Writing a Series: Behind the Scenes

A topic we’re exploring on the blog this year is that of writing a series. Amy Maroney is the latest author to offer advice based on her experience. There are three books and several short stories in her Miramonde series and now three novels in her Sea and Stone Chronicles, including her latest The Queen’s Scribe.

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When I started writing my first novel, The Girl from Oto, I had no intention of producing a series. There was simply a story I had to write, and as I’d never written a novel before, I imagined I could fit it all into one book. That was a decade ago, and I’ve learned a lot since then.

The Girl from Oto, a historical art mystery, tells the story of a Renaissance-era female artist and the modern day scholar on her trail. It has two narratives, one set in the Pyrenees at the end of the fifteenth century, one set in contemporary Europe. After the first few messy drafts were completed, I realized I would either be trying to publish a 1200-page book or I could divide the story into thirds and make it a trilogy (the Miramonde Series). Thankfully, I chose the latter.

The thing about a series is, even if there is one overarching story arc for the entire three-book narrative, each individual novel has to have a complete story arc as well. I set out to accomplish this and I learned untold lessons along the way. Some examples: if the antagonists in book one don’t follow the story into books two and three, more villains had better be waiting in the wings. If a protagonist’s investigation of a mystery mostly involves conducting research, there’d better be some creative and exciting methods of discovery beyond computers and libraries. And —one of the thorniest challenges—the ending of each book must feel satisfying yet leave readers longing for more. 

The additional complication of using a two-narrative structure (modern and historical) meant I had fewer words to fit each protagonist’s story into the books. The dual-narrative technique left me feeling at times like I was playing Tetris, trying to fit odd-shaped pieces together in a way that not only made sense, but was compelling and fast-paced. 

While I had the basic plot planned out (I knew how the story would end), I also added new characters and twists along the way. I know now that this “discovery writing” method is essential to the creative process for me, but at the time, I wished I could just map out a plot and stick to it. Inevitably, though, sparks of imagination flared when I was doing research. Many of my best plot twists came as I got to know my characters over time, and they guided me during revisions to write the story the way they saw it.

With my new series, (the Sea and Stone Chronicles), I deliberated over what kind of structure to create. The limiting part of writing a series that has to be read in order is the marketing. With the Miramonde Series, I could only promote and advertise book one, because it had to be read first. Read-through to books two and three was pretty good, but I wished I could give those novels equal promotion opportunities. 

This time around, I really wanted the flexibility to market all the books in the series and give them all an equal chance of finding readers. I also wanted to try writing in one era (the early Renaissance) instead of having a dual narrative structure. All the characters in the Sea and Stone Chronicles are part of one overarching world, but each book features a different heroine and hero. 

The first book, Island of Gold, features a young French couple (a nobleborn falconer and his spirited wife, daughter of a merchant) who seek their fortune on the Greek island of Rhodes. The second book, Sea of Shadows, is also set in Rhodes. It stars a Venetian-Greek woman artist with a dark family secret, and the fierce Scottish privateer she turns to for help. The third book, The Queen’s Scribe, features a young French woman who navigates a dangerous royal game of cat and mouse in the glittering court of Cyprus. All of these characters are connected in some way, but each story stands alone instead of having to be read in order.

Now that all the books have launched, I’m writing a prequel novella that I plan to offer as an entry point into the collection’s fictional world (I did this for the Miramonde Series and it has worked well). At the same time, I’ll be marketing all the books in the series individually and collectively. I love having the freedom to highlight any of the novels in the series when I’m doing a book promotion, and if one of the later books of the collection proves more popular than the earlier ones, I can leverage that in my marketing plans. 

What’s next? I’ve been haunted lately by a fictional heroine who won’t let me go, another woman artist of the Renaissance who keeps whispering in my ear. Whether that turns into a series or not is still a mystery, but I have a feeling she won’t rest until I get started on her story.

Many thanks, Amy. I’m in awe of authors who write stories from long-ago time periods. Having read Island of Gold, I know that you do a wonderful job of transporting readers in time and place. Best wishes for The Queen’s Scribe.

You can read more of Amy’s guest posts, one about the research process for Island of Gold and another on the difficulties of writing biographical fiction which she did for her novel Sea of Shadows.

For other advice on writing a series check out Simple Yet Complex: Writing a Historical Novel Series, Tips on Writing a Series, Tips on Writing a Series #HNS2019, and Writing a Series Backwards.

The Queen’s Scribe by Amy Maroney ~~ A broken promise. A bitter conflict. And a woman’s elusive chance to love or die.

1458. Young Frenchwoman Estelle de Montavon sails to Cyprus imagining a bright future as tutor to a princess. Instead, she is betrayed by those she loves most—and forced into a dangerous new world of scheming courtiers, vicious power struggles, and the terrifying threat of war.

Determined to flee, Estelle enlists the help of an attractive and mysterious falconer. But on the eve of her escape, fortune’s wheel turns again. She gains entry to Queen Charlotta’s inner circle as a trusted scribe and interpreter, fighting her way to dizzying heights of influence.

Enemies old and new rise from the shadows as Estelle navigates a royal game of cat and mouse between the queen and her powerful half-brother, who wants the throne for himself.

When war comes to the island, she faces a brutal reckoning for her loyalty to the queen. Will the impossible choice looming ahead be Estelle’s doom—or her salvation?

With this richly-told story of courage, loyalty, and the sustaining power of love, Amy Maroney brings a mesmerizing and forgotten world to vivid life. The Queen’s Scribe is a stand-alone novel in the Sea and Stone Chronicles collection.

FOR MORE ON READING & WRITING HISTORICAL FICTION FOLLOW A WRITER OF HISTORY 

M.K. Tod writes historical fiction. Her latest novel is THE ADMIRAL’S WIFE, a dual timeline set in Hong Kong. Mary’s other novels, PARIS IN RUINS, TIME AND REGRET, LIES TOLD IN SILENCE and UNRAVELLED are available from Amazon, Nook, Kobo, Google Play and iTunes. She can be contacted on Facebook, Twitter and Goodreads or on her website www.mktod.com.