At the very core of a short fiction, a stand-alone novel, a saga, a series, or a franchise there's one overriding facet that defines their respective lengths. That is the magnitude of the main dramatic complication.
Fixing the complications a flat tire presents are comparatively low in magnitude for most people today. Ending the Cold War, epic magnitude, at least.
The complication young adult debut authors encounter is marketability, as do all writers. The debut happens if the product is marketable. So, yes, an introduction is in order to test out the market appeal of any given franchised narrative. Some franchise introductions take place in the digest markets with short stories. Others with comparatively short novels or novellas. Others with franchises right out of the box. Marketability still comes down to the style, craft, and voice of the narrative, no matter the length or the reputation of the writer.
Trilogies and other long fiction anthologies, anthology in the sense of thematic relevance: hexology, septology, octology, decology, etc., have strong setting, plot, idea, character, event, and discourse coherence. SPICED. It is the antagonism axis of plot that most presents accessibly. Antagonism's dual identity being purpose and complication. There's where a main dramatic complication comes into play. A protagonist has a purpose, and complications impede it. Without complication there is no plot. It's comparatively easy anymore to find food for most people. Drive to the store, spend some money, take the purchase home, Barb's your aunt. Not much complication. Finding food for a significant fraction of humanity is a high magnitude complication though.
Idea, that's theme in all its glory. Theme is the unifying force of narrative. Without thematic relevance a narrative is likely to have a happenstance chance plot. Something happens in the beginning, something else happens in the middle, something else happens in the ending, all to no meaningful end. Causation with thematic relevance is what ties events together. Fixing a flat tire isn't much more complicated than finding food. But it can be for even experienced vehicle operators, and then probably will have fallout effects that cause more relevant complications.
For micro fiction, short fiction, creative nonfiction, a stand-alone novel or a franchise, the main dramatic complication must be finalized by the end. There's no exceptions, one of the sole absolutes of narrative. Readers will stand for no less.
However, effective franchises have an immediate, comparatively lower magnitude complication that is finalized in each installment, respectively, and a larger magnitude complication looming in the background that soars to the forefront and isn't finalized until the ending of the franchise. Voldemort is more or less finalized in the first Potter installment but resurrected in the second. Bilbo's complication is finalized in The Hobbit. Frodo's complication is the main dramatic complication of the larger saga.
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