Snow Queen

So I’m working on book four of a series, and I’m struggling with is how to provide all of the background information.  I’ve now got 300,000 words worth of “what came before.”  Not all of that information is relevant to the current book, but some of it is.  So how do you work that in?

There’s the “Our story so far…” approach, where the author presents a prologue that sums up the previous books.  I can see where that might be useful in an ongoing story, like book four of Lord of the Rings or part two of a Star Trek episode.

But personally, I’m not too fond of the Prologue of Summarized Backstory, and my books are a bit more episodic, meaning I don’t think there’s a need to sum up everything that’s come before.

With the goblin books, I went for the silly.  Book two had a song to the tune of Sweet Home Alabama, which summed up the events of Goblin Quest.  Book three opened with “The Recitation of the Deeds of Jig Dragonslayer,” a quasi-religious goblin-style list of events.

That doesn’t really work for the princess series, which doesn’t have the same kind of goofy humor.  So I’ve been taking the approach that I’ll just write the story and include background info when and if it becomes important, just as I would with any other information.  Even with a brand new story, there’s always “what came before,” and the author has to work that in.

But how much do I have to tell?  Do I assume most everyone has read the first books, and I don’t have to explain — again — where Danielle’s sword came from, or what happened to Charlotte, or who Captain Hephyra is?  Or do I assume there will be new readers which each book, meaning it’s important to add a paragraph or two to explain various details to the new readers … even though people who’ve read the rest of the series might roll their eyes and say, “I know this already.  Get to the good part!”

The latter is a complaint I’ve seen in a few reviews lately.  Not a major criticism, but a minor annoyance, especially for people who picked up all three books and read them at once.

I don’t know.  It’s important to me that the books stand alone as much as possible, so that anyone can pick up any of my books and start reading.  For that reason, I’m thinking it’s important to include some explanation for things from prior books that come up in this one.

Maybe the trick is to find a new way to present the same old information, so that even people who know the background will be entertained, or at least not bored.  Or maybe I shouldn’t worry about explaining, trusting that those gaps won’t throw new readers out of the story.  That they’ll either figure it out from context, or if they’re worried, that they’ll go back and get the earlier books.

What do you think?  Examples, both good and bad, are more than welcome.

Assuming nobody interrupts my lunch break today, I should be able to finish up the third draft of The Snow Queen’s Shadow.  Not the final draft, mind you.  I’ve made plenty of notes about things I have to go back and fix.  But I’m hopeful that draft #4 will be the one that gets sent to my agent and editor.

This is the second time I’ve wrapped up a series.  You’d think it should get easier.  Much like each new book you write should be easier than the last, because you’re getting better, right?  Yet it seems to work the other way around.  The more skilled you become as a writer, the more ambitious you get, and the more aware you are of the flaws.

From the start, endings and the lie of happily ever after have been a central theme of the princess series.  I’m not saying people can’t be happy, but the idea of endings … unless you destroy the universe on the last page of your book, there is no end.  There’s only the point where you stopped writing.

Usually that point should bring closure to the conflicts of the book.  But if everything is wrapped up too neatly, it ruins the suspension of disbelief, at least for me.  Life is messy.  Solving one problem often leads to others.  So when I end a book or a series, I want to make sure I convey a sense that these characters and their stories will continue — even if I’m no longer writing them.

I also look for change.  If everyone and everything is the same at the end as they were in the beginning, what’s the point?  Sure, the journey might have been fun, but a story where the status quo never changes?  No thank you.

And of course, the author has to follow through on his/her promises.  For example, I introduced an unresolved romantic relationship in Stepsister Scheme.  I have to go somewhere with that tension.  Likewise, there are other character conflicts I’ve been planting and need to resolve … one way or another.

I don’t believe an author’s job is to make all the readers happy.  In part because there’s just no way to do it.  I know some readers really want to see those two characters end up together; other readers have said they don’t want that.  One way or another, some people will not get the ending they were hoping for.

For the past year, I’ve been searching for the ending that feels true.  Some things have changed a lot from my initial outline; others haven’t.  Some plotlines I had hoped to include were cut because they just didn’t fit.  And don’t get me started on trying to decide who lives and who dies…

I’ve got a lot of work left, but I’m getting there.  For the most part, this ending feels right.  It feels honest.  It answers questions … but not all of them 🙂  It provides closure, but also points toward a future (and leaves me something to work with if I someday decide to return to this series).  It is — I hope — powerful without being manipulative.[1. Deus ex machina endings fall into the manipulative category for me, as do most “It was all a dream” endings.]

Is it perfect?  Probably not.  But I’m proud of what I’ve written, and I can’t wait to share it with everyone.

Discussion welcome, as always.  What do you look for in an ending?  What are the best (or worst) endings you’ve read?  What makes it work?[2. Also, see Aliette de Bodard’s SF Novelists post on cultural expectations of what makes a good ending and a good story in general.]

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• First off, a quote from author C. C. Finlay: “The third law of writing: For every fiction there is an equal and opposite re-fiction. For example, if there is The Hobbit, eventually someone will inevitably write Goblin Quest.”  I am much amused.

• The SF/F Humor Roundup is up to 22 short stories and 12 novels.  So far, so good!  I’m working on guidelines to try to cut down on blatant self-promotion.  I don’t mind authors recommending their own work, but I don’t want a list of 30 stories from every online nook and cranny.  I’m thinking of limiting self-promotional recommendations to one short story and/or one novel.  What do you think?

• I’ll be heading to Windycon tomorrow.  I’ve got the Manly Baen vs. Womanly DAW panel Saturday at 10, an autographing session Saturday at 2, What are Kids Reading on Sunday at 10, and I’ll be reading my muppet werewolf tale on Sunday at Noon.  Hope to see some of you there!

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I realized I haven’t done an actual writing update in a while.  After finishing the revisions for Red Hood’s Revenge, I started back in on Snow Queen.  I struggled through the current chapter, but it was painful.  The whole thing felt like it was stuck, and I had no idea where to go from here.

Some of the more experienced writers probably know exactly where I’m at in this manuscript.  That’s right, it’s the dreaded 30,000 word slog.  Every book I’ve done for the past five years has hit this same point, where my outline falls apart and the story crashes and burns.

Fortunately, I’ve done this enough times to recognize it.  The solution for me?  Step back and rewrite the outline.  When I’m first planning a book, my brain can’t hold the whole thing.  So I outline and do the best I can, but by the time I’ve typed 25K-30K words, I’ve changed enough that the outline no longer works.

I’ve spent the past week outlining, and I’m just about ready to dive back in.  I’m not going to start over from the beginning, because I’ve found that just wastes time for me.  But I’ve made notes about what to change in the rewrite, and more importantly, I’m excited about some of the new ideas and directions I’m taking in the rest of the story.  I’m also surprised to realize I don’t know how this book is going to end.  I honestly don’t know whether or not certain characters will survive.  That’s kind of fun 🙂

So there’s where I’m at with the writing.  Book three is done, book four is underway, and the back of my brain is quietly percolating ideas for the next series.