How Does The Story End?

At the conclusion of your exciting tale, most readers are rooting for a happy ever after ending. They want the bad guy punished, the good guy rewarded, and the lovers to be in love.

Sometimes a tidy ending isn’t where the story should go. Should you change it to conform or end it the way you feel deep in your gut it should end? It depends on genre. A Romance should end happily ever after, or at least happy for now. A down ending gets moved to Women's Fiction or added as another layer to a different genre. A murder Mystery should be solved. There can be an overarching foe for a series, like Professor Moriarty in Sherlock Holmes, but each book has a case that is solved.

Beyond that, the resolution of your story can be a little more creative.

Every story has a central question. Will the protagonist succeed in his overall story goal? There are multiple answers.

1. Yes. Dick succeeds and there are no gray areas or hanging questions. The plot is tied up in a neat little bow. He feels good about it. This is an up ending. Readers love up endings.

2. No. Dick fails and feels bad about it. He fought tirelessly, but in the end just couldn’t win. This is a down ending. Readers are sometimes disappointed by down endings.

Romance: The lovers walk off into the sunset happy.
Thriller & Suspense, SciFi, Fantasy: The threat is averted and life goes on in a better way.
Horror: The monster is defeated, never to return.
Historical: The revolutionaries win and push the enemy off the battle ground.
Western: The shootout occurs and the Sherriff survives to fight off bad guys.
Con, Heist & Prison Break. The heist is a success and the gang take off with their winnings unscathed.
Team Victory: The underdog team wins the tournament or game. The crowd goes wild.
Gothic: The governess survives the crazy woman in the attic and lives happily ever after.
Mystery: The case is solved and the murderer either put away for life or dies.

3. Yes, but. Dick succeeds at one thing but fails at another. He succeeds but there are ramifications of his success that carry on into the future. He succeeds but at a terrible cost he didn’t calculate. This is a form of up-down ending. These work well in a trilogy. The first two  books end Yes, but so there is another story to finish the series.

Romance: The lovers walk off into the sunset happy, but it leaves others in a bad position. This is shuttled off to Women's Fiction or another genre. Love comes with a cost.
Thriller & Suspense, SciFi, Fantasy: The threat is averted, for now. Either a greater threat has been uncovered or there were consequences to the win that they couldn't foresee.
Horror: The monster is defeated, they think. It either isn't really banished or there is another greater threat coming up the pike behind it.
Historical: The revolutionaries win the battle but not the war. There are more conflicts to come or their actions create a new worse conflict.
Western: The shootout occurs and the Sherriff survives to fight off bad guys. Sometimes the Sherriff dies. Sometimes another threat arrives to be vanquished in another book.
Con, Heist & Prison Break. The heist is a success but the gang members are imprisoned. Maybe the heist leads to a prison break. 
Team Victory: The underdog team comes in second but still feels good about it. There is always next year.
Gothic: The governess survives the crazy woman in the attic and leaves realizing love does not overcome all.
Mystery: The case is solved, but the mastermind survives to fight another day.

4) No, and further more.  Dick not only fails, but he is further punished or must try again in a sequel. Dick may have been going for the wrong goal and not only does he realize he is wrong, he  must take on a new challenge to make it right.  Dick fails at his goal, and we realize he was the bad guy all along. This is similar to the Yes, but option for all genres.

5) Yes and No. Dick thinks he has succeeded or failed in his goal but there is a twist ending and he finds the opposite is true.  He can kill monster A only to find out the real monster is B. Dick may win the battle but cause a major war. Dick may succeed but hurt everyone affected.  Dick succeeds at his goal but during the final credit roll, he gets nailed by an oncoming bus. This is another type of up-down ending.

6) Maybe Yes/Maybe No. The ending is left ambiguous. It is never made clear what really happened or how the story ends. The reader is left hanging. They may want to hang you. It is a risky artistic choice.

Whichever ending you choose, your story architecture must support it. The ending must grow organically from the actions and decisions leading up to it. You don’t have to make everyone happy. You just have to leave your audience satisfied. The worst thing is an unsatisfying ending that makes the reader feel like they wasted their money. I once read a book where an alternate ending was tacked on at the end by a new POV character and it basically undid the nicely wrapped up package. Never read that author again. 

As always if you find this information helpful, share it, like it. If you want more free information, sign up to follow the blog on blogger or the Story Building Blocks Facebook Page. Free tips and tools are also available on my site https://dianahurwitz.com/.

Weaving Separate Plot Threads

A parallel plot tells two stories of equal importance, moving from one to the other and back again as opposed to a subplot. It can be a past versus present story. It can be one or more characters whose plots intersect. The more threads, the weaker the connection to the story. It can be done but requires advanced craft to do it well enough that you keep the reader entranced.

It can be hard to get caught up in one plot when the writer shifts the verbal camera between separate story lines, especially if they don’t connect. The potential for plot holes is enormous.

If you choose a parallel plot or plots, ask yourself these questions:

1. Who do you want the reader to care about?

Splitting the focus between two (or more) protagonists weakens the reader’s attachment to them. Every time you move the verbal camera between them is a point where they can put the book down. If you fail to make them care about either of them, they may skim past those scenes or simply quit reading. Every single thread needs to have its own impact and tension. Too many point of view characters can stretch the reader’s connection to the story. Do you truly have two protagonists or does a secondary character just play a main part? The love interest really isn't a protagonist. There is (almost) always a person's whose POV starts the ball rolling and has the decision to make, action to take, and stakes for not doing it. Just because a character's POV is followed does not make them a protagonist in terms of story cast. You can have five a-list stars in a movie. They aren't all protagonists.

2. What do the threads have to do with one another?

If you use this technique, it is critical that the plots intertwine, not run along aside each other, meeting only at the end.  When the reader doesn’t understand the point of the split, they are likely to put the book down. I am not saying it hasn't been done, but it is a choice that can have negative consequences. I once skipped half a book because one thread simply didn't matter and held no tension. That is not the kind of page turning to aim for.

3. Are the threads equally intriguing?

It is hard enough to maintain tension in one plot line, much less two. Making both threads equally thrilling is twice the work. Making both threads equally thrilling and related is grueling. If only one thread is interesting, the reader will do a lot of page skipping, unless they toss the book in the do not finish pile. Plot out each thread separately. Are all of the pieces there? How do they impact one another? How can you layer the scenes to keep the pace moving forward? Backstory, flashbacks, and memories are not story plots. They augment a plot. There are many stories that explore a story that happened in the past that has impact on a story in the current era or a future era. For example, a modern-day literary love story that is impacted by a romance in the past. A mystery with a modern day sleuth mirrors a case from another time and place. A historical thriller has a plot in the modern day that uncovers the full story of what happened in the past. Each layer has a main character, friends, foes, goals, stakes, and outcomes. 

4. Does it suffer from too many characters?

Each protagonist interacts with friends and foes and either the same antagonist or different antagonists. Two protagonists and antagonists equal twice the work. Every primary and secondary character you add dilutes the emotional connection to the story. Keeping track of a vast cast, especially if one needs to consult a list or take notes, can put your story in the do not finish pile. As much as George R. R. Martin is heralded, his books suffered from cast bloat and many readers didn't finish the books. They were happy when it was adapted for TV. I suggest sticking to the POV of the main character for each plot or stay in omniscient POV. Using a close POV can also cause problems if not done well.

5. Does it have a satisfying conclusion?

There is nothing worse than wading through complex construction only to reach the end and find a weird twist or obscure denouement. Don’t make one of the plot threads a dream. There are genres that require a happy ending. Romance requires a happy ever after for the main couple. A mystery requires the resolution of the current case, even if there is an overarching evil villain that returns in the next book. Moriarity in Sherlock Holmes is an example of a retuning mastermind. But each of Sherlock's cases are solved in the books. The rest of the genres can have an up, down, or even up/down endings. 

6. Is it appropriate for the genre?

Separate plot threads are not the same as different point of view characters. It is two separate plots. If you use it for a Romance, it becomes a literary Romance. Romances follow one story line. There can be a subplot where the main lovers' best friends also fall for one another. That is not the same thing as two full plots. A murder Mystery follows one sleuth solving crimes. Switching between sleuths and timelines may not be pleasing to your ordinary mystery lover. In a recent television series Bodies, there were four sleuths and four cases and four timelines. I love Mysteries. They make up forty percent of my story consumption. However, it was not my cup of English Breakfast tea. It had mixed reviews. Dual plots can work in Historical, Thriller and Suspense, Fantasy, Literary Dramas, perhaps even con, heist, and prison break.

7. Are you depriving the reader of full engagement?

The goal of any story should be full immersion. The plot should be fully-formed and the tension gas pedal applied expertly to control the speed of the narrative. Are other layers simply an annoying distraction? Can you make multiple threads work together in a way that keeps the reader eager to turn the page? If you don't know how or assume the reader will forgive you for shorting them of the full-immersion experience, then reconsider.

I would not suggest this method for a first-time author. Build your skills first. I’m not saying it can’t be done, or even done well. Some examples of parallel plots are:

To Kill a Mockingbird by Harper Lee

Holes by Louis Sachar

Blueberries for Sal by Robert McCloskey

The Lady of Wild Beasts by Debra Spark

The Sex Club by L. J. Sellers

Day of Atonement by A. Alvarez

Sarah’s Key by Tatiana de Rosnay

Stephen King's The Stand is a complex layering of plot threads. Even the master of horror struggled with it because of the large number of characters and storylines.

George R. R. Martin's Game of Thrones followed three separate but simultaneous storylines. Some readers gave up because of what I call cast bloat. If a reader has to start taking notes, they often give up.

As you can see, they are very different books. Some were more successful than others. 

Plot bifurcation has inherent structural weaknesses. If you choose to build your story on this skeleton, be prepared for the writing equivalent of a biathlon. Each plot must have solid structure, a full cast, and tension that builds. It is essentially writing two novels. You don't have to outline it if you are allergic to the process. You will need to do a detailed dissection of your story scene by scene and chapter by chapter after the first draft.

It is critical that you have other people read it before submitting it or self-publishing it. The details in your head may not make it onto the page. It can be easy to lose your audience. They don't know the story in your head. What makes sense to you might confuse the reader and that results in bad reviews.

As always if you find this information helpful, share it, like it. If you want more free information, sign up to follow the blog on blogger or the Story Building Blocks Facebook page. Free tips and tools are also available on my site https://dianahurwitz.com/.

April to June Writing Workshops

Whether a one day session, one week conference, or a month-long writing workshop, writing related events are a good way to commune with other writers. They are opportunities to network and get your name out there. In some instances, you can meet and mingle with editors and agents. Some offer critiques or pitching sessions. Nowhere will you find a higher concentration of introverts enjoying each other's company. Local conferences are a good place to meet potential critique groups or recruit members. Note that information for this list is accurate as to what was available in December 2023. Dates and formats may change. Some events continue to be virtual, which allows for a wider audience and lower costs. Others also offer online resources that were presented at conferences past.

Some are free. Some require a fee. Some are more social than others. Many are for new writers, but a few dig deep into craft. You should choose an event that speaks to your needs and desires.

Also keep in mind that some of these organizations offer year-round events, critique opportunities, groups to join, etc. You may find your tribe.

April 4 – 6, 2024 Tennessee Mountain Writers annual conference at the DoubleTree Hotel in Oakridge, Tennessee. https://tmwi.org/

April 4 – 6, 2024 Erma Bombeck Writers' Workshop, University of Dayton, Dayton, Ohio, workshop is a hybrid in person and virtual event. https://udayton.edu/artssciences/initiatives/erma/index.php

April 11 – 14, 2024 Left Coast Crime Trouble in Tucson in Seattle, Washington http://www.leftcoastcrime.org/

April 15, 2024 A Rally For Writers Conference in Michigan. https://arallyofwriters.wordpress.com/

April 18 - 20, 2024 Chicago North RWA Spring Fling Conference Chicago Renaissance O’Hare—and online Registration begins Fall 2023. http://chicagospringfling.com/

April 18 – 21, 2024 Chanticleer Authors Conference, Four Points by Sheraton in Bellingham, Washington.https://www.chantireviews.com/chanticleer-conference/

April 19 – 21, 2024 Clockwork Alchemy Steampunk Conference at the San Mateo Marriott. Panel discussions on all things steampunk.  http://www.clockworkalchemy.com/#/about

April 25 – 28, 2024 Pikes Peak Writers Conference will be held at the Colorado Springs Doubletree Hilton Hotel. https://www.pikespeakwriters.com/ppwc

April 26 – 28, 2024 Ravencon Science Fiction and Fantasy Convention will take place at the Virginia Crossings by Hilton in Glen Allen, Virginia. http://www.ravencon.com/

April 26 – 29, 2024 Malice Domestic Bethesda Maryland, http://malicedomestic.org/

April 26 – 28, 2024 Pikes Peak Writers Conference Colorado Springs Doubletree Hotel in Colorado Springs, CO. https://conference.pikespeakwriters.org/

May 3 – 5, 2024 Gold Rush Writer Conference in Mokelumne Hill, CA. http://www.goldrushwriters.com/

May 3 – 4, 2024 Lakefly Writers Conference will be held at the Oshkosh Convention Center in Wisconsin. https://lakeflywriters.org/

May 3 – 4, 2024 Atlanta Writers Conference, is an in-person event. Westin Atlanta Airport Hotel https://atlantawritersconference.com/

May 4, 2024 Writing Conference of Los Angeles https://writingconferenceoflosangeles.com/

May 10 – 12, 2024 GrubStreet The Muse and the Marketplace Conference Boston Park Plaza Hotel, Boston, Massachusetts http://museandthemarketplace.com/

May 9 – 11, 2024 Storymakers Conference is Provo Utah Valley Convention Center Provo, Utah https://ldstorymakersconference.com/ 

May 11 - 18, 2024 Longleaf Writers' Conference, Seaside, Florida.www.longleafwritersconference.com

May 18 - 21, 2024 Kachemak Bay Writers’ Conference Kachemak Bay Campus in downtown Homer, Alaska. http://writersconf.kpc.alaska.edu/

May 26 – 30, 2024 Blue Ridge Christian Writer’s Conference, Asheville, NC https://www.blueridgeconference.com/

May 29 – June 1, 2024 North Words Writers Symposium, Skagway, http://nwwriterss.com/

May 30 - June 3, 2024 ThrillerFest XVIII is at the Sheraton New York Times Square Hotel, New York City, NY. http://thrillerfest.com/

May 30 – June 2, 2024 Stokercon Horror Conference, San Diego Marriott Mission Valley, San Diego, California https://www.stokercon2024.com/

May 31 – June 1, 2024 Pittsburgh Writing Workshop, in Pittsburgh, PA will be an online event. https://pittsburghwritingworkshop.com/

May 31-Jun 2, 2024 CrimeCon in Nashville, Tennessee, https://www.crimecon.com/

June 6 – 9, 2024 Writer’s Police Academy/Killer Con in Greenbay, Wisconsin https://writerspoliceacademy.com/ 

June 6 – 9, 2024 Indiana University Writers' Conference, Bloomington, Indiana will be an in person event this year. https://iuwc.indiana.edu/

June 26 – 28, 2025 Historical Novel Society Conference in Las Vegas, Nevada looks like they are skipping 2024. http://hns-conference.org

June 9 – 15, 2024 Kenyon Review Fiction Workshop, Kenyon College, Gambier, Ohio offers online programs for adults and young writers.  https://kenyonreview.org/writers/fiction/

June 9 - 15, 2024 Santa Barbara Writers Conference, Mar Monte Santa Barbara Hotel, Santa Barbara, California. http://www.sbwriters.com/

June 16 - 22, 2024 Chesapeake Writers’ Conference at the St. Mary's College of Maryland. https://www.smcm.edu/events/chesapeake-writers-conference/

June 16 – July 27, 2024 Clarion West Six Week Workshop, Seattle, Washington, https://www.clarionwest.org/programs/summerworkshop/

June 23- July 20, 2024 New York State Summer Writers Institute, Skidmore College, New. https://www.skidmore.edu/summerwriters/

June 24 - 29, 2024 Minnesota Northwoods Writers Conference, Bemidji State University, Minnesota. Conference will be in person.  http://www.northwoodswriters.org

Writing events are a wonderful way to commune with other book lovers and probably the largest number of introverts in one area at one time. Don't be afraid to try them. I promise no one bites. I think, gives side-eye to Horror Writers.