In last’s week’s post on novel beginnings, I cited Noah Lukeman’s First Five Pages and Les Edgerton’s Hooked. So, what did they do in their final lines? They sent us back to our drawing boards (aka writing tools.)
Lukeman: “Ask yourself what you would do if you knew you would never be published. Would you still write? If you are truly writing for the art of it, the answer will be yes. And then, every word is a victory.
Edgerton: “Play the game forward. I’ll be looking for you on the bookshelves.”
These are what might be seen as “optimistic” or happy endings. They leave the reader satisfied, pleased and glad that s/he read the work.
Glen C. Strathy on his blog: How to Write a Book Now offers up an analysis of endings, suggesting they begin at the beginning with the writer’s choice of story goal and outcome:
“Based on these two choices – outcome and judgment, the four possible endings of any novel plot are as follows.
1. Comedy (happy ending): the protagonist achieves the goal or solves the problem, and his success turns out to be a good thing.
2. Tragedy: the protagonist fails to achieve the goal, and his failure is a bad thing.
3. Tragi-comedy (Personal Triumph): the protagonist fails to achieve the goal, but his failure turns out to be a good thing.
4. Comi-tragedy (Personal Tragedy): the protagonist achieves his goal, but his success turns out to be a bad thing.”
Other writers, other analyses:
Linda Lindsey via Sheryl Tuttle’s blog: Hope and Faith, May 26, 2009:
- Explicit-all is answered
- Implicit-rests on interpretation
- Twist-new revelation
- Tie-back-tied to clues planted in the beginning
- Unresolved-main conflicts left unanswered
- Longview-tells the future of the characters
In combing the works of my favored, traditional writing teachers (Natalie Goldberg, Oakley Hall, John Gardner, etc) I found little that covered endings. Okay, stronger than “little.” I found nothing. Is that because they expect that endings take care of themselves if the writer has done their job? Quite likely. To follow Strathy’s paradigm, it seems transparent that the ending will take care of itself when the writer follows the goals of the novel as developed through plot, character, story arc, etc.
Looking at the novelists I referred to last time, there are some illuminating endings:
Harper Lee, in To Kill a Mockingbird comes full circle when the book ends with Jem’s broken arm:
“He(Atticus) turned out the light and went into Jem’s room. He would be there all night, and he would be there when Jem waked up in the morning.”
Atticus, the dutiful citizen/lawyer is ever the dutiful father burdened in the belief he brought on Jem’s injury in going after racist/child abuser Ewell, whose end comes at the hands of an uncommon hero.
In Steinbeck’s Grapes of Wrath, the story that started with references to “rivulet marks” as the drought builds concludes with a major flood of the migrant campground, taking lives and belongings. Seeking refuge in a barn, the Joads find the starving man whose life is saved by Rose of Sharon when she offers her milk-giving breast after the stillbirth of her child. It is an ending that stirred controversy from 1939 to this day. Even the author had his doubts:
John Steinbeck, Working Days: The Journals of the Grapes of Wrath, page 90 had this to say:
“My mind doesn’t want to work—hates to work in fact, but I’ll make it. I’m on my very last chapter now. The very last….the last scene that has been ready so long. I don’t know. I only hope it is some good. I have very grave doubts sometimes.”
Then, there’s Cormac McCarthy in Blood Meridian whose poetic repetitive style was noted in last week’s beginnings. In the final paragraph (pre-Epilogue,) the judge dances the dance of death or is it life? A threesome of repetitive words provides the beat, the cadence of a heart throbbing to hear itself:
“He never sleeps. He says he will never die.” ..and so he dances on.
It’s your call to categorize these endings by whatever standard appeals to you. Mine: they end as they began, full of promise.
Sonoma County writers take notice:Saturday, March 12, 9:30 a.m. to 3:30 p.m. Join Guy Biederman and Ken Rodgers for a one-day writing seminar, “Endings.” Suggested fee is $75.To enroll, contact Guy Biederman at firstname.lastname@example.org or 707-292-9040 707-292-9040, or Ken Rodgers at email@example.com