Search results
- Don't just pick up where the last story left off. The most obvious place to begin a sequel is where the previous story ended. This is what fans are always clamoring for: “What happens next?!”
- Give the reader something new. This is the real challenge of writing a sequel. Of course, it’s the challenge of every new project—but it’s especially difficult when writing a sequel because the pressure is so intense to do more of the same.
- Make the stakes different. A different frame for the story is a good start—but it isn’t enough. There’s a big tendency in sequels to give us as much as possible of the same.
- Play with Expectations. People come to sequels of beloved works with loads of baggage—specifically, expectations. If you can get past the intimidation that comes with it, that’s a fantastic opportunity for the writer, who can confound those expectations.
- Why Are Sequels So Popular?
- The Ten Commandments of Writing A Great Sequel
- Thou Shall Ensure That The Original Warrants A Sequel
- Thou Shall Not Simply Remake The Original
- Thou Shall Understand That Audiences Want Something New, But The Same
- Thou Shall Not Dismiss What The Characters Accomplished in The Original
- Thou Shall Take The Original Characters Forward
- Thou Shall Remember That The Original Characters Are The Franchise
- Thou Shall Embrace The Mythos Created by The Original
- Thou Shall Not Reinvent The Wheel
Most screenwriters in Hollywood write on assignment. Within the studio system, when an original film does well — or, ironically enough, a sequel does well — it warrants another installment, because, in the end, the studios need to make money, and what most people don’t understand is the real reason the studios develop so many sequels, prequels, rem...
Note: We will forgo mention of sequels based on previously released source material — i.e. The Lord of the Rings, Harry Potter franchise, The Hunger Games franchise, etc. And also, BEWARE OF SPOILERS.
This primarily falls on the studio and producer. However, it’s one of the deciding factors of the eventual greatness — or lack thereof — of any given sequel. Look no further than Highlander. Highlander was an outstanding breakout genre film with the unique premise of immortal warriors meeting across time to duel to the death by swords in a game whe...
Too many sequels suffer from this mistake. The Karate Kidfranchise quickly tanked due to the regurgitation of the same premise. While the Rocky franchise managed to find its way around that problem well (see below), The Karate Kid films were weaker with each installment — until Cobra Kaicame along on as a series. Chances are the original film was l...
Yes, that fine line between something new and something different. Screenwriters have to find a solid balance between the two. The original was a success for a reason. Audiences responded to the concept, the characters, and the story. So what you have to do is to find the core of those elements and retain them. Why do we watch Rockymovies? Well, we...
This is perhaps the worst offense of any sequel — dismissing what the character(s) fought so hard to accomplish in the original or predecessor. Look no further than the mixed bag that is Ghostbusters 2. While we have a strong element returning, as far as the chemistry of the characters (see below), where the film went wrong is having the characters...
Look no further than Aliens, The Godfather: Part 2, Star Wars Episode V: The Empire Strikes Back, Star Wars Episode VI: The Return of the Jedi, The Road Warrior, Toy Story 2 and Toy Story 3 — all sequels that took their characters forward. Not only story-wise but also their overall character arcs. Ghostbusters 2 failed to do this. A franchise often...
Look no further than the Fast and Furiousfranchise. If there is an example of the characters being the franchise, that’s it. The chemistry of the characters (RIP Paul Walker) is the true core of any franchise. The sequels where Paul Walker and Vin Diesel weren’t present — or weren’t together — were the films that didn’t do well at the box office. A...
Indiana Jones has his hat and his whip. Riggs has his rage. Mad Max has his car (well, at least for the first two and part of the fourth). Han Solo has the Millennium Falcon. It wouldn’t be a Die Hard film if John McClane didn’t have a variation of “Yippee Ki Yay Motherf***er.” These are but just a few of the examples of mythos and overall atmosphe...
This thought might be attributed to some of the other points above, but we’re talking more about tone and genre. Highlander II: The Quickeningturned the mysterious immortals into alien beings from another world. It was set in the future with a lot of future tech, while the original film was embedded in reality and the past with the low tech of swor...
Mar 10, 2022 · Instead, it’s about whether the sequels we include: create a sense of cause and effect by showing our characters’ reactions and decisions for the next step in the story narrative. avoid a sense of “navel gazing” or redundancy, such as by ensuring introspection ends in a Decision.
- How to Open Your Sequel’s First Chapter. Honestly, one of the most important questions of any book is—where to begin? Almost all of the same rules for beginning your standalone book’s chapter also apply to your sequel.
- How to Explain Book 1’s Events in Book 2. A question I commonly receive is: How to share the events of the previous book in the second book? How much do readers need to know?
- How to Up the Stakes Without Being Repetitious. Just as in a standalone book’s Climax, a series is going to want to save the best stuff for last. This means that, theoretically, the story should get more and more intense and exciting with each new book.
- How to Create a Seamless Overall Story. The best stories are those that create a seamless big picture. No matter how huge and sprawling your story will be by the time you write the final book, you still want your series’ ultimate ending to bring the story back full circle to the very first book.
Jul 30, 2018 · That’s a tough question to answer. As fiction writers, I think we’d most often like the answer to be: “Yes!”. It’s hard to let go of characters and plots and worlds we adore. However – surprise, surprise – not all novels need a sequel. In fact, some of them are better as standalones.
How to write a sequel that satisfies fans: 1. Brainstorm sequel ideas. 2. Research what makes a good sequel. 3. Keep reading to learn more.
People also ask
Why should you write a sequel?
Is a sequel good or bad?
Should you write a sequel to a book?
What is a sequel in a book?
Is writing a sequel the same as writing the next book?
How do you write a sequel?
In this article, author and The Novelry writing coach Libby Page discusses how she tackled writing The Lifeline, the sequel to her Sunday Times bestselling debut novel, The Lido, and provides some key questions you might want to consider if you’re planning to write a sequel of your own.
