Writing a Series? Make Book One Pop!
Writing a series? You’ll want to pay special attention to making Book One pop. Getting that first book right, though, can be a tall order. The first book in a series needs to introduce an original concept, a worthy hero, and the world the story takes place in. The book should follow plot and character arcs similar to non-series stories, where we meet a character in the beginning, understand what they want versus what they need, and see them grow and change over the course of the story as they overcome obstacles and learn from their experiences.
When writing a series, remember that the first book’s job is to grab the reader and convince them to stick around for the ride.
This first book must lay the foundation of what’s to follow, but in a way that engages the reader and leaves them wanting more. Too often we see writers get caught up in their world-building, describing in fantastic detail everything that makes this world unique. Then, because they’re writing a series, the author holds back information, thinking it’s better to save it for a reveal at the end, or worse, in the next book. This might mean vague allusions are made to a big problem facing the world, a problem only the main character will ultimately be able to solve. And this is where we generally see the story break down.
Writing a series and looking to elevate your book one manuscript? Kristen’s a firm believer that if you have a story idea, there’s no need to wait for the perfect moment. Everybody has a good story to tell!
Elements to Consider When Writing a Series
A Strong foundation
The foundation of the story is grounded in the character. The reader needs to know who the character is, what they want, and why they’re on this journey up front. The world-building details are secondary. Think of the character as a building’s foundation, and the world-building as the wallpaper. Without a strong foundation, the wallpaper won’t stick. Here, this means the world-building only enhances the story. It can contribute to the obstacles the character must overcome, but world-building alone will not generate a compelling story.
The problem facing the world, the reason the protagonist must go on the quest, is generally something that faces the world at large. The impact on the character if the quest fails is the same as it is on everyone else in the world. For example, in Star Wars, if Luke is unable to destroy the Death Star, the Empire will continue to rule the galaxy. When writing a series, remember that the big world threat is less important to the reader than the personal story facing the protagonist, which is why the first book needs to center on the protagonist first. The reader engages with the character directly, and roots for them as they face and overcome obstacles that change them, potentially making them capable to face the greater challenges in the next installment, and proving to the rest of the characters that they are worthy. By the end of the first book, the character has changed, and has set themselves up for the even higher stakes challenges of the next installment in the series.
A character who thinks for themselves
To create this strong foundation, the reader needs to see the character in action, making decisions for themselves. This means an active protagonist who demonstrates critical thinking skills at each step. It can be tempting to have another character swoop in and tell the protagonist where they must go, what they must do, and how to do it, but that will distance the reader. Take The Lightning Thief, for example. Percy Jackson learns he’s the son of a Greek god, goes to Camp Half Blood, and then is sent on a quest with two friends to retrieve Zeus’s lightning bolt. While he isn’t sent on the quest until about forty percent into the story, each step of the way up until then he is learning about his new world firsthand, making mistakes and recovering from them. Because Percy is established as a character—we know how he thinks, we understand his weaknesses and shortcomings—we’re willing to follow him on this quest, and it makes sense for him to go.
Credible Reasons For the Protagonist to be involved
Which brings up another point: your protagonist must have a credible reason as to why they’re the chosen one. One of the most important steps in building your foundation is to establish your protagonist’s credibility. Readers can suspend disbelief only if given sound reasons why. A character who is completely untrained or unaware of a world needs to have something others lack, and we need to see it up front, as close to the beginning as possible. Avoid vague mentions of prophesies or other non-specific reasons. Show why this character, why now, as early as possible. To go back to the Star Wars example, Luke learns as soon as he meets Obi Wan that he’s tied to the greater cause. Yes, he wants to run away and join his buddies training with the rebellion when Uncle Owen tells him he has to stick around and do more chores, but not because he feels a greater calling. And initially he thinks Obi Wan is crazy. Obi Wan gives Luke a choice to join him in delivering the droid, and initially he says he won’t. It’s only when the stakes are raised, and he find his home burned, his aunt and uncle murdered, that Luke agrees to go.
Personal Stakes
In book one, your protagonist has to have significant personal stakes in the story. Yeah, saving the galaxy is great and all, but what does it mean to your character personally? Consider The Hunger Games, possibly the most perfect example of a series’ first book. At the opening, Katniss could be any citizen of District Twelve. There’s little that distinguishes her from the others eligible for the Reaping. It is only when her sister Prim is selected—creating personal stakes—that Katniss volunteers for the games. From there, the story is about her training, attempts to survive, and ultimately outsmarting the Capital to win the games. We learn along the way that the Capital is corrupt, the citizens of Panem are hostage to the Capital’s whims, but that’s never the overall focus of the story. And then, as Katniss and Peeta take the train back to District Twelve, the story reaches a satisfying ending—Katniss accomplished her goal to save Prim, and she survived—and yet the reader is left wanting more. We’re invested in these characters, we care about them, and we want to know what happens next.
For your first book to pop, to get the attention of agents and editors, it has to be a story we can’t put down, with a character we want to root for. When writing a series opener, lay your foundation, show your character thinking for themselves, give them solid reasons to be involved in the action, and keep raising the stakes. It isn’t enough to save the galaxy. First, they have to save themselves. And then your audience will clamor for Book Two.
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