Fantasy authorGwenda Bondpointsus to a fascinating give-and-take among novelist : How much planning do you put in before you start a novel ? And raises a related question : what makes a smashing book serial ?
The word , over atLivejournal ’s Fangs , Fur & Fey community(for publishedurban fantasyauthors ) , proves that there ’s no arrant approach . If you design too much in rise , you gamble getting trapped or bored – or your plans may have to change drastically as things turn out differently than you expect . But if you do n’t plan at all , you may wind up getting lose and wandering around for months or yr . At the very least , it ’s a proficient estimation to make love how your al-Qur’an ends .
The world-wide consensus is , it seems to diverge from volume to book . In one subject , author Kelly Meding had an image stuck in her head of one of her characters pin down in a flack . Once she figured out that mental image and what it intend for the story , she had the idea , and some of the structure , of her novel ’s sequel . Another author admit a big sheet of newsprint and suck boxes for each of the novel ’s chapters , sketch out what might happen in each chapter . Perhaps the best advice for thinking through what your novel will be about comes from Kristine Katherine Rusch : In a authorship workshop , she told someone : “ secern yourself a story . ” And then it clicked .
Springboarding from this discussion thread , Bond hear to cipher outwhat constituent make a first novel a good candidate for a trilogy , or even an ongoing series . It comes down to compelling characters and Brobdingnagian macrocosm - construction , of course . But she also imagine that the ending of each book in the series is all important in building interest in the next instalment . But most of all , the premise of the trilogy ( or serial ) has to be a grownup enough idea , something people often overtop :
It has to be an thought that throw off destiny of little ideas , giving lots of potential roads to travel down . One of the satisfying thing I get out of the series I translate is the sense of surprise at where the story goes , because the central idea is bighearted enough to have more than one potential narrative in it . If that make any sense whatsoever . I think this may also be one quality of floor that impart themselves to devotee fiction — there are plenty of stories leave in the earth for rooter to add .
In a separate web log post , Bond alsoasks the crucial question : will there really be chocolate , as we know it , in our spacefaring far future ?
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