Friday, March 16, 2012

Old boyfriends and dead editors - how much information is TMI?

Should I tell you about the old boyfriends, the hometown, the murdered editor? Or wait a minute - how much information is TMI?

That's a quandary I'm wrestling with as I work on the sequel to Death on Deadline. In a sequel, much background information is too much? How much will help, and how much will hinder?

How much does the reader really need to know about protagonist America Miles to understand the mystery she's embroiled in now?

I want the sequel to stand on its own. For me, there's nothing more annoying than picking up a book and finding out you don't know what the heck is going on because it's not the first book in the series.

But like with any relationship, the more you know about someone, the better you understand their actions. Does it make a difference that the "someone" is fictional?

So I'm treading lightly, with carefully placed transitions, a few remembrances and a trip or two down memory lane.

I feel like I'm walking a tightrope between the past and the present. I just hope I can keep my balance.


  1. Maybe you should think of it more like a series, and not a sequel. Then, you can find a few thin threads that you carry through. Decide those threads now and commit to them. For a few years I have been reading the Lumby series by Gail Fraser. She has 5 or 6 books and they stand alone but still carry some story threads. PS: I'm very excited that you're continuing the story!