by Carolyn Haley
Series fiction is a boon for everyone in the publishing chain. Authors have a ready market for their work; independent editors can get repeat work from a single client; publishers have a steady flow of sellable material; readers get their fiction appetites regularly fed.
That combination is why I favor series fiction in my editing business. For independent copyeditors and line editors who may be looking to add series fiction to their roster of services, here are the main factors to consider.
The most important part of editing a series is building a comprehensive style sheet. While this is also true for standalone novels, it’s crucial for series to ensure continuity and consistency between volumes. Months or years may pass between editing each volume, especially if the author is writing and sending them for editing one at a time. Also, different editors might work on different volumes. In both situations, a style sheet constitutes the series’ connective tissue.
Editors working directly with indie authors are free to design style sheets according to their own parameters meshed with the author’s needs. An excellent quartet of essays on what to include on style sheets, and why these items need to be included, was presented here by the previous Thinking Fiction contributor, Amy Schneider. See Part I: General Style, Part II: Characters, Part III: Locations, and Part IV: Timeline.
When editors subcontract to publishers, they must follow the house’s lead on style sheets. The instructions could be as simple as to include character names in alphabetical order and follow Chicago Manual of Style, or as complex as to fill in a fancy-formatted template just so, for characters, places, timeline, and special terms.
Any time editors are hired to work on a series volume later in sequence than volume 1, it’s important to confirm with the indie author or the publisher’s production coordinator whether the editor is expected to make a new style sheet for each new volume or consolidate new material into the style sheet established for the previous volume(s) so that one sheet travels with the series.
Single vs. batch manuscripts
Publisher-provided series usually come to the editor one book at a time with long intervals in between. Series from indie authors, however, may come as either single books or a multivolume batch. While one-at-a-time is most common, batches may come when an author wrote an epic and decided to break it into volumes, or planned from the start to write a trilogy but wanted to complete the whole work before editing.
It’s easier and more efficient to edit a series as a unit than as single books spread out over time, but doing them all in one shot takes a big bite out of the calendar — a downside for editors who like or need to keep a diverse cycle going, but a plus for editors who like tackling large projects. Psychologically, immersion in one world and one author’s style can become grinding without a break. On the other hand, immersion may make the editor aware of slight nuances that change a character or story from what was previously described.
Even if such immersion is desired, editors need to be careful about putting an entire series into one contract. It makes sense to do so on the surface, because in essence the job is one really big novel instead of X number of individual novels, and the style sheet is created once instead of multiple times. But over the extended period of a series job, the risk runs higher than with standalone novels that difficulties might arise, such as:
- the editor or author might have a change of circumstance and be unable to fulfill their end of the agreement;
- the editor might recognize too late that they underestimated the scope of work, or the author might dramatically change the scope as the series develops, forcing the contract to be renegotiated and the editor to possibly lose the balance of the project if it gets appreciably more expensive or complex;
- one party might become dissatisfied with the other’s personality, or the material, partway through and want to bail out.
Editors who haven’t prepared for such possibilities in the contract can get trapped in a bad deal for a long time, making it wise to have a lawyer review the contract before anyone signs. If nothing else, in an all-in-one contract, the editor should make certain there’s an escape clause after each volume.
I prefer to contract for volume 1 separately, then negotiate a rate or service change for the balance of the series after its qualities are understood. That opens the door to losing the subsequent volumes because the author and I can’t agree on what needs to be adjusted, but I’m more comfortable with that risk than those associated with an all-in-one contract. Usually by the time we’re done with volume 1, we’ve established a rapport that allows successful negotiation. When in doubt, I’ll treat each volume as a standalone novel and make a deal for them individually.
Each volume in a fiction series must be a complete story, with a beginning, middle, and end, and a character(s) struggling to resolve one or more conflicts. At the same time, each volume must advance an overarching story or theme that evolves during the series and is resolved at series end. In effect, a series author is writing two books simultaneously, for as many volumes as the series runs.
Some beginning authors believe that ending a volume on a cliffhanger will inspire readers to rush to the next volume to find out what happens. More often than not, this backfires, and frustrated readers feel cheated and may not continue with the series. The trick is to leave just enough of the overarching story unresolved in each book to draw readers onward. But the episode covered in a volume must conclude satisfactorily before the next one begins, even if the next episode opens immediately afterward in the timeline. In this regard, series novels follow the same pattern as series TV shows.
A major challenge in writing any fiction is determining how much backstory to include. The goal is to provide enough information to keep readers oriented, and the action and characters in context, without overloading the narrative with an “info dump.” In series fiction, however, the backstory not only has to be provided in the right measure to begin with, but then must be reiterated in subsequent volumes to a different degree. Ideally, readers start with volume 1 when it comes out and eagerly await the next one, and don’t need refreshers as they continue through the series. In reality, readers might discover a series at volume 4, so they must be given enough backstory to understand the basics of what’s going on, without the author having to set up the scenario all over again.
Broadly, volume 1 should establish the premise and key characters for the series, and subsequent volumes should unfold new developments and show character growth. All volumes should refer back to the first with a light touch wherever understanding the new story depends on knowledge of what came before. Some series authors open each volume with a preface covering the previous volumes, but that can get cumbersome after the second or third book and is not commonly done. Other authors may write a prequel to an existing series and provide full backstory for an established audience hungry for more detail.
A tricky situation is when an editor gets volume 2 from an indie author who has already self-published volume 1, and no style sheet comes with the volume 2 manuscript. This might happen if the author didn’t use a professional editor the first time, or if the author wants to switch editors and the original editor didn’t create a style sheet for the job. For the new editor to make the new volume consistent with the first, they need a copy of volume 1 as part of the job and to build extra time into the quote because every style point will need to be backtracked to create the style sheet for the book in hand and any that follow.
It helps the editor to read all volumes of the story that came before, to best understand what’s happening in the new volume — but somebody has to pay for the time it takes to do so. That somebody should be the client, not the editor, so the editor has to factor extra reading time into their quote. It’s less critical to read previous volumes when working for publishers who are on the ball with style sheets, and whose pay rate is low and schedule is tight, because the existing style sheet should have most of the information the editor needs to do the job without becoming upside-down financially. With novels by inexperienced indie authors, though, the backstory can aid an editor in doing their job well so the author will come back for more.
Sometimes what starts out as a standalone novel expands into a series. An editor might work with an indie author on the single title then be contacted later for an unexpected volume 2. Having done a detailed style sheet for the original project will pay the editor back when responding to the second opportunity. If their schedule can’t accommodate the new book, then they’ve at least made life easier for the editor who takes their place. That won’t fill the first editor’s wallet but will reflect positively on their reputation, and maybe bring back the author for volume 3 or lead to future referrals.
It’s not safe to assume that editing a series will get easier with each volume. Sometimes authors get fatigued from thinking up new stories inside a fixed scenario, or bored by the whole thing, and the quality of their work may deteriorate instead of improve as they push on. Marketplace pressure also can influence an author, in that readers just want more of the same thing while the author itches to stretch in a new direction, or is obliged to turn out the next volume in less time than they need to write it well.
Most copyeditors and line editors aren’t involved in an author’s content angst, but if they’ve been working with the same indie author since volume 1, then they’ve probably established a personal relationship and care about the author’s growth and the series’ success. To help that relationship happen and help authors avoid fatigue before it starts, editors can suggest at the beginning of the series that the author plan a finite number of volumes and outline the primary plot of each one within the plot of the whole. That simple guideline can both direct the author’s energies and allow the editor to raise relevant questions during the series’ progress to help the author stay on task while being creative.
Editing series fiction can be both challenging and rewarding, especially for editors who themselves are series readers. From that habit they know how a series can thrive or pall, or vacillate in its quality, and be motivated to help authors start strong and continually improve. The bonding potential with authors adds a richness to the experience. When the business and technical sides are carefully arranged, then the creative side can bloom to mutual satisfaction and result in a series that delights the reading public and earns income for everyone in the publishing chain.
Carolyn Haley, an award-winning novelist, lives and breathes novels. Although specializing in fiction, she edits across the publishing spectrum — fiction and nonfiction, corporate and indie — and is the author of two novels and a nonfiction book. She has been editing professionally since 1977, and has had her own editorial services company, DocuMania, since 2005. She can be reached at email@example.com or through her websites, DocuMania and New Ways to See the World. Carolyn also blogs at Adventures in Zone 3 and reviews at New York Journal of Books.