Assembling Endings

Every narrative, every story has a beginning, middle and end. Through the author's artistic vision for the piece the reader experiences scripted emotions, perceptions and thoughts as the writer intends but there limitations.

A recent story that has brought into question series endings as well as artistic vision has been the whole Bioware/Mass Effect 3 ending that has managed to go from an industry specific topic to national news and even spurred Forbes to begin analyzing the industry. This is really interesting because it is an argument of artistic expression versus respect for the property for fans.

More on artistic vision next time but for right now we'll focus on the concept of the ending.

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The entertainment industry is no stranger to 'bad endings' in movies, tv and writing. Every person can recall a multitude of narratives that failed due to the writer's choice in crafting the ending.

Examining the concept as a whole there are many stories that can succumb to 'bad endings' but are these part of artistic vision or are these elements subject to change? Regardless of whether it's artistic license or something that is open for debate, there are certain elements that need to be considered.

When an author chooses to convey their vision to others they need to consider the threads of each piece and how they flow.

Each element that is introduced in a narrative be it a character, a detail or an event these become elements, threads, of the story that continue forward throughout the piece. The viewer has a unique perception of the story and while the writer can attempt to foresee what those perceptions will be, it is important to note that the audience may focus on elements that may be insignificant to the writer.

Ex. If the writer introduces an engraved handgun that was given to the main character by a brother in the first couple of chapters, the readers will expect it to come into the story as some point before the close. This may be a detail to the author to create a sense of heritage but to the audience it is unconsciously an element that will play a role. This may come as another detail, it may come as the use of the weapon but there will be an aspect of this 'thread' that will return with implications.

Most 'bad endings' are not a result of leaving too many threads loose but frequently the result of Deus Ex Machina or breaking off the threads rather than tying them off.

Deus Ex Machina literally means - "God Out of the Machine." In short this means where the writer creates a perfect solution to the problems that arise in the story. This perfect solution is generally an unexpected abrupt event, character, ability or object that appears out of nowhere.

In some instances Deus Ex does have it's place for writers but for the audience these instances still feel contrived and cheap.

Breaking off threads usually incorporates Deus Ex for the threads or simply creating ways of eliminating the threads without a sense of closure. A number of series rely on this method when the writer wishes to make radical changes to a series. The writer desires to change the car the main character drives? The writer creates a radical scenario where the old car is eliminated and a new one needs to replaces it.

While this may be an applicable means to make changes in a story or series the primary key to using it effectively is in the pacing. If the threads are broken too quickly it will will appear out of place and once more it will cheapen the experience from the audience's perspective.

The final option for a writer to assemble the ending of a piece is for the writer to actually leave some of the threads untied. This is a common practice for writers to leave openings for sequels or other story opportunities.

This approach is used the most frequently to great effect providing the appropriate threads are tied in the conclusion.

Crafting a narrative is a delicate balancing act. The beginning is constructed in such a fashion to hook an audience and introduce all of the threads but the conclusion is the final moments of the piece. The last thoughts the audience will have of the work and the parting impression that will stay with them. If the conclusion doesn't strike the right chords, tie off the right loose ends in an appropriate fashion, the audience will perceive the entire work with that connotation just like the Mass Effect series.
 

That Holiday Feeling

Ferias Ex Machina….

As Christmas is only a few days away now traditional Holiday themes are inundating all narratives on all mediums but why?

In a traditional narrative whether it is still, sculpted, cinemagraphic or literary a composition is orchestrated in such a way as to draw the viewers into the piece. There is a level of intrigue as the thrill of uncertainty keeps the rapt attention of the audience. This is not the case for many 'Holiday' narratives.

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The majority of 'Holiday' narratives are composed with layers of positive themes; selflessness, family, change of heart, unconditional love and other similar themes.

While many narratives can utilize similar themes, Holiday compositions typically feature these themes at a relative superficial level. The dramatic twists and turns that otherwise would create a thrilling piece are sedate compared to traditional narratives. These narratives often rely on the Ferias Ex Machina. 


Ferias Ex Machina or "Holiday out of the machine" is where a seemingly unsolvable/inextricable problem is suddenly and abruptly solved with the contrived and unexpected intervention of some new event, character, ability or object particularly in a 'Holiday' composition. These are where the characters will have a revelation, change of heart, a random bystander offers help because it is the season, etc.

In a traditional narrative composition, if the Ex Machina approach is used it makes for a superficial or failed piece by modern standards. So how is it acceptable for Holiday compositions?

Many narratives span extensive time periods either within the singular narrative or within a series and inevitably draw on the 'Holiday' themes. Much like a straightforward Holiday composition, the narratives fall to the same superficial level of device yet, since it is 'Holiday' themed it is generally accepted by the audience despite the Ferias Ex Machina approach.

What do you think? Is Ferias Ex Machina a suitable device for a holiday narrative or should a piece strive to be more than a 'Holiday' composition?

Merry Christmas….

Drawing the Paranoia

Suspense, anxiety, fear….

While every story is its' own thriller, a roller-coaster of suspense, tension and excitement it is the writers' ability to wield the elements to enhance the connection between the narrative and the audience that defines the nature of the piece. Through closer examination of these elements it is possible to not only further enhance a piece but also further define the audience of a piece.

"Being prepared for almost anything, he was not, by any means, prepared… for nothing" - Charles Dickens, A Christmas Carol.


Suspense is an imperative to any piece, it defines the need for an audience to continue through a story. It embodies the questions that need answers. Will the character fall in love with the protagonist? Did they do the right thing by buying that house? Who committed the murder? Will they stop the antagonist? These are only a few of the many questions that are crafted for not only the audience but for the characters in a piece to answer. These are the driving force that keeps a piece moving forward but what is the defined use?

The element of suspense is a feeling of uncertainty and strong anxiety about the outcome(s) for certain actions. Most commonly it is utilized in the build-up right before a grand or dramatic moment to enhance the impact of that moment. In a romance it can mean the silence before the love interest responds to the almighty ILY from the protagonist. In a mystery it can be the interrogation of a suspect, while in a thriller it can be a race to stop something from happening. There is more than one way to utilize suspense in a narrative though.

One of the most powerful uses of suspense is not genre specific but it does require an artful use and a delicate balancing act. Suspense can be established and rather than releasing the tension through excitement, the excitement of the piece only serves to further enhance the suspense. In classic horror and thriller fashion it is known as "Nothing is Scarier." In short this trope means that as the suspense builds it is more powerful if the excitement or release moment comes without an actual release. This same device can be utilized in any genre, it is not horror or thriller specific but these are genres that use it openly. In a diametric example, Romance this could mean the protagonist admits the ILY to the interest but before the interest can respond something intervenes. The audience is left with that suspense while something adds an additional layer to the suspense.

There are roughly three variants of this device that are very common to horror and thrillers. These are the classic, full and has been variants. In the classic horror example suspense is built as the audience anticipates something to jump out from the dark and does. This is almost viewed as cliche now and it utilized in almost every horror and thriller. Abstracting this is simply suspense building up to a release point that is inevitable and often expected. The second full variant of this is often the most powerful of the three variants. The suspense is built as the audience anticipates something bad to happen, a monster to jump out of the dark but something intervenes to prevent release point. The audience still anticipates the attack, the monster but it doesn't come. Abstracting this variant we have suspense building to the point of release but the release point never comes. This is a very powerful element for most mystery, thriller and horror narratives. The final is the has been variant and is now quite common in horror stories. Often this is seen horror movies as a character expecting something in the darkness, another character distracts them and then the 'whatsit' attacks. Abstracting this variant suspense is built to the point of release but something intervenes to delay the release point.

Suspense is the key element in a taught story. It is the basis for many thrillers and horror stories but the elements are not exclusive to a single genre. As a writer draws the suspense of their piece it is possible to turn any story into a suspenseful page turner regardless of genre. What are the suspenseful elements of your piece?

Abstracting the Threads

Paths, lines, strands, threads....

In every narrative there is a primary premise that the creator wishes to convey but a narrative is not confined to the limits of its creator. A narrative is a web of lives, individuals with their own motives, aspirations and obligations.

As a writer begins to define their piece, they reveal the individuals that are involved in the primary premise. The main individual who the audience will follow is brought forward and the writer gradually exposes the intricacies of the individual's life. Their job, aspirations, personality, psychology even their pets are introduced to give the audience a clear portrait of them.

Revealing the individual's portrait in such detail assists the audience to sympathize and ultimately identify with the individual. This may be a conscious effort on the part of the creator however, this portrait is needs to be created with such detail because it will be the foundation of the primary premise. This one individual's life is the core on which the story rests. While the primary premise will eventually consume their life it is important to note that their life is it's own unique thread.

Every individual is their own unique thread, their own life, and as each is introduced to their place in relation to the main individual their thread is woven into the whole. As the individuals are introduced and new dynamics explored, new aspects of the primary individual are revealed to paint a truer portrait. Each strand, each life that is revealed is woven together with the primary thread to strengthen the whole.

While many writers distinguish plots and sub-plots that are woven into a story it is imperative to identify that every individual, every life has it's own plot, thread, and a fate. It is the act of twining the threads of fate that drives a story forward.

In crafting a story are you 'adding sub-plots' or are you twining the fates?