Sequel

The Marvelous Land of Oz, sequel to The Wonderful Wizard of Oz, was an official sequel novel written to satisfy popular demand.

The origin of the sequel as it is conceived in the 21st century developed from the novella and romance traditions in a slow process that culminated towards the end of the 17th century.

The substantial shift toward a rapidly growing print culture and the rise of the market system by the early 18th-century meant that an author's merit and livelihood became increasingly linked to the number of copies of a work he or she could sell. This shift from a text-based to an author-centered reading culture[21] led to the "professionalization" of the author – that is, the development of a "sense of identity based on a marketable skill and on supplying to a defined public a specialized service it was demanding."[22] In one sense, then, sequels became a means to profit further from previous work that had already obtained some measure of commercial success.[23] As the establishment of a readership became increasingly important to the economic viability of authorship, sequels offered a means to establish a recurring economic outlet.

In addition to serving economic profit, the sequel was also used as a method to strengthen an author's claim to his literary property. With weak copyright laws and unscrupulous booksellers willing to sell whatever they could, in some cases the only way to prove ownership of a text was to produce another like it. Sequels in this sense are rather limited in scope, as the authors are focused on producing "more of the same" to defend their "literary paternity".[22] As is true throughout history, sequels to novels provided an opportunity for authors to interact with a readership. This became especially important in the economy of the 18th century novel, in which authors often maintained readership by drawing readers back with the promise of more of what they liked from the original. With sequels, therefore, came the implicit division of readers by authors into the categories of "desirable" and "undesirable"—that is, those who interpret the text in a way unsanctioned by the author. Only after having achieved a significant reader base would an author feel free to alienate or ignore the "undesirable" readers.[22]

This concept of "undesirable" readers extends to unofficial sequels with the 18th century novel. While in certain historical contexts unofficial sequels were actually the norm (for an example, see Arthurian literature), with the emphasis on the author function that arises in conjunction with the novel many authors began to see these kinds of unauthorized extensions as being in direct conflict with authorial authority. In the matter of Don Quixote (an early novel, perhaps better classified as a satirical romance), for example, Cervantes disapproved of Alonso Fernández de Avellaneda's use of his characters in Second Volume of the Ingenious Gentleman Don Quixote of La Mancha, an unauthorized sequel. In response, Cervantes very firmly kills the protagonist at the end of the Second Part to discourage any more such creative liberties.[24] Another example is Samuel Richardson, an 18th-century author who responded particularly strongly against the appropriation of his material by unauthorized third parties. Richardson was extremely vocal in his disapproval of the way the protagonist of his novel Pamela was repeatedly incorporated into unauthorized sequels featuring particularly lewd plots. The most famous of these is Henry Fielding's parody, entitled Shamela.[25]

In To Renew Their Former Acquaintance: Print, Gender, and Some Eighteenth Century Sequels, Betty Schellenberg theorizes that whereas for male writers in the 18th century sequels often served as "models of paternity and property", for women writers these models were more likely to be seen as transgressive. Instead, the recurring readership created by sequels let female writers function within the model of "familiar acquaintances reunited to enjoy the mutual pleasures of conversation", and made their writing an "activity within a private, non-economic sphere". Through this created perception women writers were able to break into the economic sphere and "enhance their professional status" through authorship.[22]

Dissociated from the motives of profit and therefore unrestrained by the need for continuity felt by male writers, Schellenberg argues that female-authored sequel fiction tended to have a much broader scope. He says that women writers showed an "innovative freedom" that male writers rejected to "protect their patrimony". For example, Sarah Fielding's Adventures of David Simple and its sequels Familiar Letters between the Principal Characters in David Simple and David Simple, Volume the Last are extremely innovative and cover almost the entire range of popular narrative styles of the 18th century.[26]

As the cost of developing a triple-A video game has risen,[27][28][29] sequels have become increasingly common in the video game industry.[30] Today, new installments of established brands make up much of the new releases from mainstream publishers and provide a reliable source of revenue, smoothing out market volatility.[31] Sequels are often perceived to be safer than original titles because they can draw from the same customer base, and generally keep to the formula that made the previous game successful.

Movie sequels do not always do as well at the box office as the original, but they tend to do better than non-sequels, according to a study in the July 2008 issue of the Journal of Business Research. The shorter the period between releases, the better the sequel does at the box office. Sequels also show a faster drop in weekly revenues relative to non-sequels.[32] A quantitative mega-analysis of box office earnings from all the major movie studios revealed that franchise movies dominate the highest grossing films lists, establishing sequels as reliable kinds of movies to make. All studios have come to rely on releasing sequels as they increase the studios' profitability, yield to the consumer demand for simultaneous novelty and familiarity, and help manage risk and uncertainty within studio production and release.[33]

Sequels are most often produced in the same medium as the previous work (e.g. a film sequel is usually a sequel to another film). Producing sequels to a work in another medium has recently become common, especially when the new medium is less costly or time-consuming to produce.

A sequel to a popular but discontinued television series may be produced in another medium, thereby bypassing whatever factors led to the series' cancellation.

Some highly popular movies and television series have inspired the production of multiple novel sequels, sometimes rivaling or even dwarfing the volume of works in the original medium.

For example, the 1956 novel The Hundred and One Dalmatians, its 1961 animated adaptation and that film's 1996 live-action remake each have a sequel unrelated to the other sequels: respectively The Starlight Barking (1967), 101 Dalmatians II: Patch's London Adventure (2003, direct to video) and 102 Dalmatians (2000).

• Old Friends and New Fancies: An Imaginary Sequel to the Novels of Jane Austen (1913) is a novel by Sybil G. Brinton that is generally acknowledged to be the first sequel to the works of Jane Austen and as such the first piece of Austen fan fiction.[34][35]
• Porto Bello Gold (1924), a prequel by A. D. Howden Smith to Treasure Island that was written with explicit permission from Stevenson's executor, tells the origin of the buried treasure and recasts many of Stevenson's pirates in their younger years, giving the hidden treasure some Jacobite antecedents not mentioned in the original.[36]
• Back to Treasure Island (1935) is a sequel by H. A. Calahan, the introduction of which argues that Robert Louis Stevenson wanted to write a continuation of the story.
• Heidi Grows Up (a.k.a. Heidi Grows Up: A Sequel to Heidi) is a 1938 novel and sequel to Johanna Spyri's 1881 novel Heidi, written by Spyri's French and English translator, Charles Tritten, after a three-decade long period of pondering what to write, since Spyri's death gave no sequel of her own.[37][38]
• Manly Wade Wellman and his son Wade Wellman wrote Sherlock Holmes' War of the Worlds (1975) which describes Sherlock Holmes's adventures during the Martian occupation of London. This version uses Wells' short story "The Crystal Egg" as a prequel (with Holmes being the man who bought the egg at the end) and includes a crossover with Arthur Conan Doyle's Professor Challenger stories. Among many changes the Martians are changed into simple vampires, who suck and ingest human blood.[39]
• In The Space Machine (1976) Christopher Priest presents both a sequel and prequel to The War of the Worlds (due to time travel elements), which also integrates the events of The Time Machine.[40]
• György Dalos wrote the novel 1985 that was intended as a direct sequel to Orwell's work.
• Alice Through the Needle's Eye (1984) by Gilbert Adair, a sequel to Lewis Carroll's Alice in Wonderland books.[41]
• The novelist Angela Carter was working on a sequel to Jane Eyre at the time of her death in 1992. This was to have been the story of Jane's stepdaughter Adèle Varens and her mother Céline. Only a synopsis survives.[42]
• Mrs. Rochester: A Sequel to Jane Eyre (1997) by Hilary Bailey.
• The Last Ringbearer (Russian: Последний кольценосец, Posledniy kol'tsenosets) (1999) is a fantasy book by Russian author Kirill Eskov. It is an alternative account of, and an informal sequel to, the events of J.R.R. Tolkien's The Lord of the Rings.[43]