This book took me so long to write, and took such a wild, winding path. I am truly humbled by everyone who read this book already when it was posted here. And I hope that everyone who gets the book loves it as much as I loved writing it.
And if you’ve never read any of the Station 86 books, don’t forget that you can get book one, Seeming, for free on Smashwords.
Thank you all again for reading, for showing up here, and for supporting the work I do. You truly are the reason I keep showing up every week and at my desk every day.
Please enjoy the first episode of Station Central, the story of a vacation gone terribly wrong. If you like it, you can grab the whole story now on Smashwords.
Here is chapter three of You Can’t Trust The AI. This is the book that introduced Bailey, April’s AI friend. You can get the whole book now on Amazon or Smashwords.
Nova comes out in a week. This is incredibly exciting. But, you probably already knew that. You probably also already knew that this is book 5 in the Station 86 series and that it is the second to last book.
What you might not know is that this is the first time I’ve ever written a series this long before. Woven was only four books, and one of those was a prequel. So, technically, that was only a trilogy.
Writing a long series, as I’ve found, is a whole different creature. Now that I’ve written the penultimate book in my series, I’ve learned a few things. And so today, I’d like to share what I’ve learned with you.
Have a series outline as soon as possible
I’ve talked a lot, and I mean a lot, about bad endings. Especially in my reviews on Haunted MTL. Endings that don’t feel satisfying, don’t fully answer all the questions asked during the series or simply don’t fulfill the promises of the story.
One of the ways you can avoid that sort of bad ending is by establishing a series outline as soon as possible. Ideally, before writing book one. I had a series outline for Station 86 after book one, and I honestly wish I’d have started earlier.
This is important for several reasons. The first is that it enables you to start working in foreshadowing from the start. A great example of this is Futurama. Spoilers ahead.
In the very first episode, we see a shadow on the floor when Fry falls into the cryogenic tube. It is several seasons before we find out who that shadow belonged to, and the significance of Fry being frozen.
Writing a series outline also stops you from feeling paralyzed when starting your next book in the series. Unless you’re writing a continuing series that doesn’t have an overarching plot, like The Cat Who series, you have an overlying story that you’re telling through the series. So it’s important to understand, at least a little, how each book is going to move that main plot forward, while also being a satisfying story by itself.
For example, the main storyline of Station 86 is that there are hollow mechanical things that are killing people for seemingly no reason. This is the main issue our heroes have to face. Each story has been about some new aspect of that.
Seeming set the stage, introduced our characters and world, and established that Earth had gone dark and wasn’t sending or receiving messages.
You Can’t Trust The AI was a story about AI dogs attacking Station 86, because the Hollow Suits had taken over their home station.
Virus was a zombie sci-fi story, that happened because someone was trying to create a weapon against the Hollow Suits.
Station Central was the first one to include an actual attack by the Hollow Suits. And Nova is where we finally learn what the Hollow Suits are, and our heroes come face to face with them.
None of this was by accident. It was all in my initial series outline.
But understand that it is not set in stone
This is something I think a lot of people don’t understand about an outline. Just because you have one, doesn’t mean it can’t change dramatically. If you come up with something better, or your original outline just isn’t vibing anymore, you can redo it. You can change it. You can toss the whole thing and start over.
For example, Nova was not going to be a book at all. All the important parts were going to be flashbacks in the final book, the one I’m writing right now. Then, I realized that there was simply too much to tell, and too much I wasn’t going to have the space for if I tried to do that. It would feel rushed, and unsatisfying. So, I wrote a whole other book. And in doing so, I had to rewrite the final one.
This is why this book took so long, but that’s a whole other issue.
The important thing is that you don’t have to stick to your initial outline. Your series is going to surprise you. Let it.
Anything might happen
A series ender can bring all sorts of surprises. People who you never thought would come back might. People you never thought would get back together might. People you thought were certainly going to live to the end of the series might not.
This is when it’s time to pull no punches. This is when your character’s worlds are unraveling. It’s when they’ve leveled up, been beaten down, and are standing just outside of the big boss’s reach. Which means it’s time to go for broke.
Which sometimes means making some tough decisions. Like killing a character you didn’t want to kill. Or having a love story end badly. Because, well, that brings me to the next point.
It can look like the bad guys won
No one wants to read a book where the antagonist is a pushover. They need to be someone intimidating. Someone it seems like the hero can’t possibly beat. And so, it’s okay if it looks like good is temporarily defeated in your second to last book. Maybe their team has been thinned. Maybe they’re imprisoned. Maybe we think they’re on death’s door.
Maybe any number of things. But, it’s okay for your second to last book to not have a happy ending. I would argue it’s probably for the best. Because we all like a comeback story, right? We all love the times someone defeats all odds and comes out with a win.
That’s what your last book is for. It’s the finish line, the moment of triumph after years and years of writing for you and years of journeying for your readers. So if you want that comeback, you have to knock your character down first.
Know what’s happening in your last book
While I was writing Nova, I had a document open the whole time for notes on the last book. Because, of course, this is what it’s all been building to. And so it’s fair to say that the last two books in a series are one book, just published at different times. Never is it more important that the story should flow from the last page of one book onto the first page of the next. I’ll be honest, I was tempted to write Nova and the new book at the same time, going through drafts together as though they were one large book. I might have done that if I hadn’t let so much time lapse between Station Central and this one. But if I do another long-term series, I’ll probably do just that.
If you’re writing a long-term series, I’d love to hear about it. And if you have any suggestions or tips, let us know in the comments.
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Here is the second chapter of You Can’t Trust The AI. If you don’t know, the first four books have additional chapters that were never published here. You can check out You Can’t Trust The AI on Smashwords and Amazon.
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