As we move through the final days of this year, some of us may be lurching along in post-holiday stupor while others are still riding the endorphins of shopping-rush. Then there are the well-ordered, organized souls who are balancing checking accounts, writing donation checks, purchasing tax-deductible items, or shopping for new cars while pre-inventory prices are rock bottom.
When it comes to creating fiction, do you consider yourself a lurching, euphoric, or organized writer?
Let’s narrow the topic further by examining how stories reach their conclusions. Some, you see, are written with a dramatically definitive ending. Others simply stop. And yet others fade, leaving readers to flip back through the last two or three pages, checking numbers to see if the last page has been torn out.
Lurching to a stop:
The lurchers of fiction tend to open with some sort of very exciting hook and a rapid plunge into story action. When that event plays out, the story’s momentum slows or even stalls until the writer thinks up another exciting event to happen next. The story jolts forward, only to slow once more, then picks up again. Story action tends to be rough and feels tacked together (which it is). The conclusion may not make a lot of sense dramatically, but it will be exciting and packed with action, usually putting the protagonist into dire danger.
Generally, there’s the effect of a rushed, incomplete finale. Questions raised within the plot may or may not be answered to reader satisfaction. Some are often forgotten or overlooked.
Because the writers of lurching stories tend to be pantsers instead of planners, the general effect of this approach is slap-dash. It may work … somehow, despite itself … but it may not. It’s a reckless way to write, and it runs the risk of leaving readers dissatisfied with how the story is finished.
Euphoria, Hysteria, and Froth!
The story that relies on its writer’s emotions alone focuses on characters more than plot. How the characters feel propels their motivations, complexities, and actions–although they may not do very much more than make tea and think a great deal about problems that are never actually dramatized on the page.
And while some lovely introspective stories have been published–THE NUMBER ONE LADIES’ DETECTIVE AGENCY by Alexander McCall Smith, for example–an inept or inexperienced writer can float, mull, and philosophize her way into a muddle.
Muddled stories tend to end up trapped in corners, with the writer unsure of how to back out. Therefore, they may simply stop with the protagonist waving tearfully to her lover as he catches his train and is borne away from her.
But is this the end? readers then wonder. How does it work out? Are they parting forever? Is she just going to stand there and weep? Will he come back? Is my book defective and missing the last chapter? How does this thing end?
As writers, we can ache for our beleaguered characters. We can grieve for them, worry over them, cry because of them, but we shouldn’t leave readers asking any of the above questions. It’s possible to finish stories plausibly and conclusively, tying up the loose ends and resolving the main plotline, without sacrificing one droplet of emotional potential.
The Organized Climax:
When one’s artistic soul is pulsating in the raw throes of creation, “organized” is an unpleasant, off-putting word. There’s no glamour to the term organized. It possesses no zing, no zip, no bling, and certainly no appeal. It’s mundane and boring–positively nauseatingly dull. It carries the connotations of hard work, discipline, labor, planning, and drudgery. Rest assured, there is no fun to be had from organized anything.
Or so says the imagination.
Yet the imagination is a lazy trickster that is not always truthful.
Bringing your story to a dramatically satisfying, exciting, intense, enthralling, cathartic conclusion takes planning, thought, and hard work. It should never be drudgery, but it’s seldom easy. If we writers do our jobs well, our stories take readers through the agony of near defeat and the relief of a logical, but unexpected reversal. Loose ends are tied up. The questions are answered. Characters get what they deserve–either good or bad. The story is finished. Readers aren’t left hanging. They’re satisfied because the story has taken them on an emotional journey and delivered the full, entertaining experience it promised.
When you sit down to write your next story, know where you want it to end before you write the beginning. Don’t lurch, leap, and contrive your way there. Think the plot events through so that your protagonist takes logical steps from start to finish. Or if your protagonist’s emotions carry her away from the story goal in pursuit of some tangent, take the time to delete that version and put her back on the path you intend her to follow.
Remember, it’s always the writer’s responsibility to wrap up a story dramatically to the reader’s satisfaction.