What does it take to write a mystery series? An eccentric
detective like Sherlock Holmes? A domestic cat like Sneaky Pie (Rita Mae Brown)
or a quirky dog like Chet (Spencer Quinn)? Maybe focusing on an interesting job
like a coffeehouse barista, or a tea shop owner, a haunted bookshop owner, a
minister’s wife, a clutter expert, a miniature house maker, knitter or a
cleaning woman?
Ask Sue Grafton about writing her way through the alphabet
with her PI Kinsey Milhone series (also Carole Nelson Douglas in her Midnight
Louie cat series), or Janet Evanovich’s Plum by the numbers. What’s the key?
Keeping a reader’s loyalty, for one thing, despite lackluster plots – but one
major trick is to create a “series arc” for the amateur or professional sleuth,
the featured animal who assists the hero/heroine, or for the entire cast of
characters.
Take Stephanie Plum. Sure, you remember her escapades with
Joe Morelli and Ranger – but readers also keep returning to learn what’s new
with Grandma Mazur, Lula and her poor, suffering parents. Take Cleo Coyle’s
Coffeehouse series which takes Clare Cosi, long post-divorce, back into her
ex’s arms and then out again, flirting with the cop and then deepening their
relationship. Or take Coyle’s Haunted Bookshop series, which explores a ghostly
link between owner Mrs. McClure and the dead-but-not-gone detective Jack
Shield.
Let’s examine the “character” arc vs. a “story” arc vs. a
“series” arc. In every book, a hero or heroine should undergo a change – either
learning something about themselves (besides solving the mystery, of course) or
resolving an issue, or making a decision over the course of the story. The
“story” arc is basically the mystery (or any genre) plot – from inciting
incident to developments to twists and turns to the black moment and
climax/confrontation with villain and the resolution. The “series” arc expands
beyond that.
If your amateur detective has a secret past, one way to
extend a series is to drop hints about it over several books before uncovering that
secret. The character may not even be aware of that secret – take Kinsey
Milhone. Part of her basic character is her “loner” status, yet Grafton drops
hints of Kinsey’s dead parents, the aunt who raised her and then drops a bomb –
she does have family after all. Cousins who drag her into their lives, and
force her (indirectly) to deal with the past.
Why? Subplots deepen a story as well as round out the hero
or heroine. The series avoids plodding through “the usual suspects” and storyline
to give the reader a more realistic picture of the character’s life. Read S. J.
Rozan’s Lydia Chin and Bill Smith series of PI mysteries for a masterful series
arc. Even these two characters keep secrets from each other, due to their
complicated family relationships and cultural differences, despite being
partners for years.
One of the strongest ways to build a series is to choose a
specific location, a la “Cabot’s Cove” in the Murder She Wrote series (just as
popular with readers as with television viewers). JoAnna Carl created “Warner
Pier” based on a small town in western Michigan for her Chocolate shop mystery
series and explores interplay between the town residents. Charlaine Harris
introduces readers to “Shakespeare” in Arkansas while Carolyn Haines explores
“Zinnia” in the Mississippi Delta area. The writers mine their own experiences
of living in these areas to infuse the flavor and hook readers.
Writers who are willing to invest their time, energy and
loyalty to a series might find themselves weary after several books. Think
Arthur Conan Doyle, who killed off Holmes and then had to resurrect him after
he “died” at Reichenbach Falls! But you can’t knock reader loyalty.
It might just carry a writer all the way to the bank.
Writers who create series arcs are awesome in my mind. I thoroughly enjoyed you post, Meg, and have discovered several new authors to try.
ReplyDeleteThank you for the good advice. I'm getting ready to start a mystery series so this is good stuff to know.
ReplyDeleteIt's not easy writing a series but can be very rewarding. My problem with the latest Evanovich Plum books is the rehashing of the car blow-ups and too much of the same old same old between her and the guys. Then again, other readers might love that repetition. It's a fine line to walk!
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