Do agents prefer stand-alone novels from unpublished authors or is it worth submitting a trilogy?

[Aquilonian]

Do agents prefer stand-alone novels from a first approach, or would some at least look at a trilogy? And if the latter, would they want all three volumes to be completed before any submission?

Reason I'm asking is because my preferred genre is epic fantasy in at least three volumes- that's what I like to read and it's therefore also what I like to write.

 

[Jo Zebedee]

Do agents prefer stand-alone novels from a first approach, or would some at least look at a trilogy? And if the latter, would they want all three volumes to be completed before any submission?

Reason I'm asking is because my preferred genre is epic fantasy in at least three volumes- that's what I like to read and it's therefore also what I like to write.

Standalone are easier to sell but you can present the first book with a resolution and note that it has series potential. But don't lie. If it's a trilogy and no way round it present it as such - if an agent loves it they'll look at it anyway.

 

[Stuart Suffel]

As abovr pretty much. The standard approach in a query is focus on the first book, then add the phrase 'series potential' at the end. They definitely don't expec t the three books to be written, but if they like the sound of the first one, they may request an overview or even sometimes a thorough synopsis of the subsequent books, (including ending). (I was once asked for detailed story trajectory, character development over the series, relationship development, high points and ending. Phew. I did what i could, but i finally decided against going further in that particular incidenc). So, it would be useful if you did have a reasonable outline of book two and three, as sone stage, just in case...(on mobile, forgive typeset)

 

[Brian G Turner]

Do agents prefer stand-alone novels from a first approach, or would some at least look at a trilogy? And if the latter, would they want all three volumes to be completed before any submission?

Reason I'm asking is because my preferred genre is epic fantasy in at least three volumes- that's what I like to read and it's therefore also what I like to write.

I did a ton of research earlier this year, and everything said to only focus on selling one book at a time.

The problem for an agent is that it's hard enough to sell one book to a publisher - a lot more are bounced back that is often let on - and trying to sell a trilogy means making that problem 3 times bigger.

I thought this was all completely unreasonable and unprofessional - until I read a sample query by someone trying to get an agent to sign up his 12 book series. That's when it dawned on me how difficult this could be.

So, when querying agents, use the phrase "Has series potential". Then if you are picked up by an agent, you can then discuss further plans for work, and the agent will take and use what they need from that discussion to any with any publishers in the future.

Hope that helps.

 

[Tirellan]

I agree with what has previously been said. Have book 1 complete and polished, have detailed outlines for books 2 and 3. Then start something else in case the agent can't sell book 1.
What you need to consider is what happens if someone takes on and publishes Book 1, it doesn't do well and they don't want 2 and 3. You have nowhere to go but self-publishing in that case.

 

[tinkerdan]

I think that almost every fiction novel has sequel, trilogy or serial potential. So the larger picture might beg the question; does this stand well alone?

Perhaps on a morbid side think, how many people would you like to disappoint if you die before you can finish the next two.

On the upside, unless your work gets really good reception from readers, it might not be as many people as you'd hope.

And after that, I leave with this parting quote form my most favorite reader.

Julie says, "What a crummy ending, just left you hanging."

I really do consider her a favorite; because I know she read it to the end and is being honest.

 

[Overread]

Something to keep in mind is that I've seen a few books released as a single volume which then went on to become a series. The first book often being by far and away superior and sometimes the latter two books (because trilogy is a magical word) feel less skilled or lacking.

I put this down partly to the problem that if you write a book as a complete story the general aim is to have all the loose ends tied up at the end; to not leave your reader on a cliffhanger. This means book two has to start all over again (almost) in setting up the scene again. A further problem is efficacy of information; essentially if you write a self contained novel as a first book there's a good chance that you hardly if never dwell on aspects of the world; characters or society which are not required by that story and which are not tied up by the end. Again this means book two and so-on have to introduce new things; which can be somewhat jarring if they introduce things that are new to the story; but which if you'd written the first book fully as part of the trilogy, would have been presented much earlier in the story (even if just as a place-holder).


So it might benefit you to consider that if you want to make a sequel or turn a stand-alone into a series then:
1) You might want to make it a slightly more tight story so that its only focusing on a niche of the world. Thus leaving a lot of room for expansion without feeling like you're changing things between the two books

2) Leave bits of information and subtle story-lines within the story. Bill it as some added mystery and world building that leaves you able to take up those strings in a following story (there's your sequel potential without having to leave a huge cliffhanger ending in the stand-alone book).


Note you can see these things used often enough in short stories send to story collections; little stories that are a forerunner to a larger series. They very much use the first tip of keeping the story small and tight; sometimes even using a totally different (or only lightly related) cast of characters and are almost more a world-introduction.

 

[Tirellan]

I would suggest that having to write books 2 and 3 to a deadline when you previously had as long as you wanted to write book 1 is a significant factor.

 

[tinkerdan]

Having someone pay you to start the next one is a significant incentive.

I would suggest that having to write books 2 and 3 to a deadline when you previously had as long as you wanted to write book 1 is a significant factor.

 

[Phyrebrat]

I think that almost every fiction novel has sequel, trilogy or serial potential. So the larger picture might beg the question; does this stand well alone?

Perhaps on a morbid side think, how many people would you like to disappoint if you die before you can finish the next two.

On the upside, unless your work gets really good reception from readers, it might not be as many people as you'd hope.

And after that, I leave with this parting quote form my most favorite reader.

Julie says, "What a crummy ending, just left you hanging."

I really do consider her a favorite; because I know she read it to the end and is being honest.

I just want to make sure there is no confusion as to tinkerdan and phyrebrat being the same person, we are not

But td has said exactly what I would say - although I'd probably add:

How do you know it's a trilogy until you write it? Cart/Horse

pH

 

[Jo Zebedee]

I just want to make sure there is no confusion as to tinkerdan and phyrebrat being the same person, we are not

But td has said exactly what I would say - although I'd probably add:

How do you know it's a trilogy until you write it? Cart/Horse

pH

I disagree on the last point. A trilogy has a specific ARC over the theee books. To try to shoehorn that ARC into one book is impossible and I think that needs to be known before you write it. Which makes the original question hard and comes back to - if it must be a trilogy it might need to be sold as one.

I do have a friend who was dropped for book 2 and 3 and is now self publishing. It's not a nice outcome.

 

[Phyrebrat]

But still, you don't know. I mean to say, it could be a fiveology (sorry; numbers, alright!?!) or it could be a stand alone. Until it's written you won't know. You might have an idea, or a preference, but we all know that things happen in the execution to change our plans - or pants.

pH

 

[Jo Zebedee]

But still, you don't know. I mean to say, it could be a fiveology (sorry; numbers, alright!?!) or it could be a stand alone. Until it's written you won't know. You might have an idea, or a preference, but we all know that things happen in the execution to change our plans - or pants.

pH

I've always known - standalones are simpler in planning, duplogies have specific end points, trilogies have a logical three arcs, series have a world potential. I've written /planned/ drafted each and they all feel different right from the very start - and I'm not a planner at all! Maybe it's only me, though

 

[Phyrebrat]

Someone told me - or rather suggested - my WIP might be better as two books and it sent my blood cold. I'm not a planner either, but the thought of all that extra work of ensuring sprawling casts and/or plots are tidy would send me doolally.

Let's face it though, I'm not the best person to give advice based on the fact I've yet to finish a long form.

pH

 

[tinkerdan]

Don't do it!

Someone told me - or rather suggested - my WIP might be better as two books and it sent my blood cold. I'm not a planner either, but the thought of all that extra work of ensuring sprawling casts and/or plots are tidy would send me doolally.

Let's face it though, I'm not the best person to give advice based on the fact I've yet to finish a long form.

pH

It's a trap!

That's what happened with mine. I had 1400 pages of double spaced narrative that made one fairly rounded story that I knew would have to have a sequel, but I could make it work to a satisfactory ending.

I had two choices; I could try to condense it: a lot. Or I could cut it in half and condense each half.

I could find a climatic event midway where I could, some time after, end book one.

Unfortunately I left a big thread hanging.

The only good comparison I can give, off the cuff, is to use the Star Wars movie A New Hope.
Near the end we see Darth Vader's fighter spin out of control and we really don't know what became of him after the station exploded.
Then there is a happy ending, sort of.

Somehow viewers were forgiving of that and I think the difference, beside movie compared to novel, is that Darth Vader was developed throughout the story and my main threat is lingering off stage a bit most of the first book and the real development comes in book two and that might make it look like it came out of left field.

 

[Stuart Suffel]

A spinning Vader....by Jove, I think he's got it!

 

[Aquilonian]

Thanks everyone, some really useful advice and thoughts here! I think I'm going to focus each volume on a different location in my imaginary world, gradually moving from the periphery to the core. Also on different subsets of characters in each location, though later people/locations will be referred to in earlier volumes. As regards resolutions, I'm thinking to resolve certain plots and allow a partially "happy ending" for some characters within volume one, while leaving an overarching plot still unresolved, and indeed form an in-world perspective incapable of resolution. Also to hint at later themes and events in first volume in a way that will make sense later but can make sense at the time in a different way, or maybe just be slid over, as in GRR Martin's Tower of Joy dream in volume one of A Song of Ice and Fire.