Series are really big right now. Many readers love them to bits—they’ve invested time, emotion and dollars, and want to revisit the world/setting and cast of characters that the author created.
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Please your readers but do justice to the relationship of your current couple and their story foremost.![]()
I’m not really one of those readers. lol.
Don’t get me wrong, I don’t hate series, especially when it comes to TV shows or movies. Then I get just as invested in the cast interaction and growth, and overall story arc as the next fan.But with books? Not so much.
I’m more interested in *this* particular story and what’s at stake for *this* particular hero and heroine. If it’s a trilogy or series, I can/will get invested in the over-all world-building/setting but my main thing is the main story/romance. Even then, I rarely stick around beyond book 4 or 5 (if I even get that far) in a series. *shrug*I accept I’m in the minority this with. Fine, I can deal. But I’ve come up against something in my reading lately, with certain series that are made up of stand-alone books. What I call Old Home Reunion books. There are a several authors I’ll buy at full price. They’re worth it. They write well and I like the character types and tropes they use. They also write series, but in a way that you don’t have to read every book (and read them in sequence). It’s more about a familiar world and/or a group of characters.
The problem is that for a few of these authors, their writing has become bloated, for want of a better word. With their recent releases, the story focuses on the current couple for maybe 50% of the book. The rest of the book is stuffed with scenes where ALL the heroes/heroines from the previous 3-7 books show up. 
And it kinda feels like this picture. Who is primary couple here? Everyone's vying for attention
Usually there’s some justification for them ALL being there: the scene takes place at mutual workplace, an annual fair, or popular hangout (ie bar/club) or someone’s wedding, etc.
Sometimes, though, that justification is paper thin.
The heroes all own a business together? Makes sense you’ll have work scenes with all of them present. It’s the work scenes where you have all of them at work and then the previous heroines show up for an impromptu visit complete with the twins of one couple—and descriptions of how cute/rascally the twins are and what a marshmallow the previous alpha-hero from book 2 is for his kids, etc., while the other heroine, from book 4) is pregnant and what a blessing it was because the couple had trouble conceiving, but they don’t want to find out the sex of the baby, they want it to be a surprise—which is causing the heroine some problems in how to decorate the nursery and…. Where was I?
Exactly! What happens to the plot development between the current hero and heroine while we enjoy (endure) these multiple catch up scenes? And trust me, these scene do come in multiples.
Then author compounds this by throwing in some rampant sequel baiting scenes, and pov scenes between one of the previous couples—including detailed sexxoring—and… where the heck did my romance go? You know the one in the blurb? The one I paid for and was looking forward to reading? I just read a book that had all the above crap plus two subplots—a subplot to the main romance which included scenes in the pov of the heroine’s ex-boyfriend, and a subplot of the main series arc, which included the pov of the arc villain. Then to make matters worse(!!) we get an epilogue that focuses on one of the previous couples talking about the current couple, *side-eye* before a fade-to-black love scene, followed by more sequel baiting/set-up of the next book from the villain’s pov. This is the worse Old Home Week read I’ve come across, but I’m coming across too many for my reading enjoyment.
Of course authors want to please as significant a sector of their readership as possible, so absolutely revisit previous couples if it’s going to make the fans go crazy, but please balance that with *primary* needs of the current couple. Don’t sell them, and their story/romance, short. I’ve got a litmus test. Not fool-proof, but I think it can pinpoint whether or these types of scenes are superfluous. Assuming that the big ‘reunion/gathering’ scenes are not just an excuse to catch up on the previous couples but are relevant to the grow in plot, conflict, and character of the current *story*:
If you were to switch all the pervious heroes/heroines with new secondary/tertiary characters, would their presence in the scene still be warranted? Is their dialogue needed? Is there a reason to even note that their presence/demeanor? Yes? Then you’ve got a strong scene that contributes, enhances and advances your *current* story (or hints at the set-up of the next book without distracting from this one).
No? Then what you’ve got there, my friend, is the literary equivalent of Old Home Week. You’ve got the tail (the readership) wagging the dog (*your* story). Please your readers but do justice to the relationship of your current couple and their story foremost.
