Story Endings, continued

How to End Your Story.

The story should end the moment the theme has been clearly, logically, and entertainingly illustrated—never before, never later. The impression a story leaves upon the reader is determined very largely by the ending; for, if the reader has gotten safely by the beginning, he, by the time the ending approaches, has forgotten the manner of introduction. Only the main salient events of the plot stand out. He is immediately concerned with the final twist of the story.

Disposing of the Characters.

The conclusion, to be impressive, must leave the main characters well disposed of. That is, one of them must not be left hanging over a cliff or in some such hazardous position, while another is abandoned while on the verge of a momentous decision. We must be satisfied with the author's disposition of the characters, while the closing incident must be of such a nature that the theme stands forth in the mind, clearly outlined, nicely illuminated.

Do Not Moralize.

The conclusion of the story should never be utilized by the author as a means of moralizing on the story's characters or humanity in general. The author should not conclude by saying that "the wages of sin is death," and that that was the lot which came to the villain, continuing by observing that such a lot will come to all mankind unless it reforms immediately. The ending of the story should be as severely bare of all personalities by the author as any other portion of the story. The ending should deal only with the final demonstration of the theme or the working out of the climax; it should terminate the story pointedly. After the climax, the reader's suspense and curiosity pales rapidly; hence the necessity of narrating with expediteness the few events which deposit all the elements of the story in their natural positions.

Identifying the Ending With the Climax.

In a large number of stories, particularly those of O. Henry and Edgar Allan Poe, as well as a multitude of present-day writers, the conclusion is identical with the climax. This is particularly the case when the story is one of character alone, when the main personage makes some great decision which bears out the theme: such as a man who, under great stress of emotion and circumstance, finally decides that duty to his country is greater than his love of self-preservation and his desire for the beautiful prospects that life holds out for him. The man's decision is at once the climax and the ending; for, after he has made the decision, we know well what his future course will be.

Or, again, in the story of incident, the hero is straining every ounce of energy to reach a certain place before a catastrophe occurs involving some one dear to him. The climax and the ending very well might be the saving of the life or the rescue from the dangerous position of the other main character involved. Poe's story, "The Pit and Pendulum," is a production of this kind, in which the climax coincides with the conclusion.
I struggled no more, but the agony of my soul found vent in one loud, long, and final scream of despair. I felt that I tottered upon the brink—I averted my eyes—
There was a discordant hum of human voices! There was a loud blast as of many trumpets! There was a harsh grating as of a thousand thunders! The fiery walls rushed back! An outstretched hand caught my own as I fell fainting into the abyss. It was that of General Lasselle. The French army had entered Toledo. The Inquisition was in the hands of its enemies.

Taking Care to Conclude Properly.

If for no other reason than that of impressing the editor alone, the story ending should have just as critical and painstaking preparation as the introduction or the climax. Remember that the editor is purchasing the story for the edification and delight of his readers, and that which fails to impress him, he will argue, should never reach the eyes of his readers. Consequently, the young author should ceaselessly contrive to end his story as simply, as intensively, as suggestively, and as rapidly as possible immediately after the main event of the story has occurred.

Knowing Beforehand How the Story Will End.

It is necessary that the writer have the manner of ending his story well in mind even before he starts it. If he fails to give the introduction, the body, the climax, and the conclusion of his story due regard, and fails to balance them nicely before setting pen to paper, his end is very likely to simmer out miserably. Usually, the young author takes to his writing flush with intense enthusiasm; his characters go along finely at the start. But, unless he is capable of sustained effort, he will tire toward the end, and the importance of ending with just as much dash and care will not seem of sufficient importance.

This tendency is especially prevalent with the amateur because he has not yet learned that story writing is not a thing of inspiration and enthusiasm alone. It is a matter of persistent work, often very arduous and tiring, both mentally and bodily. Hence, the vital need of mapping out beforehand the relative position and the quantitative importance to be held by each detail.

We present, as an excellent example of story ending, the conclusion of O. Henry's story, "The Buyer From Cactus City." The hero, a wealthy Westerner, has come to the Big City to purchase for his department store goods from Zizzbaum & Son. He meets, while going over the latest styles, the store's beautiful, though sophisticated, model. He falls in love with her, frankly and outspokenly. Zizzbaum, with an eye to business, commands the model to show the Westerner an entertaining evening about the city. The model, calmly aware of her part, agrees.

The two are out that evening. . While in a cabaret, the Westerner declares his love, casually stating that he is going to take the girl back as his wife, buy her a beautiful home, automobile, and so on. The girl disgustedly replies that she has "heard that before." She informs him that he is the usual heartless, sordid type, and that she is out with him only to jolly him along and get him to buy heavily from Zizzbaum & Son. She must play this role or lose her job. Then the persistent and outspoken Westerner produces a gorgeous diamond ring. The girl repulses him. The two go home, and, at parting, the girl strikes her escort in the face. As he steps back, a ring falls from somewhere. Let O. Henry tell the rest:
Platt groped for it and found it.

"Now, take your useless diamond and go, Mr. Buyer," she said.

"This was the other one—the wedding ring," said the Texan, holding the smooth gold band on the palm of his hand.

Miss Asher's eyes blazed upon him in the half darkness.

"Was that what you meant?—did you"—

Somebody opened the door from inside the house.

"Good night," said Platt. "I'll see you at the store tomorrow."

Miss Asher ran up to her room and shook the school teacher until she sat up in bed to scream "Fire!"

"Where is it?" she cried.

"That's what I want to know," said the model.. You've studied geography, Emma, and you ought to know. Where is a town called Cac—Cac—Carac—Caracas City, I think they called it?"

"How dare you wake me up for that?" said the school teacher. "Caracas is in Venezuela, of course."

"What's it like?"

"Why, it's principally earthquakes and negroes and monkeys and malarial fever and volcanoes."

"I don't care," said Miss Asher blithely; "I'm going there to-morrow."

Tragical and Happy Endings.

The editor reasons that his magazine is primarily a means of amusement and entertainment ; there is no more reason why the amusement afforded by his magazine should result unhappily for all concerned than that other pleasures, such as skating or dancing, should end disastrously, with a drowning or a broken leg.

Editors must buy stories with happy endings because the people desire them almost exclusively. There is an instinct inherent in all of us which strives to realize only the healthy, the beautiful, and cheerfully wholesome in life. The tragical ending is permissible only on rare occasions, only when some wrong must be righted or some great theme impressed upon the laggard brain.
STORY ENDINGS
Write a paragraph or a story using these statements or questions as the last line.
1. Then I called the police.
2. Mom was right after all.
3. And that was the end of that!
4. I'm sorry, but that's just the way it is!
5. It hurt!
6. Watch out!
7. He yelled at the top of his lungs.
8. Dad ended up walking home.
9. There was water all over the floor.
10. My parents decided it was time to visit the school.
11. My teacher actually fainted!
12. Fortunately there was an escape hatch.
13. My little sister slept right through it.
14. Didn't I tell you that my brother/sister was the greatest?
15. "We'll never go to that place again," muttered my mother.
16. She was in love, finally, completely in love with the strange creature in the box.
17. He lit his cigar with an ice cube and fainted.
18. Pink hair was the only answer.
19. That’s why he has a tattoo in the weirdest place.
20. I can’t imagine such a thing ever happening again.