Fighting Series Fatigue

JULIA SPENCER-FLEMING: Someone asked an interesting question at our last Reds & Readers livestream (and again, please do join us!) about series fatigue. We didn't have the chance to get into the issue too much, but it’s something almost all of us have dealt with.

 

I’m tackling the issue head on right now by writing a non-series book! Yes, after twenty years, I’m leaving Millers Kill for a summer vacation in New England. We’ll see if it goes anywhere (or if anyone wants to read my work when it’s not about Clare and Russ) but it’s like eating a lemon ice after a heavy pasta dish - just cuts through all the taste buds and resets at zero. 

 

Previously, I’ve helped stave off, well, boredom with the social issues I have running through my plots. They always involve something I’m extremely interested and enjoy learning about, so they keep things fresh for me, despite staying with the same characters and setting. 

 

It’s an issue because none of us ever want to get to the point where we feel like we’re churning out the same ol’ same ol’ just because we have a contract and a deadline. I’ve read later series books where the author seemed to be going through the paces without any passion; it’s not great. It helps me understand why poor old Arthur Conan Doyle sent Holmes over the Reichenbach falls.

 

So, Reds, how have you dealt with series fatigue in the past? And if not, can you recognize the signs in other books you’ve read?

 

HANK PHILLIPPI RYAN: Oh, great question! And yes, remember how Agatha Christie said she grew to hate Poirot?

 

 Ah…hmm. I just talked with Nita Prose about why she’s ending her marvelous The MAID series..and she was lovely and wise about it. She said–things just run their course. And everyone always demands to start with book one, so newer books may suffer as a result.  She’s an extremely experienced publishing insider, and an incredibly successful editor as well as author. And did not want to stay too long at the party.

 

In writing my TIME series, and the Jane Ryland series, I always had a million more ideas. Still do.  But frankly, basically the public likes NEW. Publishers like  NEW.  And attention spans are growing shorter every second. Been-there done-that is the death knell.

 

Having a long-running series is a treasure and an honor and a massive massive challenge. 

 

RHYS BOWEN:  I made a vow to myself that if ever I thought Oh God, I’ve got to do another Molly/Georgie book I’d quit the series right then. Because if I’m not enjoying writing these books, then my readers are not enjoying reading them. I’m up to book 22 with Molly and book 19 with Georgie, so definitely long running series. I think I’m lucky with both as the settings are so rich and varied. The number of stories in New York City in the early 1900s is endless.  And Lady Georgie travels, has a rich ensemble cast to focus on, and also makes me laugh when I write the books.

 

I have to confess I am glad that Clare has taken over the major burden of the Molly books, doing all the research and coming up with the details of the story after we’ve thought out a broad storyline and theme. As you know I put Molly on hold when I couldn’t tackle three books a year.  I did try that once and it was overwhelmingly stressful. 

 

But the Royal Spyness books can continue for a while yet, although I’m not sure how I would come up with fun but relevant stories once we reach WWII. Life wasn’t exactly a hoot then!

 

And I’m lucky to have my stand-alone novels that present a quite different challenge each year.  So we may be up to Royal Spyness book 50 one day!

 

DEBORAH CROMBIE: Here I am on book #20 and I have to say I have never felt tired of my series. I love my characters, I love London and my other UK settings as much as ever, and if I’ve been slow, it’s not because I’m bored. I always have ideas for the next book nagging me as I write!

 

JULIA: Although, Debs, your main characters have grown and changed (and grown a family) so much over the years it's kind of like writing new stories all the time! 

 

HALLIE EPHRON: I wrote a series with a co-author, a friend who’s a neuropsychologist who loves to read mysteries and never thought he’d write one. The partnership was fun, with books named after various neuropsychological afflictions (AMNESIA, ADDICTION, DELUSION….) and featuring a sleuth based on my co-author. When it stopped being fun, we stopped doing it and I went on to write my standalones. 

 

It’s hard enough to write a compelling, believable character arc across a single book, harder still to write one that spans multiple books. I admire anyone who can.

 

LUCY BURDETTE: I loved those books Hallie! Love all these Red long series. Maybe that’s because I prefer reading series to standalones (if I love the characters and setting, that is.) I am about to send in book 16 of the Key West series, which I find astonishing! I had actually written book 15 so it could have been the end, but then the publisher asked for more and I’m delighted to continue. I did request some extra time in this current contract so I could try something different, and then go back to book 17.

 

In the publishing world, there are pros and cons. I have devoted fans who consider my characters to be family and can’t wait to read more. Other readers, as Hank pointed out, want something different. I think the author has to feel enthused about writing the series, and it has to be selling for the publisher to continue. 

 

JENN McKINLAY: Series fatigue is real. While I love my long running mystery series Cupcake Bakery (16) and Library Lover’s (16), I’m ready for a hiatus. I have plots for the next in series for both but I want to pursue writing something new (cozy fantasy) for a season or two while also writing the summer romcoms, which are single titles and allow me to travel (research!). If I get the chance to revisit the mysteries I will, but for now I need to recharge the murder battery. LOL. 

 

JULIA: Lots to think on here, but the common threads seem to be a combination of the author still feeling that zing and the publisher still feeling enthused. What's your take, dear readers? Do you enjoy the long-running serial, or, do you, as Hank points out, crave the new? Can you tell when an author's gotten tired, and does that matter to you?

What We're Writing: Lucy's Thinking About Mothers

LUCY BURDETTE: since Mother’s Day is coming up soon, I thought I’d write about one of my favorite topics, the mother figures in Hayley Snow’s life. She has quite a few of them by this point in the series! She has developed a wonderful relationship with her own mother, and a good solid relationship with her stepmother, and she is even on steady ground with her mother-in-law. (Not an easy feat!) And of course everyone’s favorite mother-character, Miss Gloria, is planted firmly in Hayley’s world.

Hayley’s mom makes her first appearance in the second installment of the series, DEATH IN FOUR COURSES. Hayley is attending the Key West Loves Literature conference in this book—an event that’s fraught because she is dying to become a food writer and critic of note, and all her foodie idols are in attendance. She’s made what she begins to worry is a big mistake: invited her mother to come with her. Janet Snow is a foodie too, but she lacks confidence and direction and focuses her anxiety on her daughter. This scene takes place during the conference’s opening remarks:

“I know you didn’t come all the way to Key West to listen to me,” Dustin was saying from the stage. “So I am thrilled to introduce our keynote speaker, a man who truly needs no introduction.”

“But you’ll give one anyway,” I muttered.

My mother took my hand and pulled it onto her lap. “Oh, sweetie. Let him have his moment.”

She was right—as usual. But still I rolled my eyes and squeezed her fingers back a little harder than I meant to.

“Jonah Barrows has had four major culinary careers in the time most of us have only managed one. His mother once reported that he had a highly sensitive palate right out of the womb—he would only suckle organic goat’s milk.”

The audience tittered. How completely embarrassing, the kind of thing a mother might say. Mine, in fact, was chuckling loudly. “Remember when you’d only eat strained carrots and your skin turned yellow from too much carotene?”

“Mom, stop,” I hissed.

At this point in my current WIP, Key West food critic mystery #15, Hayley’s relationship with her mom has evolved into something comfortable and healthy. They share a lot in common, but not in a competitive way. Here’s a little snippet that I hope shows a bit of that. The two women were both passengers on the boat that blew up off Mallory Square in the book’s opening:

The ringing came from the landline that Nathan suggested we keep in case the cell towers went down someday. He always wanted to be prepared for future disaster. I snatched up the receiver. My mother’s number scrolled over the small screen, and I punched accept.

“Are you OK?” I asked. At the same time, she said, “how do you feel?” We both laughed.

“Shocked,” she said, “horrified. Disappointed but grateful. I’m physically fine and Sam is too.” She lowered her voice as if someone would listen in. “The cops were here. Asking all kinds of questions. I get the feeling they think we are at the center of what might have been the crime of the year in Key West.” 

“Same,” I said. “I got the bigwigs, my husband, the chief, and Steve Torrence. Looking back, do you think you saw anybody doing anything suspicious?”

“I was so focused on getting the food out and making sure everyone was having a lovely time with something to nibble on and full champagne glasses. I wasn’t watching for criminals.” Her voice sounded sad. This promised to be a showcase for her business as well as my ezine.

“Yes,” I said, “I’m sorry. It was going to be such a lovely party. Plus, you’ve lost a lot of your catering equipment.”

“Insurance will cover it,” she said. “We’re alive and well, that’s all that matters. Did you come up with any leads for them?”

“I mentioned that there were a lot of people from the local food world, and that some of them would not have been happy about my reviews. Nathan made fun of that, and we had a little mini spat.”

“Tension is almost inevitable in a crisis,” she said. “He adores you and he respects what you do. But he feels responsible for a lot of trouble right now, and I know he worries about all of us.” She paused, and I could hear the click of her fingernail on her phone. “I wonder if it would be worth us doing some informal interviews with some folks in the foodie world. People that the police might not necessarily reach out to. Even if they did, they might not ask the right questions because they can never truly understand what drives our passion.”

Lucy again. I adore having had the chance to write about the relationship of Hayley and Janet, to observe it grow and mature. I prefer reading series to standalones because I love following the character development that occurs in the best of these. How about you Reds, series or standalones?

PS: If you haven't yet joined the Jungle Reds private Facebook group called Reds and Readers—launched January 1st—there are live chats, giveaways, and so much more! Join now so you don’t miss out... Leave a comment over at Reds and Readers to be entered in the drawing for DEATH IN FOUR COURSES.

Why so Series-ish: a guest blog by Lauren Willig

The winner of the signed copy of MALICE AT THE PALACE is Karen in Ohio!

JULIA SPENCER-FLEMING: August must be the month for fabulous historical fiction! Our own Rhys Bowen with her ninth Her Royal Spyness mystery, MALICE AT THE PALACE, and the writealicious Lauren Willig with the last (sob) of her Pink Carnation Series, THE LURE OF THE MOONFLOWER were both released yesterday! If you're one of the few readers who hasn't discovered Lauren's hard-to-pin-down series (Humorous Romantic Napoleonic-era-romp Spy Thrillers/Academic Mysteries) you must leave your computer, hie to your local independent bookstore, and purchase them immediately.


Okay, done? You're back? Good. Because not only has Lauren made the HRN-e-rST/AM genre her own, she's also been writing beautiful stand-alone historical fiction weaving mystery and romance with intriguing settings like colonial Kenya, the Pre-Raphaelite movement and, in THE OTHER DAUGHTER, the Bright Young Things of 1920's England.

Did I mention THE LURE OF THE MOONFLOWER and THE OTHER DAUGHTER came out only two weeks apart? And that Lauren has a toddler at home? And that she wrote her first book, THE SECRET HISTORY OF THE PINK CARNATION, while she was in Harvard Law School?

Just typing that made me tired. We Reds may consider giving up writing our books and just let Lauren handle everything for us.

Hi, Jungle Reds! Thanks so much for having me back here. Whenever I visit, I feel like I’m sinking into a cracked leather sofa in a good friend’s den. It’s a place to kick back with a drink in your hand, a shoe dangling off your toe, and a long, deep breath.

I could use a long, deep breath right now. I’ve had two book releases in two weeks: on July 21, The Other Daughter, a 1920s stand alone novel (my attempt to see what would happen if I tried to channel Mary Stewart and Evelyn Waugh, add a lot of caffeine, and stir), and now, yesterday, The Lure of the Moonflower, the twelfth and final book in my Pink Carnation series.

Can you tip that bottle of wine over my glass again? Thanks.

The adjective that seems to constantly attach itself to the Pink series is long-running. (Although, really, when it comes to long-running, I’ve got nothing on Deb! I raise my glass to you, sweetie.) I’m deeply bemused by this. I wrote the first Pink Carnation book, way back in 2001, as a way to avoid writing my dissertation. It was a lark, an inside joke, a swashbuckler gone Blackadder with spies swinging through windows, Napoleon being soundly put in his place (by a chaperone with a purple parasol), the odd heaving bosom, and a few comic sheep. But a publisher saw it as something more than a private amusement and signed me up to write another one. And then another one. And a few more.

So here we are. With the Pink series in my rearview mirror—so to speak—I’m thinking about series, the care and feeding thereof. Close-ended series, open-ended series, ongoing protagonist series, barely tied together series, and those series that are really just one book told in multiple installments.

My Pink Carnation series was a series by accident. Which means that, instead of sitting down and thinking all of this out in advance, it simply accrued. The books each featured a separate Napoleonic adventure and separate protagonists, tied together in three places: by the spy master (spy mistress?) known as the Pink Carnation; by the characters all being part of the same very interwoven world; and by my modern framing character, an American grad student named Eloise, who popped by from time to time to announce that she’d found a new cache of documents, spill coffee on herself, and stumble into a few mysteries of her own. It was a not-a-series that turned into an open-ended series, each book largely carrying its own weight, which, around book six or so had developed enough of a larger story arc that it needed to be shepherded into a close-ended series, so I wouldn’t leave readers hanging like that blasted 1990s remake of Dark Shadows that ended in the middle of an extended flashback. (I’m still miffed about that.)

To be honest, I’m pretty glad that it all happened by accident, because there was no way, back in 2001, that I could have planned half of that. I’m a big believer in the chaos theory of writing: that the stories you stumble into in that dark closet of your mind, tripping over spare characters, and sending odd bits of plot crashing around and banging you in the back of the head, are much more interesting than the ones you keep carefully dusted on your shelf, ready for use.

But now that my Pink series is done, I’m in the position of having to figure out what to do next. Theoretically, writing a series ought to have taught me Deep Writing Lessons that can be applied to my next venture, whatever that might be. The problem is… I’m not sure what those are.

(Other than: anyone who tells you that you can write while the baby naps has a much more napping baby than I do. But that’s another topic.)

I’ve been punting the question by writing stand alone novels, each of which is its own unique structural challenge—and rather makes me miss the comfort of sinking into the familiar world of a series. Of course, while I was writing my series, I complained I didn’t have enough time to experiment with new plots, characters, and time periods, so this is definitely a case of beware of what you wish for. The manuscript is always inkier?

So what do you think? Do you prefer open-ended series or close-ended series? Do you think series ought to be planned in advance or develop as they go along? If you were to restart your writing career from scratch tomorrow and could write anything you liked, what would you choose?

You can find out more about Lauren Willig at her website, where you can also see the whole list of  the Pink Carnation series in order, and read excerpts of  The Lure of the Moonflower and The Other Daughter. You can friend Lauren on Facebook, follow her on Twitter as @LaurenWillig, and read lots of extra tidbits and book discussions on her blog, cleverly disguised as the News on her website.