You’ve been there watching the Olympics, and you see the gymnast flying through the air, doing unbelievable twists and turns, and then splat! The gymnast fails to stick the landing, and all the beautiful twists and turns are forgotten. All you can remember is the crash on the floor.
What can happen in the Olympics also happens in too many books. Authors start out strong, flipping and flying, but they fail to stick the landing.
How do you end your book in a super satisfying way?
I asked James Scott Bell. He’s the expert on how to stick the landing in your novel. He has written more than 20 books for authors, including the very popular The Last 50 Pages: How to Craft Unforgettable Endings.
Why do so many novels fail to stick the landing?
Thomas Umstattd, Jr.: Why do so many books and TV shows start strong and end so badly? Why was the ending of Lost so bad?
James Scott Bell: That’s exactly how I begin my book with that example. You remember how wildly popular the show Lost was. I was in a writer’s group with a lot of writers who were going crazy about how great the show was, so I started watching. After six episodes, I said, “Hold on a minute, people. It’s easy to write a cliffhanger ending that you don’t have to explain.” And that’s what they did. Every episode ended with this huge, mysterious ending that made people want to keep watching.
I kept saying, “Wait till they have to wrap this up, people. You’re going to be disappointed.” Nobody believed me. Well, we know what happened. The ending was a huge disappointment, and even the writers admitted they had no idea how they were going to wrap it up.
Maybe the first lesson here is to try to have some idea of what you’re shooting for. Writing themselves into a deep abyss made it impossible for them to get out. That’s a prime example of what we’re talking about.
Thomas: Returning to the gymnastics analogy, there is a specific technique when transitioning from one flip to another. You use the momentum from the previous jump to propel you into the next. This is very different from the final landing, which must absorb all the momentum. If you carry too much momentum into the final landing, you can end up toppling forward. I think this is exactly what happened with Lost. The show had so many unfulfilled promises and so much momentum going into the conclusion that it felt like a train speeding down the tracks. You don’t want the story to feel like it’s slowing down towards the end. So, how do you manage that? You can also overcompensate the other way, like at the end of the Lord of the Rings movies, where it seemed to keep ending. It felt like the conclusion went on for too long.
How do you bring the story to a satisfying conclusion without it being boring?
James: Well, a couple of things come to mind. First, there’s the issue of different writing styles: planners, who outline their books, and pantsers, who write by the seat of their pants. The latter may find that their ending doesn’t work. This has always been my fear with not planning at all—you write the book, but the ending might not come together. Stephen King, for instance, advocates for a more spontaneous approach in his book, suggesting you’ll find an ending somewhere. However, if there’s a criticism to be made of his novels, it’s the endings. The challenge is to wrap up the story in a way that not only satisfies but also leaves the reader with what I call resonance. Resonance creates a feeling in the reader that makes them feel they’ve been on a journey with you. They’re glad they reached the end and even wish it could continue. That sentiment carries over to your next book.
One of my favorite quotes on this topic is from Mickey Spillane, who was once the bestselling writer in the world. He wrote hard-boiled private investigator novels and said, “The first chapter sells your book; the last chapter sells your next book.” It’s so true.
Regardless of what kind of writer you are, have an idea of the feeling you want to leave your readers with. Do you want them to be supremely happy, cheering, or experiencing something bittersweet? Have a clear vision of what you want them to feel, and that will start to create images and possibilities for your ending.
Thomas: In Hollywood, they say that the most satisfying endings occur when the story arcs of the antagonist and protagonist, as well as the protagonist and the relationship character, conclude within seconds of each other. The closer these resolutions are in time, the more satisfying the ending. For example, in The Matrix, Neo’s relationship with Trinity and his conflict with Agent Smith both culminate in a tight 90-second window. Trinity believes Neo is “the One” and kisses him, bringing him back to life and giving him the power to defeat Agent Smith. This simultaneous resolution creates an emotionally satisfying ending.
This approach works well in Hollywood because such stories are often simpler, typically focusing on three main characters. But what about stories with numerous characters and plotlines?
How can you achieve an emotionally resonant ending where everything is neatly tied up?
James: Not everything has to be tied up in a perfect bow. Some endings leave the reader projecting into the future, allowing them to imagine what happens next. A classic example is Gone with the Wind. Is Scarlett going to get Rhett back? We don’t know, but “tomorrow is another day,” and it’s still a satisfying ending because the reader brings their expectations into play. They can write the ending themselves.
For the kind of ending you mentioned, there is a key element to consider. I primarily write thrillers, so I have a thrilling plotline and a secondary plotline involving the main character’s transformation. By the end of the novel, this character is not the same as they were at the beginning.
There are two ways to handle this transformation.
Some characters, like Jack Reacher, seem to remain the same in every story. However, the transformation he undergoes involves becoming a stronger and wiser character. In other cases, you have a hero who faces danger and obstacles, and by the end, their personality is transformed into a better version of themselves. Sometimes, the transformation can be negative, as seen with Michael Corleone in The Godfather, where his change is from positive to negative.
There are many variations you can use, but a crucial element is proving the transformation on the page. This involves a final chapter that shows the character in their new state, which is very satisfying for the reader. This approach creates a satisfying resonance, showing that the readers have experienced more than just a plot-heavy book; they’ve had a real personal relationship with the character.
Thomas: Robert Jordan wrote the Wheel of Time series, and with each book, he introduced more point-of-view characters. By the time he passed away, there were around 60 to 80 named point-of-view characters. The story spanned an entire continent and became incredibly complex. When Jordan died, Brandon Sanderson took over to finish the series. While most books might have a final 50 pages, Sanderson had to wrap up the story in about 2,000 pages, so he spread it over two or three books.
One method Sanderson used was to start tying up the arcs of some of the point-of-view characters, giving them satisfying conclusions without ending the entire story. Another key factor, as you mentioned earlier, was that Robert Jordan knew where he was going with the story. He had written the final page of the last book long before he died, possibly as early as when he wrote the first book. This final page outlined where he wanted to take Rand, the protagonist, and the overall feeling he wanted to convey.
With that one page and Jordan’s extensive notes, Sanderson could bring the story to a satisfying conclusion because he knew the ultimate goal. Despite the vast, continent-wide scope of the story, it was fundamentally about one man’s journey. The conclusion felt like the end of a musical piece, where all the instruments gradually stopped playing, leaving only the final note from a single bugle.
James: That’s so instructive because in a series as complex as this, having a clear idea of how you want it to feel at the end can provide a strong throughline. When creating characters and plots, knowing the general direction, even if you don’t know the exact path, is crucial. He knew he was heading east instead of west. Any writer can adopt that approach.
The A story and B story we mentioned earlier is also key to writing a series. You can have a series character, like my character Mike Romeo, but each book can have its own thriller plot that wraps up by the end, as readers expect. But you can leave some openness in the personal relationships. That way, in the next book, readers are eager to see the new adventure and how the ongoing relationships resolve. That strategy keeps readers hooked on the series.
Thomas: Just because the book has ended doesn’t mean all the plotlines need to be resolved. Unresolved story threads can make readers curious about the next book, but it’s important not to overdo it. If a book ends without resolving anything, readers might feel cheated, as if the whole book was just a commercial for the next one.
Jim Butcher made this mistake with his Harry Dresden series. He released two books within two months, and the first book felt incomplete, more like a setup for the next book, because it didn’t resolve any of the ongoing issues and added even more questions. The second book, however, had a very satisfying ending.
How do you balance writing a satisfying ending with keeping the readers wanting more?
James: I remember my wife reading a book in the 90s and telling me how great it was. She was really enjoying it, but when she got to the end, it just stopped. She realized there was going to be a second book to tie up the story. Later, I found out that the publisher had received a very thick book and decided to split it into two, thinking they could sell more copies that way. However, readers were furious because the story stopped without any resolution, making them feel like the publisher just wanted more of their money. You can’t do that—you don’t want to cheat the readers like that.
Thomas: How do you ensure each book in a series is satisfying enough? If you’re planning to write a 12-book series, how do you know that each book has a satisfying ending while still making readers want the next one? How do you create an experience like a Lay’s potato chip, where it feels fulfilling yet leaves you craving more?
James: When I set out to write my Mike Romeo series, I intentionally planned the basic plots of the first and second books. I knew they would have standalone plots with distinct obstacles, challenges, and crimes. However, I also created a chart of my character’s inner life, detailing the issues he would need to address to become a more complete person. Mike Romeo has many wounds to deal with, and mapping out these aspects allowed me to know exactly which part of his inner self each book would address. This approach gave each book a sense of progress, showing Mike getting closer to becoming who he is supposed to be.
Having a clear idea of your character’s inner journey can help you solve the question of creating satisfying endings. Additionally, as a writer, you need to feel something when you finish writing a manuscript. If you don’t feel any resonance, something might be missing, and you should go back and find what it is.
I keep thinking of the opening of Romancing the Stone, where the writer, Joan Wilder, is typing with her headphones on and crying because she has created a fantastic ending. There is something to that; you need to have a feeling of resonance yourself. That’s a clue that you’re on the right track.
Thomas: One way many novels achieve emotional resonance is by foreshadowing the ending. It’s similar to how a stand-up comedian wants their final joke to reference an earlier bit that was really funny. This technique creates a satisfying moment of realization, where something mentioned in chapter one makes perfect sense by the end. This is particularly popular in thrillers and mysteries, where a seemingly minor detail, like a gun on the mantelpiece in chapter one, becomes crucial in the final revelation.
As a pantser, foreshadowing can be challenging since you don’t plan everything out in advance like an outliner. Outliners can easily insert foreshadowing because they know the entire plot ahead of time. For pantsers, the process can happen during revisions. After completing the first draft, you can go back and weave in the foreshadowing details to create those moments of realization for the reader. Some pantsers may even start incorporating foreshadowing as they write once they have a clearer idea of where the story is heading.
James: I wrote a book called Write Your Novel from the Middle, which addresses this very issue. Whether you’re a pantser or a plotter, at any point you want to find a throughline and understand what you’re writing, you can go to what I call a “mirror moment” in the middle of the story and figure it out. This concept ties into the idea of transformation, which is crucial for creating resonance.
A cool technique, especially for pantsers, is to write a scene early in Act One where the protagonist argues against the transformation or lesson they will eventually learn. For example, in The Wizard of Oz, Dorothy’s big takeaway at the end is, “There’s no place like home.” But early in Act One, she wants to be anywhere but home and dreams of a place over the rainbow where there’s no trouble. This creates a nice arc because the reader recalls that initial moment, and it stays with them.
Another great example is It’s a Wonderful Life. At the end, George Bailey learns that no man is a failure if he has friends who support him in crucial moments. However, early in the film, young George dreams of leaving his small town and exploring the world, even joking about having multiple wives and a harem. By the end, he’s happily married to one woman with a family in his hometown, and the viewer remembers his earlier argument against the transformation.
My suggestion to writers is to incorporate a scene where your lead character argues against the transformation they will undergo by the end. This can be planned from the start or discovered as you write. That technique will create a strong and satisfying arc for your readers.
What are some of the other steps to make that ending really sing?
James: In the middle of the story, I like to include a moment where the character is forced to confront himself, almost as if looking in a mirror. At this point, the character might ask, “What kind of person am I? Why am I like this? Can I become a better person?” This type of reflection occurs at the midpoint of Casablanca, where we watch the character’s potential transformation unfold.
Alternatively, the character might think, “The odds are too great. I can’t possibly win. I’m probably going to die.” This happens in the middle of The Hunger Games and The Fugitive with Harrison Ford. The transformation here involves the character becoming stronger as they continue.
When writing the ending, I dedicate significant time to the last 50 pages, especially the final five pages, because I want it to be perfect. I want it to sound right and leave the reader with just the right words. My process involves what I call “stew, brew, and do.”
First, I spend an hour or two thinking deeply about the ending, which is the stewing phase. Then, I take a walk to a local coffee house and get a jolt of caffeine, which is the brewing phase. After that, I start making mind map notes, capturing whatever my subconscious is trying to tell me. I’m a big advocate of mind mapping. I jot down all my random thoughts, then organize them into steps and scenes, which helps me structure the final moments of the book. Finally, I write it all out.
Thomas: That’s interesting because it’s very similar to Isaac Asimov’s process. He wrote a fascinating essay on creativity and overcoming mental ruts titled “The Eureka Phenomenon.” This essay, one of Asimov’s science essays, discusses how many scientific breakthroughs occur when someone is thinking about something else. The famous story is about Archimedes in the bathtub shouting “Eureka!” and running down the street naked after discovering buoyancy. Asimov provides numerous examples of scientific breakthroughs happening this way.
Asimov explains that when we think intensely about something, we often get stuck in repetitive thought patterns. However, this intense thinking is beneficial. If we then take a break, whether by going for a walk or getting a shot of caffeine, we can find solutions. Asimov’s technique involved watching a mindless movie to take his mind off his story. He would go to the cinema, and by the time he returned, he knew what to write next 100% of the time. Asimov, a prolific author, found this method very effective.
Giving yourself permission to take a break and telling yourself, “I’m going for a walk. I’m going to think about something else,” can be very productive. This method isn’t just useful for endings but for any time you’re stuck with your book. Taking a break and allowing your mind to rest after intense focus is a reproducible technique that can help you overcome creative blocks.
Stew, brew, and do is a really reproducible strategy.
James: When I studied for the California bar exam, I studied so hard for so long, and the night before the two-day exam, I went to see the mindless movie The Muppets Take Manhattan. When I returned, I felt great and did well on the bar exam. That experience has always stayed with me and aligns perfectly with Asimov’s thinking.
Thomas: One reason Brandon Sanderson remains so prolific is that he mixes up the types of books he writes. He takes breaks from his big epic fantasy series to write shorter books, often in different genres. This variety gives him a mental break. He might write the first draft of one book, then edit another, and return to the first book for its second draft. This approach keeps his mind fresh and enables him to write a dozen books while other fantasy authors may struggle to write even one.
Since you’re a thriller author, can you tell us what makes a good twist ending?
James: A good twist ending is one that readers don’t anticipate. How do you create such an ending? One effective approach is to reconsider the big reveal at the end. Ask yourself if it could involve another character that readers didn’t expect. This can be incorporated during the planning stage, where you map out your suspects and outline who will be involved. Even in the first 10,000 to 20,000 words, you can revise your story to introduce new characters who might turn out to be key players.
Another method involves actively thinking about alternate endings. In a book on thriller writing (I can’t recall the author), it was suggested to come up with two or three possible endings. Choose the best one for your ending and use the next best one as your twist. This technique forces your mind to create multiple satisfying conclusions, giving you more options to craft a compelling twist.
Thomas: That’s a classic Hollywood solution. Hollywood often films multiple endings and tests them on audiences. A famous example is Endgame. The initial ending was terrible; it didn’t even include the iconic “I am Iron Man” line. Instead, everyone knelt to honor Tony Stark’s sacrifice, which turned out to be a terrible ending. Thankfully, they tested multiple endings, and the one they ultimately chose, which you have to watch the movie to see, was much more emotionally satisfying.
James: The most famous example, I think, is Casablanca. Casablanca was based on a play called Everybody Comes to Rick’s. In the movie, there’s a bet between Bogart’s character, Rick, and the French police captain, Louis, about whether Victor Laszlo will be captured. They bet 10,000 francs, with Rick betting that Laszlo will get away. At the end, when Laszlo is on the plane, the Nazi major has been dealt with, and Louis has decided to leave Casablanca, he and Rick are walking off in that famous scene.
The original last line was, “You still owe me 10,000 francs.” It was meant to be a funny, light-hearted conclusion, but the writers felt it wasn’t good enough. They stayed up all night and eventually came up with, “Louis, I think this is the beginning of a beautiful friendship,” which became one of the most famous lines of all time. Notice how the revised line shifts the focus from the plot to the relationship, making it much more memorable and impactful.
Thomas: It’s important to note that the 10,000 francs line wasn’t a bad ending, but the friendship line was better. Just because you have a good ending doesn’t mean you have the best possible ending. If the movie had ended with the original line, people wouldn’t have hated it, but it wouldn’t have achieved the same greatness.
The writers kept working until they found an ending that was truly great. You won’t know if your ending is good or great until you’ve written two or three different versions to compare. Comparing an ending to nothing isn’t helpful; it’s easy to think, “Well, it’s better than not ending the story.” Instead, write multiple endings and test them on beta readers.
You can also repurpose the alternate endings you don’t use by giving them to your super fans, similar to how DVDs include deleted scenes. There’s a reason so many DVDs have alternate endings—they were filmed but not used. Sharing these can be a fun way to show fans how the story could have ended and highlight why the chosen ending was the best.
What other advice do you have on those final 50 pages?
James: The sound of the last line is crucial. Some of the most famous last lines in literature are perfect because of their resonance. For example, the ending of To Kill a Mockingbird is memorable. After all that has happened, with Jem almost dying, Atticus goes into Jem’s room, and the book concludes with, “He would be there all night, and he would be there when Jem waked up in the morning.” The sound of that line, when read aloud, makes all the difference.
Another tip is to find a resonant ending in a line of dialogue that is repeated. If someone says something significant earlier in the book, it can be powerful to repeat that line in the final scene, emphasizing the relationship’s development. There are many ways to craft a resonant ending, but finding the right sound is key to making readers want to read your next book.
Thomas: The ending is crucial in establishing your brand. If you want an enduring brand, it happens when someone finishes your book and just sits there, experiencing the book. If the ending has the right sound, it will echo through their mind, evoking all the emotions you intended. As an author, making your readers feel something deeply is powerful and satisfying. It’s what makes readers want to buy all of your future books.
If you want help with crafting better endings, I highly recommend James Scott Bell’s The Last 50 Pages and Write Your Novel from the Middle. Those two books complement each other well.
Any final tips or encouragement?
James: There’s an abundance of material out there to help you with your craft: blogs, articles, books, and podcasts like this one. Every day that you’re writing, make it a habit to study a small aspect of the craft and try to incorporate that into your work. When you write, just focus on writing. Don’t think about rules or craft issues—just write. Afterward, take time to review what you did. Identify problem areas and work on strengthening them. This approach is the one-two punch of a successful career: keep writing and stay productive while continually studying and learning. Following this method will set you on the right path.
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