Tag Archives: Plot Tip

All’s Well that Ends Well – Ask Alice Saturday

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Question: How do I make my story ending sell my book?

Casablance ending Answer: The ending of your story doesn’t sell this story as much as it sells your next story. Have you ever finished a book and wanted to throw it across the room? Or maybe actually did throw it across the room? Very often the book’s ending made you do that. And also made certain you wouldn’t buy that author’s next book. Avoid being thrown across the room. Avoid losing a reader for your next book and the ones after it. Create a story ending that doesn’t frustrate. Create an ending that satisfies.

The end game of your story is a danger zone. Partly because you’re most likely tired of these people and their situation by now. In fact your head and heart are already deep in your next story. So you must be careful not to write the end in this rhythm. Gallop – Gallop – Gallop – The End. That ending does not satisfy. That ending lacks the essential Big Bang.

I’ve used the film classic Casablanca in earlier posts to illustrate the Dramatic Opening and the Middle That Moves. Casablanca is also a great example of the Ending That Satisfies. The story has two threads – an action suspense thread and an emotional suspense thread. Both are tied up with a bang at the ending.

The action climax is an actually audible bang when arch villain German Major Strasser is shot dead. The emotional climax is more drawn out and that slightly slowed down pace is part of what gives it impact. Rick – played by Humphrey Bogart – tells Ilsa – played by Ingrid Bergman – why she must take the plane to Lisbon and safety not with him but with her husband Nazi hunter Victor Laszlo.

The plane engine rumbles to life in the background. A single tear trembles on Ilsa’s perfect cheek. And Bogie says some of the most memorable lines of his career. Later on he’ll walk off with Vichy Captain Louis Renault who has suddenly discovered his inner good guy. But the Big Bang really happens when brooding cynic Rick finds his own true heroic nature and sacrifices his heart for the good of the world and his soul.

We could hardly be more satisfied and it all looks smooth and easy but don’t be fooled. To carry off an ending that works like this well there has to be a plan. To create a Big Bang ending for your story you must plan the climactic scene in detail. Don’t write a word till that plan is perfect. Plan mostly action and dialogue and keep all of this action on stage in the immediate present. There are more steps as well.

How to Plan Your Big Bang Ending

  •  Plan mostly action and dialogue, very little narrative.Plan to keep all of this action on stage, in the immediate present.
  • Plan dialogue that is spare, to the point and memorable.
  • Plan on intensifying the pace, faster than what has gone before.
  • Plan lots of physical movement in the scene.
  • Plan lots of intense sensations – sight, sound, smell, texture and more.
  • Plan to plunge your protagonist into peril.
  • Plan one more obstacle to arise for your protagonist.  Make it formidable.
  • Plan a confrontation between your protagonist and antagonist.
  • Plan on milking that confrontation, while keeping up the intense pace.
  • Plan for your protagonist to cause action, not merely be overtaken by it.
  • Plan to communicate your protagonist’s feelings, with impact, to the reader.
  • Plan on incorporating fear, even terror, among those emotions.
  • Plan the presence of real danger to your protagonist in this scene.
  • Plan an outcome in the balance.
  • Plan that outcome as crucial to your protagonist.
  • Plan for your protagonist to be nearly vanquished in this scene.
  • Plan for your protagonist to be racing against time.
  • Plan for your protagonist to triumph in the last possible moment.
  • Plan for your protagonist to triumph by the narrowest of margins.
  • Plan for this triumph to be uplifting and inspiring.

The purpose of a Big Bang ending is to reverberate after the last page is turned. To lodge in the psyche of the reader and be remembered. All the way to the bookstore or the Buy Now button and the purchase of your next title.

You must stage your final scene the way a choreographer stages a dance. The result will be a powerful Dramatic Ending at full circle from what will have to have been your Dramatic Opening. And equally or even more thrilling. Find out how to write that Dramatic Opening in my previous post “Well Begun is Well Done”.

Now you must recognize that your story is over. You and your protagonist have exploded out of the explosive situation you exploded into on page one. You must resist the temptation to hang around a while longer. You’ve taken your reader on an unforgettable ride. Leave before she has a chance to catch her breath. Leave before he’s had enough. Leave them wanting more.  No Epilogues Please.

When you’ve accomplished all of that – Here’s looking at you kid.

RR

 My latest story is A WRONG WAY HOME – Riverton Road Romantic Suspense Series Book #1 – Matt & Kara’s Story. Available at amazon.com/author/aliceorr. This is my 12th novel and it does have a dramatic ending.

Alice Orr – www.aliceorrbooks.com

 

Can We Go Home Again? – Riverton Road Monday

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High School ReunionEvery story is a conversation with myself as the author and myself as a person. I usually don’t recognize what that conversation is about until I’m at least halfway through the writing. Or maybe not until after I’ve typed The End.

In A Wrong Way Home I knew all along that Kara’s dilemma has been my dilemma for decades. Can we go home again? Can we return to the place that birthed us and nurtured us? Or – as is the case with Kara – the place that failed to nurture us.

The answer is more difficult when we’ve had a hometown experience like Kara’s – the non-nurturing kind and the hurtful memories that go with it. For Kara those deep dark memory pits have to do with two things – her family and her past relationships with men. She doesn’t want to fall into either of these pits again.

Yet she can’t seem to stay away from one of those men even though she knows for sure that seeing him again will mean heartache for her. Matt Kalli is like the sore tooth we can’t keep from flicking with our tongue. Maybe we do that to make certain the pain is still there.

Isn’t that true of most of us when – for example – we can’t stop ourselves from signing up for the high school reunion. We shop long and hard for the perfect outfits to display ourselves at our best advantage. We have our hair styled. We struggle to lose weight. At my age we wish we could afford a facelift.

We’ve got unfinished business back there. Battlefields we didn’t conquer the first time around. The mean girls. The lost boys. The warm friendships that went cold. We long to write an alternate ending to those stories.

“Look at me,” we’d like to say. “See how special I am now. Don’t you wish you’d been nicer to me back then? Sorry. You’re too late to make up for it now.”

That’s the best case scenario. What will the real scenario be? We can’t resist finding out. We can’t keep our tongues off that nagging sore tooth memory. So we clean up as pretty as we can get and trek back home again.

I’ve gone to two high school reunions. One was a disappointment – no closure to be found. The second was very different. Why? Because I stayed away from the mean girls and boys I’d lost and the bad friends. I hung with the folks who’d been my true besties and I had a marvelous time. I also took my husband. He cleans up nice too.

Like Kara I found out that we can go home again. We just have to choose our stopping points wisely. We have to do that choosing with our warm hearts instead of our broken ones.

RR

 My latest story is A WRONG WAY HOME – Riverton Road Romantic Suspense Series Book #1 – Matt & Kara’s Story. Available at amazon.com/author/aliceorr. This is my 12th novel and it’s all about going home again.

 Alice Orr – www.aliceorrbooks.com

 

Nobody Wants a Sagging Middle – Ask Alice Saturday

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Question. How do I keep the middle of my story moving at a fast pace?

Answer. The struggle in your story is the drama of your story. That struggle must begin at Casablanca - middleyour dramatic opening and continue forward without letup. The course of the struggle is the course of your plot. The more intense the struggle – the more intense the plot.

That’s all there is to writing a page turner story. Escalate the power – intensity – drama of your main character’s struggle and you’re in the winner’s circle. Until you get to the middle where you might find a muddle. Because the middle is where the story line is likely to sag.

When your story loses momentum in the middle you must make a crucial assumption. You need to know more about your characters. You need to ask three crucial questions.

  • What hidden relationships could there be between your characters?
  • What further conflict lies beneath the surface of their relationships?
  • What further secrets do they have and why have they kept them from you?

In “Well Begun is Well Done” my blog post about the Dramatic Opening I used the classic film Casablanca as a story example. Let’s continue with that.

At the dramatic opening we found Rick – played by Humphrey Bogart – bitter and disillusioned. But we’re well into the story before we learn the source of his bitterness. Near the opening there were hints at the problems in Rick’s history but we still don’t understand what’s up with him. Then beautiful Ilsa arrives – played by Ingrid Bergman – and Rick reacts.

We would say he overreacts because we still don’t know what’s really going on inside him. Ilsa is with her husband Victor so we don’t get an explanation until she returns later to the closed café where Rick is alone. Now we find out about Paris and the love affair between Rick and Elsa that sent him soaring then smashed him back to earth.

We are hooked as the suspense plot becomes a love story too. We’re hooked in the heart even more deeply than our adrenaline was pumped by the danger. We’re also at the middle of the story and there’s no sagging anywhere. Because we’ve learned more about the characters. Hidden relationships – deep conflicts – secrets that had been kept from us.

Want even more momentum? Make another crucial assumption. The hot water you’ve put your characters in needs to get much hotter. Now you must ask three more crucial questions.

  • What additional misfortunes can happen to your characters?
  • What potent dangers surround your characters?
  • What can happen that will jolt your main character?

Casablanca has the mother lode of misfortune and danger – World War II and Nazis. And a potent villain in German Major Strasser. Nothing accelerates story tension better than a truly evil bad guy. There are high stakes too. Ilsa’s husband Victor must be smuggled to neutral territory or be captured and tortured and his heroic anti-Nazi work will end.

The jolt to main character Rick comes via the Letters of Transit. They are what Alfred Hitchcock called the Macguffin. The thing everybody in the story wants for good or evil reasons depending on who they are. Rick has these letters. They will decide Victor’s fate. They will also decide the fate of Rick and Ilsa’s rekindled passion. Da Da Da Dum!

Drama – high stakes – an uncertain outcome. The middle of Casablanca provides all of this and more. Make your story middle do the same by digging beneath the surface of your characters as you see them now. Excavate your own mother lode. When you find it all sign of sag will disappear and never return. Plus – you’ll always have Paris.

 RR

 My latest story is A WRONG WAY HOME – Riverton Road Romantic Suspense Series – Book #1 – Matt & Kara’s Story. Available at amazon.com/author/aliceorr. This is my 12th novel and the middle doesn’t sag. The same is true of A Year of Summer Shadow launching May 15th.

 Alice Orr – www.aliceorrbooks.com