For one week, I have my Dominions box-set (the first three novels, plus the prologue short story Gatekeeper) on sale for only 99c (or your local equivalent).
Fallen Domain (Dominions VIII) is now out, in ebook from all the usual stores and paperback through Amazon. It’s only 99c (or your local equivalent) for a couple of days.
Can old adversaries become allies?
Rodin knows Authority must be stopped, and that means returning to the Dome. But the only one who knows a way in is Cat, the one-time Authority agent who has been manipulating Rodin for years, playing with Rodin’s life for his own suspicious ends.
To the south of the Dome, Authority relentlessly push Genna back, forcing a retreat into the heart of her district. Soon, she will be surrounded and outgunned. But there’s one man who could help—the same man who once betrayed her, who was responsible for the near-destruction of her district, who stood by and watched as she was tortured close to death.
With so many lives at stake, can Rodin and Genna do the unthinkable and work with their enemies?
I’ve recently finished reading Jeff VanderMeer’s Southern Reach trilogy, and one of the things that impressed me was how, over three separate books, the story changes. The second and third books don’t only move the story on, but also peel back multiple layers from what is already known, leading the reader to continually reassess what they already know. On finishing Acceptance (book 2), I had a strong urge to start the series again, to see how much of the ‘truth’ was already there.
The writer part of me can’t help wondering how VanderMeer wrote these books. Did he have the whole trilogy mapped out, or did the layers of the story reveal themselves as he worked on each book? Did he start Annihilation (book 1) with the idea of writing a single book and maybe seeing how things went after that, or was it a complete trilogy in his mind from the outset?
I’m thinking a lot about series at the moment as I’m currently working on the final three books in a nine-book series.
Normally, I work on books sequentially, only starting a book when the previous one is (almost) complete. I’ll have ideas for the whole series, and as I write one book I’ll be noting more detailed ideas for subsequent ones, but plans don’t always pan out—problems will become apparent as I write, or characters will do and say things that take the story in unexpected ways. While it’s possible to change a book in the process of writing it, changing previous books to fit in with these new developments is far more awkward.
I’m trying something different with this trilogy. The books need to work as stories on their own, but also be a satisfying close to the whole series story. I need to close all (or most) of the loops already opened, answering hanging question. But I also need to ensure that everything that happens in the concluding scenes has been adequately set up.
So I’m working on these new books simultaneously. I planned then all, and I’ve just had a very intense few months writing the first drafts for all three (385k words, well over 1000 pages). And already, I’ve stumbled on issues that I can now correct.
An example—I found a solution to a particular problem in the final act of the last book, but it relied on a character using a specific skill. This was something that fitted the character, but not something I’d mentioned in other books. If I used this skill with no set-up, it would feel like a deus-ex-machina, a ‘get out of jail free’ card. But now, I can seed this skill earlier, so its use at the end doesn’t come out of the blue.
Another example—there was a whole sequence of scenes I wrote in the third book that, on reflection, added too much confusion in that book, and were far more suited to being included in the book before. Not a problem—drag those scenes into the second book’s file, and insert them wherever appropriate.
Of course, there are problems with this way of working. If I’d concentrated on the first book, it would probably be getting close to completion by now, ready for release by the end of the year. But I won’t be able to release any of these books until well into 2021.
There’s compromise in everything, though, and on balance this new method seems to be working better for me—I’m crafting better stories, both individually and as a series, which is my primary concern here. It’s allowing me to more fully immerse myself in the overall story too. In fact, I fully intend to work in this way with the next series I start.
Writing’s never static—there’s always more to learn, different strategies and tactics to explore—so I’m sure my process will change again.
I’ve put up another short story, called Allegiance. Hope you like it.
It’s another experiment—I wanted to see if I could write something purely in dialogue. I’ve seen this kind of thing used before, both as part of a book (e.g. Orson Scott Card’s Ender’s Game), and even as a whole book (A Closed Book by Gilbert Adair), but it’s hard to pull off. I’ve heard quite a few complaints about the dialogue-only passages in Ender’s Game (although I personally like them—they add a nice touch of mystery from the very start).