How to End your Chapters? Is a frequent question asked by so many aspiring authors. Well, read what Author Jessica Bell has to say. (annerallen.blogspot.com)
A good chapter ending is like having one mouthful of your favorite food left on your plate, but not yet feeling full, so you go for seconds ... and we hope, thirds, and fourths. The key to a great chapter ending is to introduce a new conflict.
It doesn’t have to be much; a hint of what is to come in the next chapter will suffice. Nor does it have to be anything groundbreaking. It could be as simple as revealing something that changes readers’ opinion about a significant character, or reveals a new motive. Or it could be as complex as hinting at the conclusion to the story, but not revealing enough information for the reader to be entirely sure that’s the case. In other words, end with something that poses a new question, or hints at an answer, for the reader. You may think it’s difficult to do this at the end of every chapter. If so, your chapters might be too short. Could you be mistaking the end of a scene for the end of a chapter? Chapters do not need to end where a scene ends. You can have multiple scenes in a single chapter. Most authors divide their scenes with a line space, or a centered symbol such as three asterisks. I advise you comb through your manuscript to locate all the turning points in your story and reorganize your chapters so they end where the turning points begin. On some occasions it might simply be a case of rearranging your sentence order to give your chapter endings more punch. Have a look at the following examples and consider how much more powerful the second version is as a chapter ending.
Weak chapter ending:
I stare at my computer screen, clenching my teeth, flexing my fists under the desk. I click my email closed to reveal a shot of me and Celeste as teenagers in our murky green school uniforms, her feathery blonde hair teased high enough to nest squirrels, my fringe gelled into a wave big enough to surf through.
It was three weeks before I decided to skip tryouts for the football team because she told me she was pregnant and wasn’t sure if it was mine. She blew cigarette smoke into my mouth, in the hope I might get turned on and forget about it.
Strong chapter ending:
I stare at my computer screen, clenching my teeth, flexing my fists under the desk. I click my email closed to reveal a shot of me and Celeste as teenagers in our murky green school uniforms.
She’s blowing cigarette smoke into my mouth, her feathery blonde hair teased high enough to nest squirrels, my fringe gelled into a wave big enough to surf through. It was three weeks before I decided to skip tryouts for the football team.
Because she told me she was pregnant.
And wasn’t sure if it was mine. What does the second example do? It ends on something that is bound to change readers’ opinion of Celeste. And not only Celeste. It could also change readers’ opinion about the narrator.
For example, the reader might have more sympathy for him now and want to read on to see if he receives any concrete evidence regarding his paternal status. Sure, the first example triggers this reaction too, but it’s definitely weaker.
Why? Because this new information is hidden between distracting description, and it makes it sound like something the narrator just thought to mention because he was reminded of it.
But by isolating those last two sentences in the strong example, not only does this new information have a more powerful impact, but it also shows it has great significance to the plot.
Here’s a checklist so you can polish your own chapter endings
1. Do your chapter endings pose a new question, or hint at an answer to a question related to your plot?
2. If not, locate the turning points in your story and end your chapters there.
3. If necessary, rearrange the sentence order so that the most impactful information is the last thing you read. Jessica Bell is a contemporary fiction author, poet and singer/songwriter/ guitarist and the Publishing Editor of Vine Leaves Literary Journal as well as the director of the Homeric Writers’ Retreat & Workshop on the Greek island of Ithaca. She makes a living as a writer/editor for English Language Teaching Publishers worldwide, such as Pearson Education, HarperCollins, MacMillan Education, Education First and Cengage Learning. Connect with Jessica online: Website | Retreat & workshop | Blog | Vine Leaves Literary Journal | Facebook | Twitter
