Author has written 6 stories for Harry Potter.
Welcome to the 4-part Harry Potter Finally Graduates, which covers the two years following the Battle of Hogwarts. Not to be a grouch, but please start with Part 1. The characters, plots, and back story are interwoven among all four parts, and you miss a lot if you just drop in at Part 4, the currently underway Ginny's Quest. Since the stories are in part a series of mysteries, you will also miss important clues. Important characters in later parts are introduced and have their backstories revealed in the earlier parts. Margaret Wright, Adrienne Celine, the various Montaignes, Bill the Auror, the young twins, King Goblanze, Odin, and the Stowes play as big a role as some of the original JKR characters.
I wrote the final 8th year of Harry Potter at Hogwarts as practice prior to starting an original story. After drafting my original, I've returned to write year 9, describing the magical Quest which Ginny leads through the realms of ancient Gods and Goddesses.
Of the original HP characters, I think the most intriguing was Snape. Of those I'm left to work with, McGonagall is the most intriguing. Umbridge is the most interesting character from the movies. These characters all appear in my story. I tell this story from Ginny's viewpoint, because she was a largely undeveloped character in the original HP series. Of the characters whom I created, I like Adrienne Celine and King Goblanze the best.
I undertook my Harry Potter story as a writing exercise to get back into practice as a writer and story-teller. After I initially posted the first three parts, I did a draft version of two young-adult novels. I'm now editing and adding plot detail to these stories as practice for doing the same on my two original novels. In a way, it is much easier to take baby steps and work in someone else's universe and cast of characters. Adding new characters provides experience in creating interesting characters. I hope you find some of my new characters as interesting as I find them.
I decided from the outset to stick to canon (book canon, not movie canon, and completely ignoring what J.K. Rowling has said or written about the Harry Potter universe in the years since she published book 7, most of which I'm unaware of, anyway). Still, you can't not change anything and wind up with a decent story of any originality. I decided that true-to-canon meant not deviating from anything explicitly stated as fact in the books,and not taking characters in a direction that doesn't at least have the barest hint of being possible from what J.K. wrote. Children change as they mature, but the changes are either somewhat foreseeable or logically driven by events. We know enough about Harry's romantic yearnings to know that he isn't going to wake up one morning gay and in love with Draco. There is a lot of room to maneuver, as many of J.K.'s characters are at best ambivalent. Snape is bad and then he is good, Dumbledore is kind and caring, then he's coldly manipulative. A lot of the Rowling characters are fairly blank slates. Ginny is Harry's love interest, but we don't learn all that much about her and Harry's fascination with her is a tad puzzling. What does Harry see in this young Witch that the reader hasn't learned? Has Harry missed out on Hermione and merely settled for Ginny, because he isn't bold enough to do better?
One thing I liked about J.K.'s approach to the HP series is that the characters become more multi-dimensional, the plots become more complex, the story becomes darker, and the writing becomes more adult as you progress through the books. It is basically the child's-eye view of the world as the child moves toward adulthood. As the child matures, he sees flaws in formerly idolized adults. The perfectly marvelous wizarding world seems less marvelous, even ignoring Voldemort. I've tried to stick with that progression, trying to make the four parts of my novel increasingly more adult than J.K.'s final books and exploring more of the warts in J.K.'s original world and characters. The young are less stuck in their ways than their elders are, so some of the warts of childhood can be left behind in the emergence into full adulthood. The emerging adults can question what kind of world their elders left to them as they forge a place in it and try to shape it more to their wants and needs.
Sticking to canon means accepting some things which seem wrong in the original novels. What didn't I like about the canon Harry Potter? Ron and Hermione ending up together seemed forced. I stuck with that, because I'm not altering specific canon. I also thought the end of the Harry Potter tale was too schmaltzy and rooted in Christianity, in a way that the Wizarding world inhabitants simply would not be. Religion is a significant part of a people's unique culture. Adopting C of E would seem the route for the magical humans to cease to exist as a separate population. I didn't change that either and did a not dissimilar ending to my book 2, to give a certain similarity to the canon philosophy.
In some ways J.K.'s magical world was too backward to have any chance of not being noticed. In other ways it was too much like our world. Even a steam train is a bit much. No mention of Witch holidays? They celebrate Christmas? They adopt the British boarding school model, with Quidditch for rugby?
It was clear that the magical world was frozen in a past age and that this age was dying, as the population of all the magical creatures decreased and the Wizard economy is basically growing turnips, teaching at Hogwarts, running a small shop, or working at the Ministry, or being bandits. J.K. has a hopeful end to her series, but that doesn't change the fact that she has painted a picture of a rapidly dying society. A lot of the infra-structure J.K. trots out, from a publisher of books, to historians, to competing newspapers, don't really fit with such a small, dispersed population society, as measured by the truly small size of a Hogwarts level. She really says nothing about the path forward.
Harry is protected by mother love? At his Aunt Petunia's house? To the extent that his goodness and his mother-love shield are enough to make him lethal to the touch for the parasite Voldemort's host Professor Quirrell?
Dumbledore is opposed by the Minister, opposed by Malfoy who controls the Governors of Hogwarts, opposed by the Death Eaters, and yet he mainly retains his job, despite a most idiosyncratic approach to the job and dereliction of many duties.
How does the Ministry find the Muggle-born? How do the Muggle-born even become magical? Why don't any of these recruits from the Muggle world just give up and go home after being taunted by the Slytherins? Why do their parents not bring them home? Why can Harry dissolve the wall of a snake cage, and turn his aunt into a blimp, but then struggle to lift a feather with a wand at Hogwarts? We get a bit of an answer with Voldemort's broomless flight after Harry.
Why does Dumbledore allow the Slytherins to torture the other students? How can Arthur Weasley be a blithering fool and create a flying car? Harry survives because Voldemort has to kill him personally at exactly the right time. Why do his friends survive? It seems like Nancy Drew rules, which fail to save Cedric Diggory, Fred, or Colin Creevey.
If Voldemort with all his horcruxes is reduced to close to nothing while trying to kill baby Harry, why can't he be similarly defeated with just a few of his horcruxes remaining? Not totally dead, but reduced to his parasitic form.
Why is the reader supposed to view Dumbledore's total manipulation of Harry and going-along with his persecution by Snape and the Slytherins as a good thing?
We are apparently intended to view Hermione's success as a testament to the value of hard work over lucky birth, yet lucky birth is the admission ticket to Hogwarts and it is clear that the intelligent strivers like Hermione can only progress to a limited degree. The success of Hermione seems more a result of bringing fresh ideas from outside the magical world. In any case, Harry is the classic 'kid who discovers he's a secret Prince', beset by dangerous usurpers.
How can the Slytherins be so inept and grow up to rule the wizarding world?
If the Elves are so powerful, why are they slaves?
Reviews and comments are welcome and I respond to most civil PM's.
I want to respond to a fairly long ago comment objecting to the way I depicted a favorite character or two. How much change is permissible, while remaining reasonably true to the canon? Are some major characters fixed-in-stone unchangeable? How well delineated are the characters in the canon and how consistent is their behavior? Anyhow, just a few comments.
1. Characters that do exactly what you expected them to do based on the canon are bound to be boring. The main characters are at a stage of life where they change every year as they mature.
2. People under extreme stress act differently than they do when they are relaxed and/or have time to assess before acting.
3. An underling can't give full rein to his/her ambitions, ideas, personality. The person in charge sets the tone. When the person in charge changes, the underlings are free to change. Often there is a battle to replace the person who was in charge.
4.Very old characters, Muggle or Witch/Wizard have to confront the challenges of aging, which can reduce physical and mental abilities and ultimately lead to disability or dementia. Those who sense their mental abilities beginning to fade, very often become distrustful of even those who clearly love them and have their best interests at heart -- often they tend to trust only their own faulty thinking or to want absolutely nothing to change.
5. It is hard for an introvert to be forced to function as an extrovert and vice versa. This impacts who leads and how they behave when they lead.
6. Can't over-emphasize the significance of the canon story and characterizations being told through the eyes of children. What is perceived isn't necessarily true.
7. Those who have been led around by the nose generally have a very difficult time breaking out of that mode. It's not like having experienced it once you never repeat it, as anyone who has been in multiple abusive or co-dependent addictive relationships can tell you. We are often comfortable with our place in the world, even when it is a bad place we don't enjoy.
8. Post-Voldemort, the Wizarding world had to change a lot. Things could not go on as before. Some people will recognize this immediately, others never will.
9. Not surprisingly, all of the major canon characters have serious personality flaws and almost all have behaved very badly at one time.
10. A big sorry to those who loved him in the canon, but Ron Weasley was never a very appealing character to me. To at least most of the way through Book 7 he retains the immaturity, low-self-worth, laziness, disloyalty, and jealousy that he displayed from the start. I cleaned him up as an adult as best I reasonably could. In the canon, he was basically a plot foil -- an under-aged Dr. Watson, as well as a reason to keep Harry and Hermione apart and Harry in contact with the rest of the Weasley family. HP canon is a story about how outsiders Harry and Hermione make their way through their new magicial world, but it is equally a story about the Weasley family against the Wizard aristocrats. Ron was needed to link the two, but JK never seemed to know quite what to do with him and left him with Hermione more or less by default, a decision she now questions.
In much children's literature, the requirement to be a hero/heroine is not to have a living mother. In the British boarding school genre, this issue is handled by removing the children and the action away from the parents. From J.K's tale, Hermione's parents might as well not exist. Still, much of the story revolves around differences between the Malfoy and Weasley families. These are the contrasting visions of Wizard family life we are meant to focus upon. Harry's aunt and uncle are present for comic value and to justify Harry's abandonment of Muggle society. No explanation is given for Hermione's permanent abandonment of Muggle society.