|
DaiBach
|
|
|
|
If you are are writing a 'sequel' how much 'back' information do you need to put in.
How many assumptions can be made about the reader's 'background knowledge' or must each book stand completely on its own.
In 'The Lord of the Rings' for example, each book does follow on from the other and, while not meaningless without knowledge of the preceding book, would be pretty difficult without it.
I am not sure about Harry Potter as I have only read the first in the series.
And, as a subsidiary question, assuming that the answer is 'Grant the reader complete background knowledge' how will the first chapter fare on YWO when the chances of 'prior knowledge' are remote?
|
|
kazmojazz
|
|
|
|
Must admit, I found it very annoying when, in every single Harry Potter book, we had to read through the same introductions to everyone. Suppose you would need it if reading the book in isolation though.
I'm planning a sequel to mine but focussing on different characters so hoping not to have to put in too much back story. Think I'll treat it like a new novel. After all, when you write the first one you, as the writer know the back story, don't you? I often write out stuff that doesn't go in the book, just so I know exactly what happened and therefore how the character would behave. That's the idea anyway!!!
|
|
erict
|
|
|
|
My own take is that if I knew I’d be selling them in sequence, I might assume certain knowledge, but as I’m currently on the second book of an unsold series, I hope the second (or subsequent) books might create interest in the previous.
I made the decision to time shift my story arc, therefore my second book is a five hundred years before the first. The next will be two hundred years on from the second. LE Modesitt and Recluse does this and I quite like discovering old people in one book as young people in another and visa-versa.
Therefore, I’d say you need sufficient for each to be stand-alone and fully enjoyable in itself using the framework of a story arc revealed to the reader in pieces.
If the book is a sequential follow-on with the same characters picking up, then it’s a continuation of the same story and back knowledge can be assumed. Was the LOR ever really portrayed as three books?
How will it fare on YWO? Do you care that much? How much do 101 word reviews matter?
|
|
DaiBach
|
|
|
|
Quote: erict, Saturday, 1 Oct 2011 10:13My own take is that if I knew I’d be selling them in sequence, I might assume certain knowledge, but as I’m currently on the second book of an unsold series, I hope the second (or subsequent) books might create interest in the previous. I made the decision to time shift my story arc, therefore my second book is a five hundred years before the first. The next will be two hundred years on from the second. LE Modesitt and Recluse does this and I quite like discovering old people in one book as young people in another and visa-versa. Therefore, I’d say you need sufficient for each to be stand-alone and fully enjoyable in itself using the framework of a story arc revealed to the reader in pieces. If the book is a sequential follow-on with the same characters picking up, then it’s a continuation of the same story and back knowledge can be assumed. Was the LOR ever really portrayed as three books? How will it fare on YWO? Do you care that much? How much do 101 word reviews matter? Well, amongst all the crappy 100 word wonders there will always be a few little gems, it's those that keep me on YWO honestly. And my story is essentially the story of an adolescent;s journey into adulthood, so I have to keep it sequential, and certain of the characters naturally, crop up. I guess I am uncertain about this, I don't want to have to drop in lots of 'back story' as it were, but then I wonder how far I can leave the reader surmising, sort of 'silent upon a peak in Darien', or would it be 'silent up a creek in Darien'?. And where do I 'drop' in the back story. I am trying to write a really tense and mysterious first chapter. I don't want . . . oh hell, this is nail biting stuff for me. . .any help welcome so thanks erict and kazmo.
|
|
Mostar
|
|
|
|
I think it might depend on your intention. For example, I imagine Ms Rowling was hoping that she would draw in new, young readers at any stage along the way. And there was a significant gap between the release of the books. I've got a rubbish memory, so I was quite grateful for the mini-recaps at the beginning. On the whole, though, if you are following a single journey of a main protagonist - and you are aiming at older readers - I would say not too much back story. Let the new book stand on its own and just include very essential background information that a reader may have forgotten. That's just a few thoughts off the top of my head. Good luck.
On turning fact into fiction: African Violet blogpost on Sue Howe's site: http://howesue.wordpress.com/
|
|
pam1234writing
|
|
|
|
In my trilogy I try to keep authorial background information to a minimum. My characters are the same throughout with new ones coming in at intervals because of the forty year span. I found it quite easy to move on and not dwell on too much past happenings and it always amazes me how it sort of fell into place without too much effort. Most of the back story is shown or told by the characters in their actions, thoughts and dialogue anyway. Past readers will pick up on what they already know from the book before. You hope they've read the first story before moving on to the second and so on! Although, having said that, each book should stand alone.  ON EDIT: QUOTE And, as a subsidiary question, assuming that the answer is 'Grant the reader complete background knowledge' how will the first chapter fare on YWO when the chances of 'prior knowledge' are remote? UNQUOTE David, to answer the above, I put in a little family tree and a small passage of background info on YWO prior to the story, a sort of- What happened before- I got a lot of thanks for that as it avoided confusion. I didn't do it in the published novels obviously, but for here you'll have to spoon feed or you'll have them fretting "there's too many characters- I don't understand whats what and who's who" etc! Good luck. 
This post was last edited by pam1234writing, 01 Oct 2011, 11:54
"And, in the end, the love you take / Is equal to the love you make." Lennon and McCartney 1969 Three Steps to Heaven 'Til I Kissed You Always On My Mind A rock'n'roll romance series by Pam Howes all available on Amazon in paperback and e-Books. Visit my website for details. Fast Movin' Train - A stand alone love story. Amazon links on: website
|
|
erict
|
|
|
|
Sounds like a David Eddings style just keep the books running and assume. It worked for him. PLEASE don’t go for a pompous prologue. Especially one in italics. I just can’t read them and go cold when I find one.
Pam’s right. Add a couple of paragraphs at the top of explanation. The 7k split is unlikely to hit an exact boundary when you post it. Indeed, I’ve tried one on AW – ‘This is a parody – don’t tell me you recognise the characters…’ But guess what the most common comment was? By the way, I do agree the odd useful comment is worth the dross.
DaiBach – Are you sitting in Wales? I’m on the coast by Talybont, writing in the sun for the first time this year.
|
|
DaiBach
|
|
|
|
Quote: erict, Saturday, 1 Oct 2011 14:18DaiBach – Are you sitting in Wales? I’m on the coast by Talybont, writing in the sun for the first time this year. No, I'm sitting in the courtyard of our house in Salles d'Aude, which is near Narbonne, and about 8k from the Med. . . it's a bit toasty here too. And thanks for your advice. I will try it. But I must build up a few 'reviewing credits' first.
|
|
DaiBach
|
|
|
|
Quote: DaiBach, Saturday, 1 Oct 2011 14:31Quote: erict, Saturday, 1 Oct 2011 14:18DaiBach – Are you sitting in Wales? I’m on the coast by Talybont, writing in the sun for the first time this year. No, I'm sitting in the courtyard of our house in Salles d'Aude, which is near Narbonne, and about 8k from the Med. . . it's a bit toasty here too. And thanks for your advice. I will try it. But I must build up a few 'reviewing credits' first. However, I will be watching THE match tomorrow. And, on present form I think Wales can cope with Ireland. Which, I think, would line them up for a semi with England or France. I may be wrong there, don't hesitate to correct me. Anyway, if I am right, and again on current form, I don't see France or England causing us too many problems, so who knows? Glory at last? Oh well, mustn't get ahead of myself, "It will all end in tears' as my mother-in-law used to say.
This post was last edited by DaiBach, 01 Oct 2011, 14:36
|
|
unclearthur
|
|
|
|
I think each novel has to stand alone. For me, problems only seem to arise where certain facets of character (or place) relationships are essential components of the ongoing story, but it shouldn't be too difficult to work snippets of relevant 'backstory' into the narrative - enough to give readers the idea, anyway. As a Bernard Cornwell fan I could probably load a Baker rifle a damned sight faster than Mr Sharpe, I've had so much written instruction (at least once per novel!) But if it was the first of the series I'd read I'd probably be glad of the imparted knowledge. You ought to be able to write a tense first chapter without any, or very little, backstory. I found I had to write 'around' the thrust of the story ie. the first chapter puts the MC in an awkward situation which may be only loosely related to the main action, but gets the reader on the MC's side from the off. http://cavalrytales.wordpress.com
 www.cavalrytales.co.uk'The battle that never ends is the battle of belief against disbelief'
|
If you are are writing a 'sequel'
01 Oct 2011, 04:48
