When Good Writers Get Bored

What Mystery Authors Write After Publishing a Successful Series

Apr 9, 2009

Their tolerance for risk determines which new paths authors will take in response to the limitations imposed by writing a mystery series.

Most writers of mystery and detective fiction have at least one series associated with their names. A popular mystery series provides authors with a loyal fan base and a welcome income. But despite the lures of fame and fortune, mystery series writers can find the existence of an established pattern for their future work to be excessively confining.

What do authors of mystery series do when they can’t write one more word about their series protagonists? The degree to which they are willing to accept risk determines their response.

If It's Not Broke

The least risky technique used to combat the frustrations inherent in writing series fiction is simply to decide not to change what works. Writers in this category focus all their efforts on continuing the series that has brought them fame. For example, all of the novels by Nancy Atherton, author of Aunt Dimity Slays the Dragon, belong within the Aunt Dimity series.

Showcasing Series Characters

A second low risk technique used by writers to combat series writing tedium is to use particular novels within their series to showcase specific characters. These writers often employ ensemble casts or write spinoff novels. Since both methods allow for broader development of characters already present in an established series, they result in minimal risk for their writers. In fact, these series frequently gain in popularity by satisfying their audiences’ desires to learn more about favorite characters.

Ensembles

The difference between series character development by spinoffs, as opposed to ensemble casts, is a matter of degree. Writers who create series featuring ensemble casts allow all major series characters their time in the spotlight. Lisa Scottoline’s Rosato and Associates series illustrates this form, since each associate in Bennie Rosato’s law firm gets at least one novel to herself.

Spinoffs

In contrast, writers who use spinoff novels develop a more limited group of characters. Jonathan Kellerman spins off only three characters from his Alex Delaware series, Petra Connor and the two half-brothers featured in True Detectives, Moses Reed and Aaron Fox. Using a more extensive spinoff technique, John Lescroart highlights the partners in Dismas Hardy’s law firm in his Dismas Hardy/Abe Glitsky series.

Standalones

Comfortable with slightly more risk, other mystery series writers continue their established series, but also write standalone novels that have no connection to their series work. Their only hazard is that their readers might consider such works as annoying interruptions to their series output. Laura Lippman, for instance, continues to write her Tess Monaghan series while also writing such well received standalones as Life Sentences (2009). Jan Burke has taken even more risk with The Messenger (2008), by writing a paranormal romance that breaks away from her Irene Kelly detective series. Most recently, Borderline's Nevada Barr departed from her successful Anna Pigeon series to write the standalone psychological thriller, 13 1/2 (2009).

New Series

Still other writers begin entirely new series while continuing with their established ones. While writing her Kay Scarpetta series, Patricia Cornwell began both her Andy Brazil series and her more recent Winston Garano series. Gillian Roberts, best known for her Amanda Pepper series, has also written the Emma Howe and Billie August series. The prolific Robert B. Parker adds to his Jesse Stone and his Sunny Randall series as he continues the always popular Spenser. Janet Evanovich has recently begun a Between-the-Numbers series featuring the supernaturally gifted Diesel that retains strong ties to her Stephanie Plum series.

Gone, Series, Gone

The most risky approach to dealing with the confines of writing a mystery series is, of course, to end the series. Although writers who make this choice risk alienating their audience, in some cases the outcome is worthwhile. Before embarking on her Judge Deborah Knott series, Margaret Maron wrote an appealing but lesser known series featuring New York police detective Sigrid Harald. Maron’s decision to halt the Sigrid Harald series in order to focus on Deborah Knott has clearly proven to be a profitable choice.

After his 2001 success with Mystic River, Dennis Lehane also chose to to end his series featuring private investigators Patrick Kenzie and Angela Gennaro, which included works like Gone, Baby, Gone (1998). In a USA Today interview, Lehane explains his refusal to continue his series. "They were written from a young man's perspective. I left Patrick when I was 33 and he was 33. I've tried, but his voice won't come."

As has been seen, mystery writers generally avoid the extreme approach Lehane has chosen. Deciding to continue to develop an established series rather than to abandon it is how most writers respond to the risks and rewards of writing a series mystery.

Links

Links to her reviews of the following novels and series that are cited above can be found on Carol Thomas's Suite101 article page.

The copyright of the article When Good Writers Get Bored in Mystery/Crime Fiction is owned by Carol Thomas. Permission to republish When Good Writers Get Bored in print or online must be granted by the author in writing.