One of the great things about books is you can afford to do anything.
George R. R. MartinRead
I've written some standalone novels, but a book series allows fans in. There's much more intense involvement.
Interpretation
A book series fosters deeper connections between the story and its readers than standalone novels.
George R. R. Martin expresses the idea that writing a book series creates a unique bond between the author and the readers, as fans can engage more deeply with the characters and plot over an extended narrative. This prolonged interaction allows for a rich development of storylines and character arcs, enhancing the overall experience for the audience.
In practice
Discussing the impact of long series in a book club.
One of the great things about books is you can afford to do anything.
I hate outlines. I have a broad sense of where the story is going; I know the end, I know the end of the principal characters, and I know the major turning points and events from the books, the climaxes for each book, but I don't necessarily know each twist and turn along the way. That's something I discover in the course of writing and that's what makes writing enjoyable. I think if I outlined comprehensively and stuck to the outline the actual writing would be boring.
There is only one god and his name is Death. And there is only one thing we say to Death: βNot today.
I did not do it. Yet now I wish I had.β He turned to face the hall, that sea of pale faces. βI wish I had enough poison for you all. You make me sorry that I am not the monster you would have me be, yet there it is. I am innocent, but I will get no justice here.
But a voice inside her whispered, There are no heroes, and she remembered what Lord Petyr had said to her, here in this very hall. 'Life is not a song, sweetling,' he'd told her, 'You may learn that one day to your sorrow.' In life, the monsters win, she told herself.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
Among contemporaries, I hugely admire Alice Munro, our Chekhov, Saul Bellow, Philip Roth, and John Updike, American masters all. I also believe that the voice of Gordon Lish is astoundingly original and sorrowful.
That's why we read fiction, isn't it? To remind us that whatever we suffer, we're not the only ones?
Two questions form the foundation of all novels: "What if?" and "What next?" (A third question, "What now?", is one the author asks himself every 10 minutes or so; but it's more a cry than a question.) Every novel begins with the speculative question, What if "X" happened? That's how you start.
All told, she owned fourteen books, but she saw her story as being made up predominantly of ten of them. Of those ten, six were stolen, one showed up at the kitchen table, two were made for her by a hidden Jew, and one was delivered by a soft, yellow-dressed afternoon.
The problem with most genre fantasy is that it's not nearly fantastic enough. It's escapist, but it can't escape.
A big part of me would be very proud never having anything of mine adapted, because if you want the real experience, there's only one way to get it. You're going to actually have to be a reader.
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