Sameness and the Second Book

 QUESTION:   I have just finished writing the first draft of my novel, now given to beta readers to test it out.

In the meantime, I am starting a new one, but all my inspiration seems similar to my previous work. Perhaps I am too absorbed in that type of story.

The things that are the same are the team composition of the antagonists, though in my new work they have different behavior and abilities.   Also, my new work takes place in a similar fantasy world and has a similar magical system.

First, congratulations on finishing your novel.  Of the many who start a first work, very few finish it.  Well done!

Whether there is too much sameness will only be obvious in the final product so it's hard to say.

Some very successful writers write the same story and characters with variations over and over again, and some readers don't seem to mind it.  Others do.  

Each character should have a specific role in your story, and he/she should be written to fit that role.  If you want to shake things up with the casting of those roles, you could try what Hollywood calls casting against type.  For example, make the second in command a charming goofball who has a hidden sadistic streak.  Or switch genders.

You may want to do a few major changes to your world and magic system, but a massive overhaul isn't necessary if the world and the magic fit your story.  Or you can set your story in the same world during a different time period or a different part of the world and not worry about the sameness.  

These days, a reader will find one of a writer's books, and, if he enjoys it, he will buy the next book by the author immediately and read it.  So you want to offer both consistency and surprises.  

As a career move, writing similar books is a good thing.  Many readers are like kids with a bedtime story.  They like what they like, and they want the same thing, but different, each time from the writer.  

Successful authors who want to write a second series move laterally by writing subgenres that their main readership would enjoy.  For example, Jim Butcher’s extremely popular Harry Dresden series is urban fantasy, but he's written a traditional fantasy series which many of the same readers read.  

Then there's writers like me who write all kinds of genres from science fiction adventure to paranormal romance.  Many of my readers never followed me so I had to fight for every reader I got when I switched genres.  It wasn’t a good career move, but it kept me amused. 

Second Book Syndrome

Second book syndrome has several definitions.  One refers to the writing process of the second book after the successful publication of the first book.  The writer fears that they won’t be able to write as good a book as the first.  Or, they fear that the first book was a fluke, and they really don’t know what they are doing.  Some authors become so frozen with fear that they can’t move forward with their writing.  

The other definition refers to the time after the second book has been written and published.  The reading audience discovers the writer’s paranoia about his skills were right, and the second book fails to deliver what the first book did.

Margaret Mitchell was so terrified of failure after GONE WITH THE WIND she reportedly decided not to publish another novel.  Robert James Waller who wrote the phenomenally successful bestseller, THE BRIDGES OF MADISON COUNTY, proved to be a one-hint wonder.  All his other books failed to even remotely achieve the success of this novel.  So, yes, second book syndrome does exist.

I’ve discovered a new kind of second book syndrome in a series.  In the last month I’ve read two urban fantasies that were a second in the series, and both failed badly for the very same reason.  Up to sixty pages at the beginning of the book were nothing but clean up between the plot ending of the first book, and the plot beginning of the second book.  

Minor unresolved problems were answered, and characters discussed their relationships and careers that have been changed because of the first book's events.

I imagine all this was vastly important to the author and some readers, but it was a massive brick wall to a majority of readers.  

A second book should start like any book.  The reader should be immediately shoved directly into the book with an important plot goal and engaging characters and should be kept there for the remainder of the book.  

If you think some things should be clarified or expanded, wait until a bit later and have the character explain to a friend why she no longer works for the police, or why she fears her friends may be targeted by her enemy.  

Also, let the reader intuit some changes.  If they read the first book, they can usually guess why things have changed, and if they didn’t read the first book, they won’t care as long as you give enough information to cover the current situation.  

And, remember, this holds true for all the books in a series.  Successful series writers never maunder about at the beginning of each novel, and neither should you.  

The Cast of Thousands Syndrome

Have you ever been at a party or professional event where you have met a small group of the attendees some time back so you barely remember them, and there are dozens of other people attending as well?

You stood there with a glazed look in your eyes as you struggled to remember the names and relationships of the people you've already met while even more people are introduced to you, and you have to figure out how these people fit in with the first group.

A nightmare, wasn't it?

Yet many writers forget how hard it is to keep up with characters in a novel.  They insist on starting the novel with a group scene in which all the heroine's coworkers are introduced.  Each character enters the scene, does a little song and dance so you have some idea of who they are, then the next one enters and does the same thing.  By the fourth or fifth character, the reader is in shell shock if she's still reading.  

Then, the novel opens up, and even more characters are introduced.  

Other writers of series, particularly paranormal romance series, have an ongoing group of characters--usually the happily married heroes and heroines of past novels who have to have a cameo or minor role--as well as the new hero and heroine to include with their short term bad guys and minor characters, but, wait, the author really wants you to meet the half a dozen new hunks waiting for their own novels, heroines, and happily-ever-after as well as the bad guys waiting in the wings for their comeuppance.   

Some readers can keep up with all these people, but most of us can't.  We reach a point where there's so much character clutter that we can't connect with the major characters and the main plot so we close the book and vow never to read another of them.  

How do you escape this cast of thousands syndrome?

First, you must realize that while you spend many months with these characters and know them very well, the reader won't.  

Keep the introductions to a very few at a time.  Secondary characters should only be introduced when they are needed in the plot.  Those officemates of the heroine may play big parts in later books, but only the wacky receptionist who will introduce the heroine to her new love interest and play clumsy matchmaker will be needed in this book so only she should be introduced.

As great as the other characters are and no matter how eager you are to introduce them, don't.  

If you have characters from other books, don't bring them back unless they serve a specific plot purpose.

If you have new characters for the next book in the series, don't put them in unless they serve a very specific plot purpose.

If you are lucky enough to have readers wanting to know how Lance and Patty from your first book are doing and whether their baby has been born, you can write a short story or novella about them as a freebie on your website.  Fans love that.  

Many of us don't love the author tossing these former characters into the current novel with no other reason than to please a few fans.

Squandering the Reader's Trust

I fell in love with the TV show HEROES during the first season. It was different and clever. The writing was smart, the worldbuilding interesting, and the plot worked.

Rarely did the series fail on most levels through that first season. The fans were fierce, the buzz was good, and HEROES appeared to be a major hit.

Then the second season came. The plots went nowhere, many of the characters we cared about were tossed aside for new annoying characters, the worldbuilding faltered, the whole series went to heck, and many of the watchers went elsewhere. 

I only stayed around because, from a writer's point of view, it was a bad accident I couldn't take my eyes off. My weekly show autopsy was a class on how lazy writing and a smug certainty of keeping the fans no matter what could destroy a good show.

As I was thinking about my reaction to the show, I realized that the first season taught me to trust the writers to give me the kind of show I'd enjoy, and the second season squandered that trust until little remained. 

Novel writers can do that, too. Each book builds trust between the reader and the writer, and the writer has to be faithful to that trust for the reader to stay. 

Common ways to betray that trust are writing by rote with few surprises, worldbuilding changes for the writer's convenience, and simple boredom on the writer's part which most readers can sense. 

That series you are writing may be a major success, but unless you are willing to keep stretching yourself and to keep pouring your creative energy into it, you are better off starting something new before all your readers go away.