There are seven steps to end story as I read find ending in beginning. Completion goes hand in hand with hope . Keep things fresh . Make sure it really finished . Last impression matter . Come full circle. Leave something’s unsaid. Thank you for your wonderful educational literary channel mr Luke .
"Empire Strikes Back" & "Return of the Jedi" is essentially part one and part two of the one single movie. The ending of ESB would be highly unsatisfactory if we didn't have RotJ. And we "only" accept it because RotJ came - and when people left the theaters after watching ESB, they know that more was to come (partly because of the financial succes of Star Wars). It is not a good ending, because it is now an ending - it's a "to be continued".
@andershjsted2989 That's fair. Similar situation is Avengers Infinity War. And yet I find both of those "endings" to be amazing closes to their respective storylines - even though they wouldn't be fully satisfying to most viewers without the expectations of their sequels.
Your over view of VanderMeer really through me into a ruminating mode. Yes, the Crafting a compelling story involves mastering the delicate balance between the beginning, middle, and ending. First, we need a strong beginning that hooks the reader with intrigue, introduces characters, and sets up the central conflict or theme. A beginning that invites curiosity and lays the foundation for what’s to come. However, capturing attention is only the first challenge; sustaining it through the middle requires escalating tension, meaningful character development, and a dynamic narrative that avoids filler and keeps readers emotionally invested. Now the ending, ahhh, that is the ultimate payoff, tying together the story’s threads in a way that feels both inevitable and surprising. It must resonate emotionally, address the story’s themes, and provide closure-whether definitive or open-ended. It is our duty as writers to reward the journey the reader has taken with a well-crafter ending, echoing back to the beginning and delivering a sense of unity and purpose. These three parts work in harmony, with each setting the stage for the next. A weak link in any one of these sections can undermine the entire narrative. It's my view that writers should plan with the ending in mind, ensuring every element builds toward a satisfying conclusion that stays with the reader long after the final page. For biographical fiction, like the book my wife and I are finishing, the ending can seem easier because history provides the framework. However, the challenge lies in fictionalizing it to make it resonate emotionally and thematically for the reader. VanderMeer and Boskovich emphasize the importance of considering not only the plot's conclusion but "how the ending makes the audience feel." Did it fulfill the promises made throughout the narrative? Does it leave room for reflection or offer a sense of closure? What’s tricky, at least in my mind, is that you can only assume what will satisfy the reader. Boskovich’s advice suggests leaning into what feels true to the story’s characters and themes, trusting that emotional authenticity is more compelling than trying to please every reader. By finding ways to amplify the ending’s emotional impact through pacing, imagery, or character moments, you make it satisfying in a way that feels organic.
@auggiemarsh8682 Great insights! It is a mastery of all 3 "acts" of a story that makes the story a masterpiece, resonating with readers at every beat and moment on an intellectual and emotional level simultaneously. It sounds so easy, don't it?
😢. Every good beginning a writer starts with, in my mind and experience, already has its perfect ending. Maybe it’s just me, but my beginnings only start when I have thought through most of the plot.
Ok. Your premise is correct, but your presentation is weak. You have clearly done the research, I would dare say you understand it, but you have not put it together yet into something cohesive that a viewer can finish the video and say, 'Yeah, I can apply that.' You give plenty of examples, but the viewer has to go look them up for themselves. And no links to those stories in the description. You would be better off indicating what stories apply to the point, perhaps written on screen at that point (with the links in the description), and giving a clear vivid example in the video. First, you missed that a good story is multilayer. Some of the layers need to come to a conclusion, but not all of them. As you pointed out, the main plot line need not be visually concluded, i.e., we don't need to see the protagonist or antagonist die; it is enough to presume they will shortly. But we need to understand that that death is imminent or inevitable. We did not need to see the island blow up in the last James Bond; it would have been enough to see that the missiles were on the way. But the real issue is the interaction of the wants and needs. The book focusses on the wants, discusses them to no end, but the needs need to be teased out between the lines. So, in my book, the protagonist has achieved her dream, accomplished what she set out to do on page one, but the book ends with her feeling self-confident enough to go back to fix the issue that caused her to set off on the journey. That initial event is not in the book because it is not what the book or journey is about, and likewise, its conclusion is not in the book, for the same reason. The book is talking only about the immediate journey with reminders from time to time of why she is there. The reader is going to want to know how that immediate journey ends and will understand that she now has the skills to resolve the preceding incident. People misread Tolkien. The story is not about the return of the superhero; the story is about the growth of the hobbits. The scouring of the shire showcases how they have changed and no longer need the assistance of a guide. Hence, it is essential, not a post-script. But Tolkien cut the story about the journey to the undying lands because that had nothing to do with the immediate journey of the book. A nice zinger that you missed is adding a new element at the end. For example, the story is all wrapped up nicely and a box arrives in the mail with a mystery item and no return sender.
@aSnailCyclopsNamedSteve I don't disagree with you. The Tolkien example is spot-on. To delve into all that would have been a much longer video, though, and would have gone way beyond the advice the author was giving in this one chapter of one book. Also, yes, the point of the examples was to have viewers look them up, as my talking about specific story endings would spoil them, and I try not to do TOO much of that. As for application, you have a point. It's easier to give application advice for planning, structuring, or starting a story than to give specific takeaways for endings - mainly because endings rely so much on what came before. I do try to make all my lessons practical for writers, though, so I'll see if I can do better next time.
Please stop referring to the reader as "herself." If you want to pander to political correctness, at least have the courtesy to use the gender neutral "themselves." Thanks.
@jstressman I switch back and forth between masculine and feminine. I occasionally throw "them" in as well, when it doesn't cause plurality confusion. But I like to think of the reader as a specific individual - though WHICH specific individual isn't that important, as long as I'm writing for one reader (as opposed to writing for a group, which doesn't work as well for me). Using one at a time (switching every paragraph, section, or chapter, say) is still inclusive, it flows better than "he or she/him or her," and it's me saying that ultimately, the gender of the reader doesn't matter, it's the story concept under discussion that does. But I understand this doesn't work for everybody. To each their own.
@creativewritingcorner I'm just personally not a fan of manipulating language for inclusivity in unnatural or dishonest ways. For example, it depends on what kind of book you're writing. Men and women have different preferences. If you're writing steamy romances, sure, use her. Almost all your readers in reality will be women. If you're writing hard sci-fi, it's probably him, as the vast majority of readers will be men. Anything in the middle is them. Using her when it's not an obviously female audience is a willful choice to signal that you're being inclusive at the expense of accuracy and honesty. But it's about as honest as saying anyone can be a rocket scientist. Feelings over objective reality. Hardly anyone can actually be a rocket scientist in reality. And hardly any men will read romance novels, and hardly any women will read hard sci-fi unless you make it less science and more social and personal to appeal to women. You're free to do as you will of course. I'm just sharing my position on the issue. I find it more honest and accurate to just be neutral rather than choose a female reader if I'm not writing for women, which is a real thing since men and women (and their preferences and interests) are very different as a result of distinctly and verifiably different biology.
@jstressman I see what you're saying. This kind of focus veer is the very thing I was trying to avoid by switching up the gender of my hypothetical reader. Sticking to the masculine is traditional, but myopic for my purposes because my audience writes for both men and women, and many of the topics I talk about here can apply as much to women's fiction as to sci-fi and hardboiled noir. So, obviously, I failed in my attempt. But referring to a hypothetical reader as "them" makes it difficult to think of ONE individual as my audience. So I'll have to think on this.
@@creativewritingcorner I can appreciate your attempt given that context. And I also agree that "them" can be ambiguous and imperfect as a gender neutral option given the plural connotation. Good luck.
This is the problem with neutral languages like English. How do you personify a noun like "the reader"? This issue doesn't exist in languages in which each noun is assigned a gender. That's at least one good thing about this otherwise pretty unnecessary feature haha. That being said, it's a sad state of affairs that choosing between "he" and "she" has become a contentious issue. Not pointing the finger at anyone here BTW, just making an observation.
There are seven steps to end story as I read find ending in beginning. Completion goes hand in hand with hope . Keep things fresh . Make sure it really finished . Last impression matter . Come full circle. Leave something’s unsaid. Thank you for your wonderful educational literary channel mr Luke .
"Empire Strikes Back" & "Return of the Jedi" is essentially part one and part two of the one single movie.
The ending of ESB would be highly unsatisfactory if we didn't have RotJ.
And we "only" accept it because RotJ came - and when people left the theaters after watching ESB, they know that more was to come (partly because of the financial succes of Star Wars).
It is not a good ending, because it is now an ending - it's a "to be continued".
@andershjsted2989 That's fair. Similar situation is Avengers Infinity War. And yet I find both of those "endings" to be amazing closes to their respective storylines - even though they wouldn't be fully satisfying to most viewers without the expectations of their sequels.
This was great! Thanks for the advice
You're welcome! Thanks for the kind words, and thanks for watching!
Your over view of VanderMeer really through me into a ruminating mode. Yes, the
Crafting a compelling story involves mastering the delicate balance between the beginning, middle, and ending. First, we need a strong beginning that hooks the reader with intrigue, introduces characters, and sets up the central conflict or theme. A beginning that invites curiosity and lays the foundation for what’s to come. However, capturing attention is only the first challenge; sustaining it through the middle requires escalating tension, meaningful character development, and a dynamic narrative that avoids filler and keeps readers emotionally invested.
Now the ending, ahhh, that is the ultimate payoff, tying together the story’s threads in a way that feels both inevitable and surprising. It must resonate emotionally, address the story’s themes, and provide closure-whether definitive or open-ended. It is our duty as writers to reward the journey the reader has taken with a well-crafter ending, echoing back to the beginning and delivering a sense of unity and purpose.
These three parts work in harmony, with each setting the stage for the next. A weak link in any one of these sections can undermine the entire narrative. It's my view that writers should plan with the ending in mind, ensuring every element builds toward a satisfying conclusion that stays with the reader long after the final page.
For biographical fiction, like the book my wife and I are finishing, the ending can seem easier because history provides the framework. However, the challenge lies in fictionalizing it to make it resonate emotionally and thematically for the reader. VanderMeer and Boskovich emphasize the importance of considering not only the plot's conclusion but "how the ending makes the audience feel." Did it fulfill the promises made throughout the narrative? Does it leave room for reflection or offer a sense of closure?
What’s tricky, at least in my mind, is that you can only assume what will satisfy the reader. Boskovich’s advice suggests leaning into what feels true to the story’s characters and themes, trusting that emotional authenticity is more compelling than trying to please every reader. By finding ways to amplify the ending’s emotional impact through pacing, imagery, or character moments, you make it satisfying in a way that feels organic.
@auggiemarsh8682 Great insights! It is a mastery of all 3 "acts" of a story that makes the story a masterpiece, resonating with readers at every beat and moment on an intellectual and emotional level simultaneously.
It sounds so easy, don't it?
This is exactly why there are so many bad endings. Just give the reader want. That simple is.
HELLO MR. MORRIS
Twin Peaks
😢. Every good beginning a writer starts with, in my mind and experience, already has its perfect ending. Maybe it’s just me, but my beginnings only start when I have thought through most of the plot.
@@auggiemarsh8682 That's usually my best way to start, too. All too often, though, I begin with no end in sight... and never sight one.
Team Naughty, teach? 🥵 I guess that makes two of us.
Ok. Your premise is correct, but your presentation is weak. You have clearly done the research, I would dare say you understand it, but you have not put it together yet into something cohesive that a viewer can finish the video and say, 'Yeah, I can apply that.' You give plenty of examples, but the viewer has to go look them up for themselves. And no links to those stories in the description. You would be better off indicating what stories apply to the point, perhaps written on screen at that point (with the links in the description), and giving a clear vivid example in the video.
First, you missed that a good story is multilayer. Some of the layers need to come to a conclusion, but not all of them. As you pointed out, the main plot line need not be visually concluded, i.e., we don't need to see the protagonist or antagonist die; it is enough to presume they will shortly. But we need to understand that that death is imminent or inevitable. We did not need to see the island blow up in the last James Bond; it would have been enough to see that the missiles were on the way.
But the real issue is the interaction of the wants and needs. The book focusses on the wants, discusses them to no end, but the needs need to be teased out between the lines. So, in my book, the protagonist has achieved her dream, accomplished what she set out to do on page one, but the book ends with her feeling self-confident enough to go back to fix the issue that caused her to set off on the journey. That initial event is not in the book because it is not what the book or journey is about, and likewise, its conclusion is not in the book, for the same reason. The book is talking only about the immediate journey with reminders from time to time of why she is there. The reader is going to want to know how that immediate journey ends and will understand that she now has the skills to resolve the preceding incident.
People misread Tolkien. The story is not about the return of the superhero; the story is about the growth of the hobbits. The scouring of the shire showcases how they have changed and no longer need the assistance of a guide. Hence, it is essential, not a post-script. But Tolkien cut the story about the journey to the undying lands because that had nothing to do with the immediate journey of the book.
A nice zinger that you missed is adding a new element at the end. For example, the story is all wrapped up nicely and a box arrives in the mail with a mystery item and no return sender.
@aSnailCyclopsNamedSteve I don't disagree with you. The Tolkien example is spot-on.
To delve into all that would have been a much longer video, though, and would have gone way beyond the advice the author was giving in this one chapter of one book. Also, yes, the point of the examples was to have viewers look them up, as my talking about specific story endings would spoil them, and I try not to do TOO much of that.
As for application, you have a point. It's easier to give application advice for planning, structuring, or starting a story than to give specific takeaways for endings - mainly because endings rely so much on what came before.
I do try to make all my lessons practical for writers, though, so I'll see if I can do better next time.
Please stop referring to the reader as "herself." If you want to pander to political correctness, at least have the courtesy to use the gender neutral "themselves." Thanks.
@jstressman I switch back and forth between masculine and feminine. I occasionally throw "them" in as well, when it doesn't cause plurality confusion. But I like to think of the reader as a specific individual - though WHICH specific individual isn't that important, as long as I'm writing for one reader (as opposed to writing for a group, which doesn't work as well for me). Using one at a time (switching every paragraph, section, or chapter, say) is still inclusive, it flows better than "he or she/him or her," and it's me saying that ultimately, the gender of the reader doesn't matter, it's the story concept under discussion that does.
But I understand this doesn't work for everybody. To each their own.
@creativewritingcorner I'm just personally not a fan of manipulating language for inclusivity in unnatural or dishonest ways. For example, it depends on what kind of book you're writing. Men and women have different preferences. If you're writing steamy romances, sure, use her. Almost all your readers in reality will be women. If you're writing hard sci-fi, it's probably him, as the vast majority of readers will be men. Anything in the middle is them.
Using her when it's not an obviously female audience is a willful choice to signal that you're being inclusive at the expense of accuracy and honesty. But it's about as honest as saying anyone can be a rocket scientist. Feelings over objective reality. Hardly anyone can actually be a rocket scientist in reality. And hardly any men will read romance novels, and hardly any women will read hard sci-fi unless you make it less science and more social and personal to appeal to women.
You're free to do as you will of course. I'm just sharing my position on the issue. I find it more honest and accurate to just be neutral rather than choose a female reader if I'm not writing for women, which is a real thing since men and women (and their preferences and interests) are very different as a result of distinctly and verifiably different biology.
@jstressman I see what you're saying. This kind of focus veer is the very thing I was trying to avoid by switching up the gender of my hypothetical reader. Sticking to the masculine is traditional, but myopic for my purposes because my audience writes for both men and women, and many of the topics I talk about here can apply as much to women's fiction as to sci-fi and hardboiled noir.
So, obviously, I failed in my attempt. But referring to a hypothetical reader as "them" makes it difficult to think of ONE individual as my audience. So I'll have to think on this.
@@creativewritingcorner I can appreciate your attempt given that context. And I also agree that "them" can be ambiguous and imperfect as a gender neutral option given the plural connotation. Good luck.
This is the problem with neutral languages like English. How do you personify a noun like "the reader"? This issue doesn't exist in languages in which each noun is assigned a gender. That's at least one good thing about this otherwise pretty unnecessary feature haha. That being said, it's a sad state of affairs that choosing between "he" and "she" has become a contentious issue. Not pointing the finger at anyone here BTW, just making an observation.