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mbarker Original Posting Sept. 4. 2018
Writer's Digest, November 1993, has an article by Michael Orlofsky on pages 38-41 with the title "In the End." The subheading is, "The best short story endings do more than conclude the plot: They reveal subtle and sometimes enigmatic shifts in a character's attitude or outlook, and satisfy the reader's sense that something vitally important has been at stake."
So, what does Michael have to say about short story endings? Well, he starts out by pointing out that beginnings of short stories are paradoxically both the strongest and weakest part of a story! Strongest because it has to hook reader interest. But, also weakest because every following line enriches and deepens the narrative.
However, endings do not share this paradox. The ending must be the strongest point in the story. "In its subtlety, the ending will give reason for pause and reflection; in its magnificence, the ending will prompt cheering readers to splinter the author's door from its hinges, to lay hands on him and carry him through the streets on their shoulders."
Now, he might be overstating just how excited your short story readers are going to get, but…
What is the sense of ending? "In the end, the protagonist should be changed by the plot, or have been faced with the opportunity to change." Simple, right?
Endings are resolutions! They bring the plot to a close. However… "Novels need resolutions because of the reader's need to tie up loose ends. A story, on the other hand, is a loose end – which often simply exposes the subtle and sometimes enigmatic shifts in a character's attitude or outlook. The old-fashioned Aristotelian terms for the shifts in attitude and outlook are reversal and recognition, and they are as valid today as ever." Reversal – change in situation. Recognition? "It happens when the protagonist realizes his reversal, realizes the consequences of his choice, or at least lingers on the cusp of realization." And of course, we want "the sense that something humanly important has been at stake in the story: integrity, love, hope, humility, courage or their opposites."
Wow! So... what kind of endings are there?
"Every ending should be unique, and, ideally, the author should say things that have never been said before." However, there are several types that readers really do like. Even though Michael starts with a couple of endings that aren't really useful.
1. Dead men tell no tales. Don't kill off your characters to try and get an ending. Especially not the main character!
2. Recognitions. Don't tell the reader what to think! Idea and theme are useful, but you don't want to be ordering the reader around.
3. Now, framing with repetition. This is a good ending. Closure. Imagery that repeats. Dialogue, setting, characterization, even a single word or phrase may be used for repetition. So frame your story with repetition. Now.
4. Surprise or revelation. Surprise, an unexpected twist in plot or behavior, is an oldie but goodie. Readers enjoy the suspense and delight in Revelation. Don't do it for shock value. "Surprise endings work best when they evoke irony, anguish, pity, or wonder at human capacity."
5. Journeys. Setting out or deciding to leave makes a nice emotionally charged ending. "Leave-taking also satisfies one of the basic requirements of the ending: things can never be the same." Also, a journey leaves the narrative open for a sequel!
6. Responding to the theme. "Of the many ways to end a story, responding to the theme takes the most skill: Too little emphasis, and the ending will seem flat or vague; too much, and it will sound contrived, with the added consequences that the story may appear told for the sake of meaning rather than for the drama." Authorial voice, the thoughts of a character… Sometimes asking questions.
So how do you write an ending? Michael suggests start by free writing. Ask yourself who the story is really about and what is really at stake, and then write. Another approach is to write backwards from the climax. Start by writing your climax, your ending, and then write the rest of the story. Of course, sometimes your story may take off in a different direction, but revision can help a lot with that. Third, save the best for last. Wonderful prose, rich imagery, snappy dialogue… Save it for your ending!
How do you choose the right ending? Well, sometimes it just feels right. But, take a look at your type of story. Plot-oriented? Action, adventure, mystery? Idea-oriented? Religious, romance, historical, experimental? Character-oriented? Slice of life, psychological profile, autobiographical fiction, literary story? Decide what the most important quality of your story is, plot, idea, or character. A plot story usually ends with a surprise or revelation, which satisfies the reader. An idea story, usually comes to terms with the idea, addresses the theme. Don't leave the reader hanging, show them the triumph of that idea. Character… "Endings that work best for examinations of character often come right out of life: dialogue that gives the character of pause to reflect, repeated image that has assumed significance for the protagonist, a journey of escape, or, better yet, a journey of challenge."
There you go. Endings. "If you're confident of your sense of story – if your character has changed as a result of a difficult decision, choice, or moral struggle – then the perfect ending should flow naturally from the events that have preceded it."
Go ahead. Write that ending!
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