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 |  This is a continuation of my blogging here at WdC |
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This will be a blog for my writing, maybe with (too much) personal thrown in. I am hoping it will be a little more interactive, with me answering questions, helping out and whatnot. If it falls this year (2024), then I may stop the whole blogging thing, but that's all a "wait and see" scenario. An index of topics can be found here: "Writing Blog No.2 Index"  Feel free to comment and interact. |
| Ending A Story Yet another WdC question, and another I asked advice on in that all-encompassing email I sent out to professionals and writers. The questions I received were: Crafting different types of endings What if the ending doesn’t work What’s the best way to end a story Let’s hit this! What is an “ending”? The ending of the story goes by a few names – closure and resolution are the two I see most often – but what it is is when the story arcs are finished within the narrative being told. Even if there will be a sequel, or it’s book 4 in a hexalogy, the actual story being told needs to end. There is nothing left to be worked out from this particular narrative arc. Even if threads are left hanging or there is a greater over-arching story, this particular set of events has finished. Yes, that seems logical, but it is important to have a definition first. What if the ending doesn’t work? I’m going to start here because this is the simplest answer: If the ending does not work, the problem is not the ending. What this means is that there is something in the rest of the story that is affecting the ending. Usually, the problem exists in the climax or climactic action scene. If there needs to be exposition to finish a story, then not enough information was placed in the rest of the tale. If the message (if you write to a message) needs to be reinforced, then the story lost the point of the message at some point. Ditto with theme, if you write to a theme. In fact, in some cases it goes right back to the very beginning. The story’s beginning does not set up the ending point you have reached because of subsequent events you have placed in the story. It might look good in the plan you wrote, but something about the beginning does not work. Another issue might be the character does not go through the growth the story’s events should have put them through. There should be a positive or negative growth of the characters. A flat arc coming to the fore at the end might be an indication that the characters need more engagement. Endings do not exist in isolation. They are dependent completely upon everything that happened before in the story. If the ending is not working, then it’s something already written that is creating the issues. What is the best way to end a story? There is no answer to this question. It is so individual to the story being told that it is insane, and then you add in each individual author’s writing and the market… Endings are not a one-size-fits-all proposition. However, in a standalone story, all plot lines, subplots, questions brought up must be answered. Yes, in horror, for example, you don’t need to know why the house was haunted, but that is backstory and probably not relevant to the haunted house tale you are writing. Yes, you might also want to leave the relationship status open, and that’s fine, but the rest of the story should indicate that that is going to happen. Some open endings are fine; readers are not stupid. If you are going to write a sequel, then everything not relevant to the sequel should be tied up with a bow, leaving only those threads that are going to be expanded upon in the next book. If the entire book is left open for a sequel, then this leaves a reader dissatisfied. It just feels like they are waiting for part two of a single book. Now, having said that, it is something that is becoming common; it started with movies, but has drifted into books. I think it’s ridiculous – that is not how books work! – but clearly some think it is fine. How do you reach an ending? Your story builds towards the climax, the climactic scene. Everything the protagonist/s have been doing leads to that pivotal and final point, where the whole plot is concluded, there is nothing more to be done. This part of life’s adventure is over. The protagonist might gain what they have been seeking. The antagonist might gain what the protagonist has been seeking, keeping the protagonist from it. What has been sought might be unattainable by anyone. The protagonist might choose to not take the goal, because they have evolved as a character over the course of the story. No matter what, this goal that has been driving the story is now no longer there as a goal for the protagonist. This is how you reach an ending – the goal is no longer the goal or is no longer attainable. That does seem simplistic, and I apologise, but it is really that simple. How do you write different types of ending? Okay, again, this depends on the writer and the story. In general, though, the ending should invoke some sort of emotion. Happiness, anger, relief that the heroes survived, upset that they died, something. This does come down to the rest of the story and how it was written, and how you have constructed the characters, but the ending should have some sort of emotion involved. Many publishers like the cathartic release of emotion, but not all. Know your audience. I tend to try to relate the ending to the beginning. (My Invasive Species does that blatantly with almost the same words.) Especially if there has been character growth, this can show how different the protagonist is at the end compared to the beginning. I have also been known to end the story right as the climax peaks. The monster is slain, and that’s it. I don’t expand on what happens after, just the goal was killing the monster, and the story ends with that point. Yes, it does leave some relationship lines open, but the reader is allowed to fill in the gaps for themselves. I have a friend who is a romance writer, and she likes to end her stories with a sex scene. Another friend who has the same main character in each book – though they are not exactly sequels to one another – ends with a little bit about how that character’s life has changed. Don’t be afraid of leaving the ending open to differing interpretations as well. So, as I said, it is always individual. Having said that, there are some ways not to end a story. * With a diatribe or speech. The all-time classic of this is the closing scene of the film It Conquered The World where Peter Graves gives a speech. * With nothing resolved. Like I said, this is something that is becoming common, but I don’t think it will last as movies like that are becoming less frequent (even the recent pair of Dune films tried to keep the two films within their own story arcs) and so books will follow suit. * With a deus ex machine. This translates as “the god out of the machine” and is common in ancient tales where a literal god would appear at the last minute and save the hero. In modern works, it is when a character is introduced at the last moment to bring everything to an end, and, yes, it is still used. The truly awful Sgt Pepper’s Lonely Hearts Club Band film ends just like that with the titular Sgt Pepper appearing and bringing people back to life and stopping the bad guy. And don’t get me started on suddenly learning (or, worse, remembering) magic spells that save the day… The ending should follow logically from the rest of the story. * So that the message or theme of the story takes precedence over logic. This is especially the case in religious-themed books. If this does happen, as I said before, there is probably something wrong earlier in the story. * Having a forced romance at the end. While not as common in books (usually in films, especially 1980s action films), this is a HEA (or HFN) ending that some writers feel needs to be done. Finally, do not be afraid of trying out different endings, either, and then choose the one you like. As a pantser, I have done this more than once. Should I use an epilogue? If the story calls for it, then, yes, you should. An epilogue ties up a story away from the narrative arc, and so if you feel the need to say where the characters ended up five years later, then an epilogue is a way to go. However, you do need to be aware that a percentage of readers do not read prologues or epilogues, so if there is something important for a story there, it might be missed and could drive readers away. An epilogue is a place to put things that do not fit in the narrative but could place more of a bow on things. There is another school of thought on an epilogue and that is it could be used to set up the sequel. A final piece – like the post-credits scene in a Marvel movie – where the antagonist or a new antagonist makes themselves known, or starts to plot. Some writers like to use epilogues when they write book series. I am definitely not against an epilogue; some writing courses tell you not to use them. It’s personal; go for it if it fits. And that is endings. I know it is vague and/or open, but endings are so individual that there are no real hard and fast rules. I hope, at the very least, this can help someone. |
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