No longer can you meander along at your own pace, letting your story take shape as it will; you’re on a contract now, and you have deadlines – you know, those things that Douglas Adams loved for the whooshing noise they made as they flew by. People are Counting On You.
So you deliver the script, and in due course a book happens and is launched upon the world, and feedback starts to come in. This is not nearly so daunting as it was for your precious-baby debut, but is oftentimes more perplexing.
For instance, you get the reader who adored your first book, but is lukewarm about the second one. It isn’t anything to do with the prose, they say, or the plot, or even middle-book-in-a-series-itis. It’s more that you took their beloved characters and put them through the wringer, and they came out the other side a different shape. You broadened the scope of the story, so it wasn’t so tightly focused on one individual, and these other characters are now perceived as some kind of distraction from the main event. Even though the reader doesn’t actually say it in so many words, you can’t help but feel that they’re not so keen on Book 2 because it wasn’t the first book all over again.