What about a good ending? Here are the final paragraphs of Charlie Cherry’s Ninth Step, a work that will be coming out in the spring of 2014 from Second Wind:
Susan answered the door, barefoot and wearing the clothes she had worn to school that morning, her shirttail out.
“Uh—did you—did you find her?”
“Yep.” He nodded. “I did.”
“Are you—did she—”
He shook his head. “She’s remarried.”
“Oh.” She tried not to show the relief that spread across her face. “What about Sloan? What about, you know, your amends?”
“Well,” he said slowly, “I can tell you all about all that. But that’s not really the reason I came back.”
Susan slouched against the doorframe. There was a hint of anger in her voice. “Just looking for a cheap place to spend the night?”
“Not really.” He looked over his shoulder at the Mazda. “You have a week-and-a-half off beginning now, don’t you?”
“Yes,” she replied cautiously.
“Well, I got my doings done and I’ve still got the better part of two weeks myself. I have a few hundred bucks just burning a hole in my pocket, and I was wondering if you’d like to go down to San Antone and walk the river with me.”
For a moment she hovered in the doorway. She stepped toward him and leaned forward, looping her arms around his neck and pressing her lips to his.
She breathed at length and said, “Do you want to leave in the morning?”
“Well look. We kind of rushed into things last night. Surely we can slow down and do thing a little more romantically.”
Her expression was curious. “More romantic than last night? Like how?”
“Well, let’s go pack your stuff, and I’ll take you for a moonlight ride with the top open on my rocket. We’ll cruise on down to this barbeque house I found in Dallas. Best pecan pie I’ve had in fifteen years.”
She was smiling, her arms a swing and her face moving gently a few inches beneath his. “Then what?”
“Well, then we’ll drive on down the road ‘til we find just the perfect spot to spend the night.”
He shrugged. “Wherever you want, darlin’.”
They kissed, a deep, sweet kiss. He straightened.
“Come on now. I’ll help you.”
She turned and went inside. He watched her graceful steps. “Pack light. I imagine I’ll be picking you out a few things. How do you suppose you’d look in one of those white senorita dresses?”
“A senorita with freckles?”
“I love freckles. . . . Susan?”
“How do you feel about stepchildren?”
Before we talk about what’s right (I hope) with the passage above, let’s talk about what can go wrong with the ending of a story. If we put our heart’s blood into writing a manuscript, we need to make sure we don’t bleed out before we reach the end of the story.
First, there is no “happily ever after” if we are writing for adults. In this sense, Margaret Mitchell did a better job of ending Gone with the Wind than Shakespeare did with Hamlet. At the bittersweet ending of GWTW, Scarlett is torn with grief and guilt, and yet clinging to hope. The story has come to an end, but the reader is left yearning for more. Indeed readers immediately and constantly clamored for a sequel. There could never be a sequel to Hamlet—everybody was dead. Killing off your main characters is often (as demonstrated by the current most popular male romance author) just another way of not having to deal with the complexity of human life. Hollywood movies, of course, are the land of “happily-ever-after-pat-ending-where-the-good-prevail-and-the-bad-get-what-they-have-coming.” But if you decide your story is going to be more real-to-life than a Hollywood blockbuster, you as an author have to decide to give your readers what the story allows you to give them.
In the passage above from Charlie, I give my readers multiple resolutions to several issues the main character faced throughout the story: what became of the girl he loved and was violently separated from in high school; what will he do to the vicious adult who beat him mercilessly when he was a teenager; what will happen between him and the girl who secretly loved him in his youth? In each case the result was not what the reader might have suspected. My intention is that the reader find the ending surprising, hopeful, plausible, uplifting and fun.
Another huge, disappointing mistake authors make is that the ending does not live up to the buildup of the narrative. There is a famous horror author who does a splendid job of building suspense and anticipation throughout his overly long novels, only to have them fall flat time and again because of really lame endings. Your ending has to be as big as the story that precedes it. When readers hear Charlie, above, promise Susan he’s going to tell her what happened to him that day, they know that she will be astonished—just as they were surprised—to hear what he found out in the previous few hours.
Finally, leave your readers wanting more. All of the major questions and issues Charlie Cherry faced at the beginning of his story have been resolved by the end, but the resolution is intended to make the reader want to know what happened next in the characters’ lives. I’m not suggesting that you leave yourself an opening for a sequel—although books do sell better if they are part of a series. Rather I’m saying that you want your readers, after they finish that last line, to keep wondering what will become of these characters they’ve come to know, with whom they’ve experienced adventures.
So a good ending 1) is plausible, realistic and complete enough to satisfy all the main themes of the story without solving all the world’s problems, 2) has an ending that is as big and satisfying in its resolution as the story that precedes it, and 3) leaves your readers brooding about the characters and events and feeling sorry that the story has ended.
And that, I think, is a good place to end the essay.
This article is anthologized in the Second Wind Publishing book: NOVEL WRITING TIPS AND TECHNIQUES FROM AUTHORS OF SECOND WIND PUBLISHING, which was the 100th book released by Second Wind.
“As someone who constantly evaluates novels for publication, I was astonished at the breadth and clarity of the wonderful advice contained in this handbook. It addresses concerns as grand as plot development and as simple but essential as formatting your submission. It offers crucial advice on literary topics ranging from character development to the description of action. Virtually every subject that is of great concern to publishers — and therefore to authors — is covered in this clear, humorous and enormously useful guide.” –Mike Simpson, Chief Editor of Second Wind Publishing