But Series-ly, Folks...

There's no denying series are popular in publishing right now, and when done right, can make readers happily return for more and more, enjoying the ever-expanding cast with each new release. Other times, readers (and sometimes the authors themselves) look at one more Fluglehorn Family logo stamped on the newest release and run screaming into the night, only to be found hours later at the local coffeehouse, nursing a chai tea in the corner and muttering something about not being able to tell the Flugelhorn-Smythes from the Flugelhorn-Joneses. In some cases, whispering "but that makes him her step-cousin" to a dinig companion crafted from an empty styrofoam cup and a handful of stirrers.

There are readers who can be quite content jumping in at book sixteen, figuring they'll catch the rest later if they like this one, and enjoy whatever installment they can pick up when they can. There are readers who must start at book one and proceed in order (with debate over whether story chronology trumps release date if applicable) or mountains will fall, puppies will die and their matinee idol of choice will wake up ugly. Any way we look at it, it's an important aspect of publishing.

Saying "series" seems easy enough; in modern parlance, it can refer to any linked books, but to be more specific, let's consider breaking it down into sub-groups. Sequels, sagas, spin-offs, not to mention prequels.

At the moment, it's easy to find historical romance series that will follow groups of siblings, friends, soldiers or schoolmates, mostly staying within one time period; everyone's around the same age, and about in the same period of their lives.

Every once in a while, there is what I term a direct sequel -- Hero and Heroine from Book One are also Hero and Heroine in Book Two, with new events to test their mettle and their union. We've seen this more in the earlier days of the genre, as in Rosemary Rogers' Steve and Ginny books or Valerie Sherwood's Lovesong trilogy, but Jennifer Roberson's Tiger and Del in her Sword Dancer books had to fight through six volumes for their well-earned HEA. Yes, I know the books were marketed as fantasy, but they're romance, I tell you. For some readers, another trip to the well for a beloved couple is a welcome revisit, but for others, once the original HEA is in place, that's the best way to leave it.

Sagas have long been a historical fan's delight. Bertrice Small's O'Malley clan has covered a few centuries, from matriarch Skye through mentions in the author's contemporary erotic works, crossing with the equally prolific Leslie clan. To bang the old school drum again, Aola Vandergriff's classic Daughters Of... series followed three sisters from the 1850s through 1920s, with lots of marrying and burying in between. While some readers (me, me, me) enjoy seeing a hero and heroine at different stages in their lives, passing on the torch to daughters and sons, and eventually grandchildren, others might prefer not to have to see age change the young lovers who first stole their hearts.

The spin-off may be more common in television, but there's no reason it can't work in historical romance. The hero's friend who didn't get the girl can strike off for a new land, or the new world, be lost at sea, presumed dead, or any other number of reasons he (or she!) might leave First Story Land and begin a new life elsewhere.

Then there's the standalone (a term which has always confused me, but I think that's just me) -- the book with no sequels, prequels, spinoffs, or connections left, right or diagonal. Sometimes a story that ends with one couple's HEA is exactly the right note.

For me, I prefer to write stories that are one to a customer, but if a truly outstanding secondary character had something to do on their own, I'd consider it. Not all supporting characters can support their own stories, command their own spotlight, while some do it quite well.

So, readers, what sorts of connected books do you like best? Least? What about the one-offs? Writers, what's the best thing about crafting connected stories? Hardest? When should a series end? When the original protagonists age? Die? The historical period changes? Something else? Never?

Finding Faeries in History

We storytellers have lots of choices when it comes to picking faery lore. Depending on when and where the story is set, the Fae World can differ drastically: Norse, Irish, Scottish, Bavarian, French . . . each pre-Christian region and era developed its own belief system. Faery lore has only one universal truth: Tinkerbell is an invention of Disney.

I found several sites that helped tremendously when I was building my world for Faery Special Romances, my May release. Maybe you will find these sites useful, too.

Here's one of my favorite starting-off sites, Faerie Central. Not only is there an image gallery and links to other great sites, you can also find brief essays on these topics:

• Existence of faeries
• Definition of faeries
• Description of faeries
• Faeries across history and cultures
• Organization of faeries

. . . well, you get the picture. Lots of info (although not indepth) on this site. You can even buy a magic wand!

Here's a faery good site, but I have no idea who runs it. You'll find a terrific recap of general Fae history, and then links to other pages, which get more specific. For instance, there's a listing of the various types of faeries, from Pixies to Goblins, and a couple pages of Faery Herbs and Charms. Browse around and you'll find all kinds of good stuff.

For instance, you could find out (like I just did) that faeries didn't get wings until the Elizabethan Period. Oh well, my medieval faeries have wings. I made them up so I can give them wings if I want to. (That's what's so great about being a writer--your story is the only thing on the planet you can actually control!)

The Faery Crossing is a bit difficult to navigate, although beautiful, and can give you pointers on such things as "The Care and Feeding of Faeries." You might want to head straight for A Compendium of Faery Folke, where you'll find very nice listing of all types of Fae from A to Z. Here's a sample: "Gean-canach: Ireland. "Love-Talker"; a solitary faery who personifies love and idleness. He appears with a dudeen (pipe) in his mouth. It is very unlucky to meet him."

When I was first building my faery world, I soon came to realize that many of the internet sites combine the old mytholgies with the new. Even though the new are based on the myths of, say, the Tuatha de Danann, be aware of modern influences.

I hope you have a faery good time surfing the 'net! If you find some good sites, please let me know!

TTFN,
Jacquie
Visit me at Myspace
Keely's Faery Good Advice blog
Faery Special Romances (May 2007)

Setting the scene

For the writer of unusual historicals, setting the scene is the most important task you must accomplish. Long-time readers of settings such as the Regency or the Medieval come to books set during those times with preconcieved notions and knowledge of what was and what wasn't done, what existed, real-life people of that era, etcetera. But with an unusual setting, an author can go two ways: the wallpaper historical, wherein details of manners, dress and other various things are vaguely sketched in, or you can go the detailed route, in which the setting is vital to the movements and reactions of the characters and the specified setting is unique to their story.

There are pros and cons to both. With the former, the anxious reader's fears are calmed when they open the book and realize that 1670 Venice or 1838 Russia really no different from 1803 London--but on the flip side, you may as well have set the plot and characters in 1803 London. On the occasion of the latter, the reader may be sucked into a completely different world and perhaps learn something they never may have known, but the downside may be that they found the vivid sketch of the setting overpowering the actual plot and characters (which, IMO may not be so terrible if your objective is for the setting to take on a character of its own).

Both of the aforementioned tactics can be correct, if either one is more comfortable for you, but for all of us history buffs who write unusual historicals, it is important that the romance and the characters much remain within the forefront of the novel. In a way, historical details are like backstory. You don't want to info-dump the beginning of each scene because it slows the pace of the story. Instead, study the way in which you reveal your characters by dropping little hints of their personalities and manner, follow the crumbs of idiosyncracies and dialogue dispersed within the text, and sprinkle your details throughout the novel.

So tell me, what are your own techniques for sketching the historical details of your period?

Any frustrations you run into when attempting to write about something most people are ignorant of?

Do you disagree with my pros and cons of wallpaper vs vivid details?