because I introduce new characters which will stay over time, such as Cedric Thornton in “A Plague of Rogues” or Manju Overton in “The Case of the Goddess’ Assassin,” which will be part of the second volume of John Stanton. If you just want to jump in with a story which sounds interesting, though, there’s no reason why you shouldn’t. I tend to mention things from past stories which will be important for the current one in the story itself, so it should be possible to enjoy the story without having read the other parts of the series.

For my kind of writing, this works. Even though certain things have an impact on the series as a such, the stories themselves are not heavily based on each other. For other kinds of writing, for epic fantasy novels, for instance, it might not work. But even then you should have plots which finish within the book they’re in. Do not try to make all plots last three or four or five books - that might tire out the audience and they may just stop reading this story and go read something else instead. People want closure and that means having some plot arcs which finish within a book and not two books later. ‘It gets explained in the next book’ is not a good excuse for something which the audience can’t understand in this one. After all, the next book might be years away or never come at all.

Writing a series comes with its own challenges. You’re playing an even longer game than with a novel, but on the other hand, you can also include a lot more ideas. It all depends on which characters you base the series around, so find someone like a secret agent, a criminal, or an up-and-coming jewel thief to write about - a character who can be trusted to have interesting adventures. And try to stay away from cosy mysteries when it comes to long series - it gets unrealistic when an amateur stumbles from one case to the next.