Right now I’m making the transition from writing a series to writing a stand-alone. There are similarities between the two forms, of course. Setting is still all important, for example. We need to know where the story takes place and how this affects the characters. Is the story set in a city? If yes, then at least some characters will travel by public transportation–the subway or bus or zip car or Uber/Lyft or bicycle. If the setting is a small town or even a farm community, the bus will be a once a day opportunity, and most people will drive everywhere.

The variety of characters around the protagonist will remain important, but here some less obvious differences start to emerge. In any mystery the reader expects a diversity in age, occupation, gender, and race. That’s a given. The list of characters should reflect the makeup of the setting in all its variety and richness. Even in the most traditional stories from the Golden Age, the characters, especially the suspects, had a sense of individuality and diversity within the given bounds of the time. The Anita Ray series is set in a tourist resort in South India, which gives me unlimited possibilities for characters.

In a mystery novel that is part of a series, the suspects orbited around the protagonist and her or his circle of friends and relatives, the recurring personae of the series. We enjoy seeing some of our favorite fictional friends fall in and out of trouble, knowing that in the end, the real culprit will be found out. Our literary friends, of course, will be fine. I was glad of this because I grew very fond of some of Felicity O’Brien’s relatives in Below the Tree Line, my newest series.

In a stand-alone, every single character is equally suspect. There is no protected circle of recurring characters, and there is no single character who cannot be the culprit, not even the narrator in a first person tale. Perhaps I should say, especially not the protagonist now that there are so many stories with unreliable narrators.

As I tackle my first stand-alone, writing every character as though he or she is the villain changes some fundamental aspects of the story. The narrator in a first person story really has no one she can rely on as a trustworthy confidante. We have to suspect everyone. Never can we say, Oh, that’s just Aunt Ida. She’s always like that, right from Book One. In a stand-alone, Aunt Ida, as flaky as she may be, remains a viable candidate for the role of murderer. If the narrator is confiding in her about her suspicions, Aunt Ida could be gathering information that will enable her to foist the guilt onto someone else. Or Aunt Ida could be discerning an important detail that would allow her to blackmail the real villain. Or the narrator could be planting ideas in Aunt Ida’s mind to propel her to act in a certain way. Poor Aunt Ida. She’s landed in the wrong script, and there’s no getting out of it.

The other change that seems most notable to me should be obvious in the preceding paragraph. No matter how dire the situation, I tend to see things through a particular lens, and it shows up in my wry humor. Aunt Ida can’t become a comedic character that undermines the tension of the story.

I’m working on all of this, and when I finally finish this ms I hope I’ll have mastered what is for me partly a new form. Stay tuned as we used to say. More to come.

6 thoughts on “Transitions

  1. Good luck!! It’s an interesting transition to make. I’m going opposite. I’ve been writing standalone and am moving to a series. It’s really enjoyable to think about how to approach them differently.

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  2. Out of my 13 published books, I only have one standalone. The rest are series bound. Whether this is true for other authors I couldn’t say, but I have found my standalone, of which I am very proud and even won a prestigious award, never became a big seller. Recently, I renamed the book and changed the cover, hoping this will attract more readers. We will see. However, I am a firm believer we should write what our heart dictates. If I was in business to make money, I would have become a plumber.

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    1. Heather, I’m in almost exactly the same position–12 novels, 2 nonfiction–with one stand-alone, almost finished. I have no idea how well it will do, so I have read your comment with interest. I hope the new name and cover bring you more financial success (congratulations on the award), and I can only hope mine does well. As for plumbing, I never seriously considered doing anything other than writing despite the sorry pay. Thanks for sharing your experience. Sobering.

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  3. Susan, Great post! I think that’s why I like my new series. While it is a series, the main protagonist isn’t always around friends and people he knows. His job can take him to places he knows no one. But the reader will know he didn’t cause the murder. I agree, a standalone murder mystery is a different type of story in that you aren’t sure who, including the narrator, could be the villain.


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