The Testaments – how to write a perfectly original sequel

P1080718

It is often the case when a sequel to a novel or a film is just a watered down version of the original. It has the same protagonists facing the same dilemmas with a few tweaks to the time and place setting, and a few flashy gimmicks and new characters thrown into the mix to refresh the plot. Think Star Wars.

Authors (like myself) who write series have to be very conscious of templates, repetition and stagnation. Yes, the heroes of the series grow on our readers and yes, they have to be presented with consistency. But everything else in every new sequel has to be fresh, surprising and curious: a new bookish land yet to be discovered and explored. Otherwise, it all becomes stale like the same stretch of the same congested road a commuter gets stuck on every day. Even the most ardent fans will grow bored and frustrated.

The Testaments are a lesson on how to avoid the pitfalls of sequels – the curse of the sameness. The first-person narrative moves away from June. It is now the infamous Aunt Lydia, and two teenage girls (one brought up in Gilead and the other one in Canada), who take the centre-stage. Their stories are vivid and engaging. I was guessing, I was speculating, I was biting my nails – all the things you do when the plot draws you in. The thought-provoking message of The Testaments did not detract from Atwood’s cracking story telling.

Not all of the Booker Prize winners found favour with me as a reader. Some of them I started only to find myself overwhelmed with the heavy theme or the author’s eloquent philosophical referencing. So I wouldn’t bother to read on. Atwood has a message, but that message is delivered subtly, without overpowering the story or dwarfing the characters. And that is the beauty of The Testaments.