One that, when understood and marinated in artful nuance and dished with clean writing, becomes nothing less than the Holy Grail, the magic pill of writing a novel or a screenplay. Not remotely easy. But perhaps for the first time, eminently clear. Then we come to Part 4: the finale of your story. And guess what? There is no blueprint for it. And no rules, either. This Free Download Will Help! The one rule of Part 4—the resolution of your story—is that no new expositional information may enter the story once it has been triggered.
If something appears in the final act, it must have been foreshadowed, referenced or already in play. This includes characters.
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And in so doing, the enlightened writer observes the following guidelines and professional preferences. The hero of the story should emerge and engage as the primary catalyst in Part 4. He needs to step up and take the lead. It happens, but never in a title anybody remembers. The hero should demonstrate that he has conquered the inner demons that have stood in his way in the past. The hero applies that inner learning curve, which the reader has witnessed over the course of the story, toward an attack on the exterior conflict that has heretofore blocked the path.
The hero should demonstrate courage, creativity, out-of-the-box thinking, even brilliance in setting the cogs in motion that will resolve the story. This is where the protagonist earns the right to be called a hero. This is the key to a successful story, the pot of gold at the end of your narrative rainbow. If you can cause all of those emotions to surface, you just might have a book contract on your hands. Or, if not intuitively, then after some serious introspection and long walks in the woods with a digital recorder.
Only by having an executed story plan as a baseline for the perhaps somewhat slightly more organic unfolding of Part 4 does this process stand a chance.
Even if you get a better idea for how to end your story along the way, this provides the richest landscape for that to happen. Same process, different tolerances for pain. The prospect of rewriting the first pages does that to a writer. The thing about panic and resistance is that it can get you killed. What can kill you even quicker is not even knowing that you need rescuing. They fight it off as if their writing dream is being mugged.
They reject it as formulaic and therefore unworthy.
Virtually every published novel and produced screenplay is, in fact, a natural product of solid story architecture. Regardless of how it got there.
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To believe otherwise is like saying the aesthetic beauty of the halls of Versailles has nothing to do with poured concrete foundations and seamless masonry. With architecture. This is like saying the joy of playing golf is wandering around the course, crisscrossing fairways, club in hand, hitting balls at assorted greens as you please. Chances are, these folks are confusing process with product. Writing without bringing a solid grasp of story structure to the keyboard is like doing surgery without having gone to medical school.
What I am saying is that you do have to apply the principles of story structure to the narrative development process, outline or no outline. Organic or totally left-brained. At least, if you want to publish. Learn the three phases of story development, how to use a beat sheet and more with Story Physics. Sign up for my free weekly eNewsletter: WD Newsletter. Sometimes you just have to go with your gut on certain character developments, scenes and, in this case, endings. Following characters and plots down the rabbit hole and letting them make sense of themselves, so to speak, can make a story far less predictable and keep the whole of the story refreshing from start to finish.
I just think there needs to be a balance between structure and spontaneity.
You should never rely too heavily on one or the other, but attempt to tightrope between the two as well as you can. I enjoyed the article however I am a believer in the driving power of a great opponent to drive a hero — take the father from the movie shine. Take Django unchained: There were explosions and gun fights but lot of people thought the ending dragged along: Of course it did — Candy was blown away 40 odd minutes before the end.
Wow, Brian. You basically summed it up perfectly in two paragraphs. Probably could be even shorter. No more books needed on the subject. I was disappointed in this article. It said it would teach me about how to write a killer ending.
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It sounded like the author was fighting the Artist vs. Crafter debate and favored crafting. I already know 20, different writerly words for the different aspects of a story. I was hoping to find out how to write a killer ending. If that advice was in this article, it was covered by a thick layer of fodder and I missed it other than what I already knew—the MC has to grow and accept the role. I have to agree. Very uncharacteristic for Brian, as he usually pens more on-point posts.
Sounded more like he had an axe to grind here, or restate his agenda for whatever reason. Normally I really enjoy his columns. A quick Web search will yield the info if you need it. Looking forward to more in the future. Buy Story Engineering and read before you read and buy Story Physics. I think both of these books are excellent and really resonated with me as a writer. If you want to know how to write your ending, Larry Brooks offered a Webinar on endings and I think you can purchase this as a Tutorial through WD although there will be no ending critique with the tutorial but maybe Larry can offer his Endings Webinar with critique again.
A plot twist is an unexpected change in the view of the plot that has ramifications for the rest of the story. My book has been outlined and an ending fell into place nicely, but I have no family or friends that are as intensely interested in writing as a career as I am and am looking for someone to simply look at my work for any pitfalls or obvious mistakes I myself have missed.
Hope you still see this. Just short summaries of each chapter. Mostly the key points to the plot.
Not having a divine idea of human nature, Levi was constantly exposing the fault lines of secular humanism — he defended human dignity even as he developed a growing sense that the human animal was somehow indefensible. Despite many memoirs, he almost never wrote as a husband or father, though he was both, which further complicates our understanding of his vision of life.
The committed intelligence of his voice offers its own deep consolation, however bleak his vision became and however tempted he was to flee, like Gulliver, from a species that had fallen lower than the beasts. Gulliver began looking at his face in the mirror as a way of training himself to tolerate again the sight of a human creature. Levi, in these ingenious and disquieting stories as in the rest of his writing, held up a mirror to his own mind, and in so doing performed a lasting service.
After the barbarisms of the last century — which have followed us into this one — reading Levi remains an indispensable way of readapting ourselves to the complexity of being human.
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