Writing the Sequel - Plotlines
Finding a New Direction That both Explains and Expands
An overview of what must be considered when defining the next step in your series, including ending/beginning subplots and choice of setting, characters and themes
When first sitting down to hammer-out the basic shape of your next book – prominent locations, events and new characters, mainly – consider this your chance to truly flex your literary muscle and shake-off some of those old bonds that the first volume placed upon you. For instance, where once you had to devote precious page-space to explaining details of time period, geographic location and character history, as a direct result of those efforts your readers now come to this new volume with pre-obtained knowledge of your world and its populace. You’ll still be doing plenty of explaining, as you’re sure to introduce enough new twists and elements to keep audience interest up, but now’s the time to include that elaborate multi-character argument you envisioned before, or the epic battle scene that lasts for eighteen blood-soaked pages.
With that in mind, understand that it’s easy to get carried away with your new creative license, so remain aware that there are a few important points to address as you go . . .
A word about loose ends
Hints about upcoming twists and unfinished subplots should remain near the top of your listed priorities while creating your first-draft outline. Aside from mysteries and the occasional romance or horror, the series comprised by one-off stand alone plots that have little in common other than the primary characters (think Bond, James Bond) is becoming a rare thing, and so recall that tying your books together is an important requirement. At the end of your series, a reader should be able to stack the books one atop the other, begin reading from the top and by the time they reach the bottom, feel as if they’ve just read through one phenomenally large volume, rather than five or six. There are three varieties of loose end to be addressed here, the first of which being those ready to be tied-up. Conclude one or two Book One subplots by the end of the sequel, if only so that your readers don’t feel overwhelmed by questions when you throw in the second variety, which are those storylines that originate in this volume and trail on into the third. Finally and mainly in terms of the most prominent themes, those that provide the primary drive for your main plot from book to book, ensure that you’ve advanced them enough to satisfy, though left yourself adequate room for expansion during later installments.
A new feel and sound
Consider three points here: setting, the qualities of new characters, and new versus old themes. Where the first is concerned, if the whole of your original book unfolded in the snow-choked backstreets of Moscow, perhaps it’s time to send the cast to a somewhat different (perhaps warmer?) locale – anywhere that will allow you to showcase your creative/descriptive ability and offer new opportunities for plot twists. With regard to characters and themes, be sure that what you’re adding is different enough from those which defined Book One that they contribute to the growth of your world. As with setting, a new character or underlying theme should fit well with what’s already there, while remaining unique and diverse enough to present a new form of threat, opportunity, etc.
Build, don’t replace
It might seem a redundant point to make in stating that a sequel should expand on its predecessor, rather than replace it, but such is sometimes easier said than done when one considers the delicate balance that must be struck between elaboration and renovation. What should be carried on with and what should be wrapped up? Which themes will be prominent in the sequel, if not those of the first? Who among the cast should finally achieve their goals, and who else should perish?
If it helps, envision the shape of your series not as a road or line moving along a horizontal axis – a simple progression of events – but rather in the shape of a trombone or trumpet bell. Where the first book might be characterized as focused, introductory and explanatory, the sequels should be increasingly broad, diverse and revelatory as your tale unfolds.
See also Writing the Sequel - Villains and Writing the Sequel - Heroes
