{"id":30507,"date":"2023-06-02T13:12:51","date_gmt":"2023-06-02T12:12:51","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/?p=30507"},"modified":"2023-06-02T13:12:51","modified_gmt":"2023-06-02T12:12:51","slug":"exit-music","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/exit-music\/","title":{"rendered":"Exit Music"},"content":{"rendered":"\n

I just realised that I write quite often about beginning a novel, and not all that often about ending it. <\/p>\n\n\n\n

And yes: beginnings are important. If you don\u2019t get your reader onto the story-train in that opening chapter, you\u2019ve basically lost the game before it\u2019s really started. <\/p>\n\n\n\n

And also: if you don\u2019t set expectations just so in those opening pages, you\u2019re likely to confuse your reader or upset them later in the book \u2013 another way to lose the game. <\/p>\n\n\n\n

But endings matter too. To a huge extent, they set an architecture for the whole book. They determine the way you understand it. What if Lizzie Bennet hadn\u2019t married Darcy? What if Atticus Finch had secured the peaceful release of the falsely accused Tom? What if James Bond just bungled things when he came to defuse the bomb? <\/p>\n\n\n\n

Endings matter at least as much as beginnings and the reason I don\u2019t talk about them much is simply that endings mostly write themselves. <\/p>\n\n\n\n

I don\u2019t know about your experience, but my endings generally pass in a rush. It\u2019s as though the entirety of the preceding novel is there to allow me to write the final chunk in a blaze of understanding and joy. <\/p>\n\n\n\n

The understanding is: I know my characters. I know how all my little plot intricacies need to play out. I know what the grand finale needs to deliver. The prior 90,000 words involved me figuring those things out. The last 20,000 are my reward. <\/p>\n\n\n\n

The joy is partly the ease of writing. But it\u2019s also the joy of completing the arc. It\u2019s like writing one long punchline, where you already know that the joke is going to land. I\u2019ve certainly had some spectacularly happy writing sessions that haven\u2019t involved endings. (Giving Fiona hypothermia in the snows of Love Story, with Murders<\/em> was joyous. And I did enjoy burying her underground in The Dead House<\/em>.) But mostly \u2013 the writing sessions I remember with most pleasure involve endings. Words flowing and the text satisfying. <\/p>\n\n\n\n

So maybe you don\u2019t need help with the endings. I think there\u2019s an argument that if the preceding story has worked properly, the ending should just fall into place. But here, for what it\u2019s worth, is a checklist to keep at hand \u2026 <\/p>\n\n\n\n

Exterior drama<\/strong> <\/p>\n\n\n\n

Have you properly completed your exterior drama? In the kind of books I write, that\u2019ll typically involve some good splash of violence \u2013 a sinking boat, a fight, a burning building. But that\u2019s not necessary. In Pride and Prejudice<\/em>, the exterior \u2018drama\u2019 involves a na\u00efve girl eloping with Mr Wrong and the Romantic Hero doing (off-screen) what Romantic Heroes are there to do. The off-screen quality of that drama is probably a little underweight for a modern audience, but so long as you have some dramatic action that\u2019s well suited to your genre and readership, you\u2019re fine. <\/p>\n\n\n\n

Interior drama<\/strong> <\/p>\n\n\n\n

The flipside of the exterior action needs to be some serious internal pressure. In a standalone novel, that pressure needs to have the sense of being pivotal \u2013 life-altering, life-defining. In a series novel, you can\u2019t quite get away with a new life-defining moment with every instalment, but the stakes still need to be high. Series characters take a bit of a battering as a result. (I once did an \u2018interview\u2019 with Fiona<\/a>, in which she grumped at me for giving her a rough time. Reading it back, I have to say that she\u2019s in the right. I\u2019ll never tell her that though.) <\/p>\n\n\n\n

Romantic relationship<\/strong> <\/p>\n\n\n\n

Most books, not all, will involve a romantic relationship. And \u2013 of course \u2013 the pressures of your grand finale are also pressures that test and define that relationship. You definitely don\u2019t have to kiss and get married at the end of every book. I\u2019ve ended a book with my protagonist ending what had seemed like a strong and constructive relationship. But when your character enters the furnaces of your ending, everything is tested, everything will either prove itself durable or fallible. The relationship can\u2019t simply be as it was before. (Again, series characters need to play those things differently, but \u2018differently\u2019 doesn\u2019t mean you can just ignore the issue.) <\/p>\n\n\n\n

Other key friendships \/ relationships<\/strong> <\/p>\n\n\n\n

Of course, there are a ton of other relationships that build up over the course of a book. Those might be best-friend type relationships, or children, or parents. They can (importantly) be office colleagues, which sounds dull but they can matter too. My detective\u2019s relationship with her boss and other colleagues is just quite central to the architecture of her life and the books. These relationships too don\u2019t need profound alteration necessarily, but they need some token of ending. A boss hugging your character (when he\/she never normally would), or talking about a promotion, or offering a holiday \u2013 those things sound trivial, but they can define something important about everyone\u2019s relationship to what has just happened. You don\u2019t necessarily need much here. Half a page? A page? That might be ample. But if you book misses that page, it\u2019ll never quite satisfy as it ought to. <\/p>\n\n\n\n

Mystery resolution<\/strong> <\/p>\n\n\n\n

Most books \u2013 not just crime novels \u2013 will often have some kind of mystery at the heart. That mystery will probably be unfolded in your grand action-climax, but that won\u2019t always be true. Modern fiction has (rightly) moved away from that moustache-twirling final chapter where the Great Detective reveals the mystery to a completely static audience. But it\u2019ll often be the case that little questions and niggles remain. Those things need to be addressed. It\u2019s even OK if they\u2019re addressed by saying, \u201cWe\u2019ll never know exactly how \/ why \/ who X.\u201d But you need to resolve your mysteries or acknowledge that you haven\u2019t. <\/p>\n\n\n\n

Movement<\/strong> <\/p>\n\n\n\n

And, since we\u2019ve just dissed static and moustache-twirling final chapters, I\u2019d add that maintaining some kind of motion<\/em> still matters at the end. Just as you\u2019ll want to move settings fairly frequently in your middle chapters, I think you\u2019ll want to do the same at the end. Physical motion is still a good way to convey story motion. <\/p>\n\n\n\n

The closing shot<\/strong> <\/p>\n\n\n\n

And \u2013  <\/p>\n\n\n\n

There\u2019s a theory in film-structure that the opening shot should show the \u2018Before\u2019 state of a character and the closing shot should show the \u2018After\u2019 \u2013 where the before\/after vignettes somehow encapsulate the alteration brought about by the story. So to take the (vastly excellent) Miss Congeniality movie, the opening shot shows Sandra Bullock as goofy, unkempt, and without close female friends. The closing shot shows her kempt, still her, but now with close female friends. That\u2019s the key transition in the movie. <\/p>\n\n\n\n

I don\u2019t quite like the mechanical nature of these movie plotting guides, but I do think it\u2019s worth reflecting on the closing shot. What are you wanting to show? What\u2019s the image of your character that you want to leave with your reader? In one of my books, a girl had been long separated from her father. Fiona\u2019s last act in the book is to rejoin the two. She\u2019s not physically present when the two meet \u2013 she\u2019s set up the meeting, but remains in a car outside, watching. And that maybe is just the right tone for the book. Fiona plays this almost Christ-like role \u2013 suffering for others, undoing wrongs \u2013 but nevertheless remains on the outside of ordinary human society. That point isn\u2019t made in any direct way, but it doesn\u2019t have to be. An indirect point lingers longer than one made more crudely. <\/p>\n\n\n\n

*** <\/p>\n\n\n\n

That\u2019s it from me. The excellence of this email\u2019s start and middle sections means that the ending will now write itself in a burst of creative joy: <\/p>\n\n\n\n

Til soon. <\/p>\n\n\n\n

Harry<\/strong>\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

I just realised that I write quite often about beginning a novel, and not all that often about ending it.  And yes: beginnings are important. If you don\u2019t get your reader onto the story-train in that opening chapter, you\u2019ve basically lost the game before it\u2019s really started.  And also: if you don\u2019t set expectations just<\/p>\n","protected":false},"author":32,"featured_media":98318,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[],"class_list":["post-30507","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-harrys-friday-email"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/exit-music\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Exit Music – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"I just realised that I write quite often about beginning a novel, and not all that often about ending it.  And yes: beginnings are important. 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