Posts tagged with: Writer’s Toolbox
Posted by Autumn Jordon Mar 27 2017, 12:01 am in Autumn Jordon, craft, Writer's Education, Writer's Toolbox
If you’ve read my blog on February 27, you know I believe in a writer’s continued education. Last weekend, The Greater Lehigh Valley Writer’s Group of the ABE area in Pennsylvania hosted the renowned Michael Hauge. Mr. Hauge is known for his Story Mastery concept of screen-writing. Over the years, while attending RWA conferences, I tried to get into his sessions, but they were always filled to capacity and now I know why. The man breaks down story telling in a way that makes complete sense. So when this opportunity came up, I jumped to learn from him. I jumped on the opportunity to learn from him.
Because of the volume of notes I took during the class, I’m going to break this blog topic up into two sessions. Today, I’ll convey Mr. Hauge’s opening comments and then I’ll concentrate on his information for a character’s inner journey. On April 3, next Monday, I’ll share what I learned about his Six-Stage Plot Structure. Again, I want credit Mr. Hauge and state again these are my notes.
Mr. Hauge started the day with this statement: “A writer’s job is to create emotion in the reader. Character, desire and conflict are your story’s core.”
How great is that statement? In two lines, he conveyed the essence of story-telling.
Hauge made us work, filling in templates based on our stories. The three words that he repeated throughout the day and especially as he listened to participates who read from their templates was “KEEP IT SIMPLE”. Don’t over think or make it more complicated than it needs to be was his message. Describe the elements in as few words as possible.
He then went on to describe the outer journey as the story of accomplishment and he listed five outer motivations which create conflict.
- To win something. In romance, it’s to win the love of another character.
2. To stop something bad from happening.
3. To escape; to get out of a bad situation.
4. To deliver something of value from point A to point B.
5. To retrieve a value object.
The inner journey he said is the transformation of character from living in fear to living courageously.
Structure he described as where the story takes place. He also stated to move the scenes to where they have the most impact. When he said this, I recalled how my editor for His Witness To Evil had me move a scene to later in the book because of this reason. Often we’re too close to our own work that we don’t see how we can improve it and that is why editors are important.
The Hero’s Inner Journey: The transformation. The Character’s Arc.
Mr. Hauge stated you need to answer these questions for each of your characters.
What does the character want? A longing is something he will express (outer desire). A need is something he will not (internal hidden desire).
What is their wound? A wound is the unhealed source from the past. No one gets out of adolescence unscarred. The character feels that they’ve moved on, but it still affects their actions.
What is their belief? We form a belief of why an event happened. Beliefs grow out of the wound. They’re always logical but never true!
What is their fear? This should be a move or change that goes against character’s belief.
He then gave us two terms; Identity and Essence.
“A character’s identity is a false-self she presents to the world to protect her fear that grew from the belief that grew out of the wound long ago.” It’s her emotional armor. It is who they believe themselves to be and all they can be. They feel safe in their identity.
While in the identity they can have what they want but to get what they need their identity must die and they must move into their essence.
The essence is the character’s true self. It’s who they really are. It’s who they can be, if they find the courage.
The Character’s Arc is the journey from the false-self to the true self without losing their admirable traits. In other words, the character will let go of the past wounds, fearlessly grow in their strengths and become someone they never imagine they could be.
Your character can NEVER achieve outer goal while in his identity. To achieve the goal he must be in his essence. Either they can feel safe and be unfilled, or you can be scarred and gain what you need.
Okay, I think I’ve given you enough to think about today. Work on your characters and next week I’ll share my notes on the Six Stage Plot Structure and how your character’s arc fits in.
His Witness To Evil
Autumn Jordon is the award-winning author of romantic suspense-mystery-thrillers such as her Golden Heart Finalist and Golden Leaf winner His Witness To Evil. After her family business was comprised by The Russian Mafia and the FBI investigated, she grabbed her note pad and pen and went on to interview the agents. Join her newsletter at www.autumnjordon.com and be privy to upcoming releases, sales, and events. Also, you’ll receive free reads and be entered into her monthly contest for great prizes
Posted by Autumn Jordon Feb 27 2017, 12:01 am in advice for writers, Autumn Jordon, craft, Industry news, publishing industry, Writer's Education, writer's life, Writer's Support, Writer's Toolbox
I’m a firm believer that you should never stop learning. On my last day walking this earth, I intend to learn something about this world, or the world I’m about to enter, or myself.
I wince when I hear people say they don’t need to know this or that. Why won’t you want to know something about everything?
Since this is a blog for writers and we focus mainly on the craft of writing and publishing industry and elements related to both, I’ll speak to the authors reading this. Never stop studying the craft. Never turn a deaf ear to information that relates to your small business. Never stop learning about humanity and the world, because they feed your creative well.
No moment in time has offered us so many venues in which we can expand our minds. We have the ability to fly to the other side of the world in a day and experience cultures our forefathers never heard of. We can open a window to the worldwide web and learn about every uncover stone in history, and steps that will change our world today, tomorrow, in years to come.
We are friends to people all over the globe and share our daily lives, hopes and dreams, having never met them face to face.
Since the majority of information shared is through written word, we have a responsibility to humanity to never stop educating ourselves and share what we’ve learned, be it through poetry, screenplays, non-fiction or fiction, but the majority of us, on government income tables, qualify as starving artist. So how can we continue to learn, to improve ourselves as artists?
There are so many avenues that cost little or nothing. Here are ten ways.
- Blogs like the Ruby Slippered Sisterhood, where experienced writers who published, both traditionally and independently, and are willing to share their journeys and help guide others.
- Many authors have writer related archives on their websites where they share articles on craft.
- Local or National writing organizations. There is nothing like being in a room with other writers, even if the group is small.
- On-line writers groups. Check RWA for info on on-line chapters.
- Craft books. Buy used if on a budget, or trade off with other writers.
- Industry related magazines. Check for on-line magazines also. Many are free.
- Conferences or workshops. Many conferences are breaking down their venues and offering the purchased of one day, two day or entire conference packages, making attending more affordable to some.
- Conference workshop recordings. If you can’t attend the event, this is the next best thing.
- On-line classes. I, and several other Ruby Sisters, love Margie Lawson classes (margielawson.com). Intense, but worth the time and money! And I’ve taken Master classes from James Patterson and Arron Sorken through masterclass.com. I review classes constantly. Michael Hauge also offers a lot of information on his website, storymastery.com.
- Reading. You can learn about the craft just by studying your favorite authors’ works. Whether you write every day or not, reading, learning, every day should be a priority.
There are more venues to help you on your journey and I know some of the sisters will jump in and offer them up, but if something has helped you, please share in the comments below.
Autumn Jordon is the award-winning author of romantic suspense-mystery-thrillers such as her Golden Heart Finalist and Golden Leaf winner His Witness To Evil. After her family business was comprised by The Russian Mafia and the FBI investigated, she grabbed her note pad and pen and went on to interview the agents. Join her newsletter at www.autumnjordon.com and be privy to upcoming releases, sales, and events. Also, you’ll receive free reads and be entered into her monthly contest for great prizes.
Posted by Autumn Jordon Feb 6 2017, 12:02 am in advice for writers, Autumn Jordon, Ava Blackstone, craft, jeannie lin, Marketing, Rita Henuber, short stories, Vivi Andrews, Writer's Toolbox
Writing a great short story used to be the training ground for writers. Hemingway started his career by writing them, as did Stephen King, and many renown others.
For many years, the appetite for short stories, nearly disappeared, cutting the number of magazines that included them substantially, and leaving only classic short stories on the book shelves. However, I believe the tide is changing among today’s readers. Their time is limited and there are times when they just want something worthy and short while they’re waiting in a doctor’s office or school parking lot.
Also, many are now reading on their phones, and reading a short story is more feasible on the small device.
This month, I dove into the short market with a novelette titled Perfect Moments. It released on February first. I was nervous about writing it because shorts have a totally different writing style than a full length novel. It was a learning experience, but after receiving emails from readers requesting to know whether Elizabeth and Bob Kincaid (from Perfect) made it home from their overseas duty, I decided to give Elizabeth and Bob their story. Their short.
Another reason I decided to try my hand at writing a short story was because today’s reader wants more product from an author, and quicker. I’m comfortable writing a full length novel in a year, sometimes nine months. But to write quicker, I know the quality of my work would decline. I want to continue to improve my craft, not hinder it. So to feed my fans cravings, writing short stories might be the way to go.
I asked my Ruby Sisters their thoughts on writing short stories.
Rita Henuber said she wrote her short stories because, “I have many stories bumping around inside my skull. Characters screaming at me to tell their story. Some are absolutely not full length novel material. All but one in my collection of short stories began with an experience of mine. I had to write them.”
And Jeannie Lyn said, “I actually LOVE shorts and think they’re a great way to pack a punch in a short amount of space as well as introduce writers to your voice. The last short story that I wrote was meant to be an introduction to my steampunk world for new readers and a little bonus for existing readers.”
Ruby sister Ava Blackstone stated she wrote a short after reading an article in her RWA chapter’s newsletter about writing for Woman’s World. “I decided to give it a try. I found that short stories were great palate cleansers when I was sick of my main WIP. I also liked the freedom to experiment with different writing styles without worrying that I was wasting months on something that might not work.”
And Vivi Andrews stated, “I’ve always written short stories for anthologies, usually with open submission calls that provided the opportunity to get my writing in front of more readers. My little gateway stories to lure readers into my world. 🙂 This spring I’ll be participating in the 2nd RWA Anthology.”
I then asked the sisters if they found writing shorts difficult? I know I found it challenging not to add more conflict, more points of view, more of everything.
Vivi said, “Actually, I don’t find them difficult at all. I was nervous initially about stepping out of my comfort zone, but I wound up loving the opportunity to tell more compact romances.”
Rita stated, “Not at all. I enjoyed writing the shorts and the side benefit of stopping those people in my head screaming. I view shorts as a moment in time. A snapshot event giving the reader something to ponder.”
Jeannie started writing shorts before she wrote novels. “I have a totally different mindset when I switch back to writing shorts. They’re not just shorter novel storylines — the way I plot and present a short story is entirely different than what I do in a novel.”
Ava said, “Writing that first short story definitely required a paradigm shift. I had to come up with a much smaller-scale conflict than I was used to writing so that I could wrap things up realistically in 800 words. It helped me to think about it as though I was writing a scene instead of a novel. So then it was just a matter of coming up with a compelling scene that could stand on its own.”
So why write shorts? I’d heard shorts help with sales on other books, especially if their part of a series. Perfect Moments just released, so I don’t have a track record to share, so again I questioned my sisters who had published short stories.
Jeannie stated, “I actually have found it helpful bringing in new readers with shorts. Since my settings and worlds are not so mainstream, I think readers find shorts an easy way to get a feel for me without having to commit to a novel. Short stories with direct tie-ins and characters from other series are the best way to go in terms of hooking readership. Teaming up with other authors in anthologies is a also a great strategy for getting that first look.”
Ava had a different use for her short story. “I give it away to readers who sign up for my mailing list, and it has worked great as an incentive to drive signups. I’m planning to write another short to go along with my next Ava Blackstone book.”
If you’re considering writing a short story, I have some advice.
- Read short stories. There are many; The International Thriller Writers have released collections titled Face Off. And, I know the Mystery Writers also release an annual collection. Then you have classics like William Faulkner’s That Evening Sun.
- Pick your story’s moment or moments that really matter and write about them.
- Stay with one main character.
- Write more words than you need and then pick the words that show don’t tell, show character’s change, and that moves the story forward.
- Go through the same editing steps as you would for a novel.
My sisters also offered advice or suggestions?
Rita said, “I go by what I love to read. IMO a short story is for a reader’s experience. I will also say I think there is a difference between what is considered a short story to a novella. With a novella, because of its larger word count, I expect story structure, GMC, story resolution, the whole enchilada. Shorter stories can certainly have all that good stuff but I think of them as a bite of the enchilada not the whole thing.
Vivi offered this advice, “I didn’t take any online courses or read any books on the subject. I will strongly recommend that anyone looking to write short consider the kind of conflicts that can be resolved quickly. If you give your characters more than they can reasonably solve in a short format, you’re going to have some very grumpy readers.”
Jeannie recommended, “Rather than craft books (which I normally love), the best way to learn for shorts is to read how others do it. I think there’s MORE of an art to writing short than writing a novel. The good thing is that they’re short. 🙂
Some authors I love: Ray Bradbury (for voice, tone, memorable setup and hook). If you can find it, read “A Laurel and Hardy Love Affair”. Edgar Allen Poe (check out his word choice and how effective his opening lines are)
For romance, these authors’ shorts are actually novellas, but they establish character and emotional stakes in a relatively short amount of time. Courtney Milan – The depth of characterization is amazing. They feel as emotionally complete as full novels. And Ruthie Knox – She sets up emotional tension wonderfully between hero and heroine”
Thank you, sisters for sharing your experiences in the short story market.
Please ask any questions that you might have and we’ll try to answer them for you.
Autumn Jordon is an award-winning author of romantic suspense/thrillers and contemporary romance. Join her newsletter at www.autumnjordon.com. And don’t forget to check out Perfect Moments.
Ava Blackstone is a winner and two-time finalist in the Romance Writers of America’s Golden Heart® contest and has five short romance stories published in Woman’s World magazine. She is currently hard at work on the next contemporary romance in her Voretti Family series. You can find her on the web at: http://avablackstone.com PRETTY IN INK
Jeannie Lin is known for writing groundbreaking historical romances set in Tang Dynasty China starting with her Golden Heart award-winning debut, Butterfly Swords. Her Chinese historicals have received multiple awards and starred reviews in Publishers Weekly and Library Journal. SILK, SWORDS, AND SURRENDAR
Rita Henuber; I’ve always had stories in me and now I’m sharing them. I married a Marine, a man I’d known since I was fourteen. I’m fortunate to have lived many places and traveled to the states and countries I didn’t live. I moved back to the barrier island in Florida where I grew up and now spend time writing, weaving my experiences into my stories. My first books have heroes and heroines in the military or government service. But, I’ve started on a new series of books with collections of short stories. LET ME TELL YOU A STORY
Vivi Andrews is a Golden Heart winner & 2-Time RITA finalist. As Lizzie Shane she writes contemporary romance with a pop culture twist, and as Vivi Andrews she writes paranormal romance. ALWAYS A BRIDESMAID
Posted by Autumn Jordon Jan 2 2017, 12:01 am in advice for writers, Autumn Jordon, craft, First pages, Golden Heart finalist, writer's life, Writer's Toolbox, writing, Writing the Beginning
Next week, during the Ruby Winter Writing Fest, we begin the quest to bring our imaginary friends to life.
Reading that line, I’ll bet some of you immediately had this mental picture of yourself sitting at your favorite work spot, downing carafes of coffee or tea (or in my case, Diet Coke) while drilling the key board, writing an entire novel, and within six weeks, finishing it with ‘the end’. Good for you. You have a goal.
Yet, I’m sure some of you froze at the word begin because the choices you have to start your story are limitless. The question where do I begin? haunts you. Which one start should I pick? Is it the right place? Fear not, I have some advice for you.
Every writer knows the importance of the first line, the first paragraph, the first page, the first chapter. Failure to immediately gain a reader’s interest is the vilest death to your story. Your work is like a shooting star that speeds across the sky and disappears without a big bang. The dreams and hopes pinned to such a star are gone in one quick moment. It’s far better to be that twinkling North Star. So today, we prepare to start our masterpieces.
#1 Great beginnings are the hard work. Rarely do they come easily and quickly and without dozens of rewrites. Sometimes they appear freely in later paragraphs or even chapters. We only need to recognize them when they do. Know that fact. Owned it.
#2 First impressions are the most lasting; Proverbs.
A magnificent first line must be lean, powerful, and provide the reader with a question or promise. Here are some examples of great lean and powerful lines.
It was a pleasure to burn. ‘451 Fahrenheit’ Ray Bradbury
All children but one grow up. ‘Peter and Wendy’ J.M. Barrie
There was a bloody man walking down the road. ‘Discovering You’ Brenda Novak
Brilliant. Each of those lines not only asks questions but they also laid the foundation of book’s theme or its characters’ persona. Knowing your story’s theme is important. Try outlining ahead of starting your story to learn the theme, but if you finding outlining is not your thing, don’t sweat it. The theme will come to you.
#3 Ground your readers as quickly as possible in time and place. However, settings should be shown in small bits and either add to the conflict or become a character itself. Examples:
On the day of the miracle, Isabel was kneeling at the cliff’s edge, tending the small, newly made driftwood cross. ‘The Light Between Oceans’ M. L. Stedman
It was a cold, bright day in April, and the clocks were striking thirteen. 1984 George Orwell
ONE HOT AUGUST Thursday afternoon, Maddie Faraday reached under the front seat of her husband’s Cadillac and pulled out a pair of black lace underpants. They weren’t hers. ‘Tell Me Lies’ Jennifer Cruise
#4 Write the first chapter as if it were the entire story, with its own escalation of action and conflict. And let it end with mystery and unanswered questions. Mystery demands answers. It propels readers to read on. Do not tell all. Exposition kills drama and backstory is boring.
#5 Write tight. Write fast. Let your voice ring true. Voice is what is truly unique about your story.
#6 All the boom, boom action or fast paced dialogue will not keep readers flipping pages unless they care about the characters. A great story is an emotional ride. A reader must connect with the characters and care what happens to them immediately. They don’t necessarily need to like them (leads to character growth) but they must understand the character’s actions and feel for them as a human being. Establish your hero/villain goal, give him/her a familiar quality, and then add a ticking bomb.
#7 Dialogue is action. It’s fast paced (quickly drawing a reader farther into the story) and it’s an excellent way to show character and conflict. Here are a few great examples.
“Your title gives your claim to the throne of our country, but men don’t follow thrones. They follow courage.”
William Wallace in Braveheart.
“It’s not the broken dreams that break us. It’s the ones we don’t dare to dream.”
Will Schuester in Glee
“The problem is not the problem. It’s your attitude about the problem that is the problem.”
Jack Sparrow in the Pirates of the Caribbean
“Get busy living or get busy dying.”
Andy Dufresne in Shawshank Redemption
Wow! Wow! Just wow!
#8 Big or little, internal or external, conflict is a reader’s addiction. Add it where ever and whenever you can. You hear me. Big or little. Internal or external. Pile it on!
#9 In order to understand a character fully, we need to know the world he came from. Show the character in his or her world in an interesting way, but make that world change quickly. He can be making toast, but why not have make toast over the gas stove. His method of making toast is interesting and says something about his character, doesn’t it?
#10 The most important bit of advice on making your first pages awesome I saved for last. Have faith in yourself that the story ahead will be adventurous and fulfilling and go for it!
Anyone else have advice on producing great starts?
Autumn Jordon, one of the sneaker Rubies, is an award-winning author who writes Romantic Suspense, Thrillers, and Contemporary Romance under the same pen name. Join her newsletter at Autumn Jordon.com
Posted by Autumn Jordon Nov 18 2016, 12:02 am in Autumn Jordon, craft, Emotions, writer's advice, Writer's Toolbox, writing craft, Writing emotions, writing tips, writing tools
Why do readers read? They want to escape their world. But you knew that, because you are also a reader.
The greatest writers through time have said that the best fiction takes a reader through a fact finding journey and also on an emotional journey. The emotional journey is what connects you and the reader. Without it, you’re just relating what happens in your characters’ lives. Bonding with the reader is the most important job you have as an author. But how can you do that? There are many ways, but today I want to discuss two.
First, recall emotions, especially those you’ve buried. Buried emotions are the best because they affected your heart. Recall a time you felt hurt or happy or lost or found. Allow yourself to experience the emotions again and write them down. By writing them down, I don’t mean just the term. Write the dialog used during the conversation and the reactions both physically and mentally you experienced. Be honest with yourself. The more you peel away the layers of your psyche, the more powerful your writing will be.
Here is an example as I recall my first taste of love. I’ve changed my hero’s name to protect him.
My first kiss happened in my family’s barn. The barn had been in my family for five generations. It was old and leaned slightly. Closing my eyes, I feel the cool air against my warm skin- the barn is built into the hillside. I can see the wood planks, turned gray from time and wear, just a few feet above my head. Bridles and lead ropes hang from pegs hammered into road milled posts nicked over years. Large rocks make up the foundation walls. My sorrel gelding is in his stall watching me, and dust mites float in the sunlight pouring in the door behind the boy who had chased me inside.
I can smell a mixture of summer sun, feed and manure. I hear the munching of hay as the cattle fed and the sound of my horse’s neigh and snort. There is a dip from the nozzle near the shaft to the silo. I also hear the whispered alto voice of the boy with the bluest eyes I’ve ever seen, as he declared his affection for me. His gorgeous cobalt eyes were magnified behind glasses: dark framed like Clark Kent’s. Eric was my hero and always would be. I’d love him until the end of time.
My heart thumped against my breast, knowing Eric really liked me while my toes wiggled in my boots as if telling to run because if my dad found out about the kiss that was about to happen he would kill the boy and ground me for a month. My spine stiffened and my step was defiant as I cut the distance between Eric and myself, committed to take my chances. Looking up at me, because he was about two inches shorter, Eric’s eyes widened before closing as his lips met mine. For a brief few seconds, we entered an unknown world, a world we knew we’d entered again, in due time.
“Will you go to the movies with me on Saturday night? I can meet you there,” he said in a rush.
I simply nodded, afraid my voice would crack.
Writing the memory down gave me tons of ideas of how to write emotion into any first kiss scene, no matter what the age of the characters.
As an exercise in your comments, write about your first kiss. What do you recall?
Second point: Everyone has experienced a first kiss. Using that scenario immediately connects you to the reader. But what happens when you’re writing beyond your experience? Research is the answer. Say you’re writing a scene where the characters have experienced a fire and have lost everything. You’ve been fortunate enough not to have that disaster happen to you, so what you can do is ask someone who has. I did this and I’ll never forget the two of the responses I received.
One woman she said she always looked at her husband as the rock she could count on, but the day they lost everything, her husband fell to his knees literally and was lost. She took over the responsibility to shoulder their way through rebuilding their home and lives. That catastrophe made her stronger than she thought she ever would be.
The second woman told me she felt guilty after suffering the loss of everything. Her guilt was over her family’s heirlooms for which she had been entrusted. For generations the treasures from England had been kept safe and passed down. She was the one to fail to do so. She was ashamed of herself. It took her a long time to come to terms that the lost was not her fault.
Both are very unique outlooks on a tragedy that can connect you with many readers who’ve had the same experience. And for those readers who have not, we have a better insight into the depth of emotional upheave that a fire can cause.
So show your readers your passion. Reveal your heart and the heart of others.
About the author
I began my writing career at the age of nine and sold three handwritten copies of a twenty page story. I’ve always wanted to be a writer and follow in the footsteps of my favorite authors, the ones who took me away and inspired me. Many years later, here I am.
I’ve earned the nickname of trouble from family and friends. Okay, I admit I do stir up things now and then, but in my defense I’m usually the one called on to champion a cause.
All that life reveals is fair game to a writer.
Join my newsletter at www.autumnjordon.com to learn more about me and my works, including my Christmas romance Perfect.
Posted by Autumn Jordon Feb 16 2016, 12:01 am in Autumn Jordon, craft, Endings, writer's advice, Writer's Toolbox, writing tips, writing tools
In the sprints, many authors have announced that they’ve completed their work, first draft or edits. Others are following their footsteps. I thought we’d take this opportunity to talk about endings.
We all know that our endings MUST leave our readers satisfied. The ending can be happy or not. Or, it could leave the reader completely hanging out there with a hundred questions about what happens next, if that is what the reader has expected and will want-think saga. However, don’t leave the ending up to the reader to draw conclusions. They are the reader, not the author.
Endings need to answer or allude to the resolution of the main character’s conflict. If you allude to the hero’s trumpet but don’t actually show it, this opens the door for disaster to happen in the beginning of the next story, if that is your goal.
As you head toward your end, ask yourself what was the main conflict? Did you resolve it? Remember the hero can win the battle (his priority) but the war can still rage on.
Make the main character the catalyst for the outcome. It is their battle and they are the hero of their story. Make them work to make the things happen in their favor.
Have you read a story where things just came together at the end, tied up with a pretty pink bow? Did you feel cheated, let down? You’ve worked too hard building characters, emotion, and tension, just to tell your characters, to kiss and make-up like children. Don’t come up with contrived details to end your story. Don’t be lazy now.
Don’t end the story using new information that has come out of the blue. Your readers have invested time, getting to know your characters and have racked their brains formulating theories about the outcome, don’t cheat them.
If your ending is going to twist, make sure you sprinkle signs throughout your story. That way, the reader will say the author did warn me, but I let the clues go over my head. They’ll look at the story in a total different light. A light that includes five star reviews. A great example of a twist ending was the movie ‘THE SIXTH SENSE’. If you haven’t seen it, do it. It’s a great study.
And finally, know when the story ends. The reader does not need to know what happens with every character. Once your main characters’ reach their goal, whether they won the battle on a blue star in a galaxy far, far away or lover’s pledge their undying love and go to sleep only to die in each other’s arms, the story is over. It’s time for the reader to feel. Tie up loose ends (brief anti-climax) before the grand climax.
A great ending makes your reader feeling something, good or bad. It makes them think about the story a long time after closing it. It makes them talk about your book to their friends. And it makes them buy your next.
Does anyone have any other advice on writing a great end or examples of great endings?