It strikes me that there is a world of difference between writing endings in a stand-alone novel and writing endings in trilogies. In the former, the story should reach a conclusion that, even though it may leave the door open for a return to this character or situation in a future book, nevertheless should leave the reader feeling that they have reached the end.
On the other hand, the endings in volumes one and two of a trilogy should also act as a springboard into the next volume.
Arcs versus endings
When writing any kind of fiction, there is always great emphasis on the entire book building to a climax or the arc, as it’s known because it represents the apex of a line on a graph showing how tension rises and then falls. But once the arc has been reached, whether it’s the twist in the tale revealed, the murderer uncovered, the lovers finally together… sometimes novels can simply fizzle out.
If it’s a single volume, that may not be a deal-breaker; the reader feels the mystery has been solved and they can move on to the next novel, happy that justice has been served, love has prevailed or whatever. But if the action continues in another volume, it’s imperative that tension continues beyond the arc, otherwise why would a reader buy the next volume?
Back in November, as I approached the arc of my current work-in-progress, I suddenly found myself having writer’s doubts about the possibility that this first book of my trilogy was going to come in light on wordcount but I decided to press on regardless.
After a hiatus over a family bereavement, Christmas, and New Year, I am now on the brink of bringing this first volume to its conclusion. Just as I had hoped, with a current word count of 80,000, my fears that it will be too short have vanished.
But now I’m consumed with ending on enough of a cliff-hanger that readers will want to pick up the next instalment.
Creating tension when writing endings in Trilogies
I decided to take a look at how another author had tackled this issue and focussed on a trilogy that I read many years ago and that had me hooked from volume one right through to the end of volume three – The Hunger Games by Susanne Collins.
SPOILER ALERT!
At the end of volume one, The Hunger Games, in the midst of Katniss’ and Peeta’s triumphant exit from the Arena, instead of heading to a happily-ever-after life back in their districts which may have been the case had this been a standalone, we and Katniss discover The Capitol is not happy. Instead of the threat to their lives being removed, it has been ramped up and this time, there is no live audience to see fair play.
Effectively, this ending leaves the reader desperate to know what happens to Katniss and Peeta when they get home. Mission accomplished.
The end of the second volume, Catching Fire, requires no special effort to leave the reader with no choice other than to find out what happens next. There’s a full-scale revolution in progress; how can we possibly stop reading now?
SPOILER OVER
I imagine that once Suzanne Collins had the ending to her first volume under her belt, there was never any doubt that the ending to volume two would become an almost seamless segue into volume three.
How does that help me?
One of the issues for me is that, to some extent I’m hidebound by history. Although this is historical fiction, nevertheless it all centres around actual events that took place. So as much as I might want to introduce an entirely new twist or direction to the endings, I don’t feel able to veer too far from the facts as we know them. To do so would risk diluting the authenticity of my telling.
In writing the endings of my trilogies I’m treading a line between those elements of the story I can control, that is, the elements of fiction I have introduced, and those that are set immovably in history.
I do however have at least two more arcs, and a lot more potential cliff-hangers up the sleeve of my history gown.
My original synopsis already took this first volume to a (hopefully) exciting ending/beginning but re-reading The Hunger Games has given me an idea. What if I finish this book on not just one cliffhanger, but potentially two? Surely that will double the chances of someone wanting to pick up the next instalment.
I’m now going to finish slightly earlier in the narrative than planned and in so doing, create two strands of action that the reader wants to pursue. I should have this draft finished by this weekend so I’ll soon know if the plan works.
