The best endings feel both surprising and inevitable at the same time, but in early drafts of stories, we tend to focus on one or the other: surprising or inevitable. We throw in a crazy twist, shocking readers but making them feel as if we were holding something back. Or, we set things too clearly and neatly so that the ending feels like a letdown. We need to do both, which requires showing readers the elements of the twist or final drama without them knowing recognizing what they’re seeing.
This is what Shannon Perri does in her story, “The Resurrection Act.” It was published at Joyland, where you can read it now.
How the Story Works
The story is about a locksmith who performs as an amateur magician at night. As the story begins, the first thing we’re shown are keys:
Earl set the keys to the ash-colored minivan on the motel room’s nightstand. He moved the keys to the desk made of fiberboard, and then proceeded to place them on the dresser near the door, with a prominent jingle.
It’s a weird detail to focus on right away, but we see him focusing on other small objects not long after:
He’d never performed for more than fifteen people, and he was told this audience could be upwards of a hundred. Clipped to his lapel, he felt the weight of his gold American Magician Association pin. A glossy picture of his wife in a red sweater from when they first met hid in his pocket, along with a lock pick.
We eventually learn that the trick he will perform for this unusually large crowd is an escape act. He will be handcuffed and buried alive in a coffin. Naturally, the story returns to the pick:
He slipped his fingers into his pocket and felt around for the lock pick. His fingers frantically searched around the waxy photograph of his wife, which felt strangely sticky, but the lock pick wasn’t there.
We’re shown the pick again, but I won’t tell you how because it would ruin the story and the ending. Their exact whereabouts is pretty dramatic. I also didn’t see it coming (but I also had no idea what would happen in The Sixth Sense). But even if I was blindsided, I was able to go back and see where I’ should have seen it coming. We literally see the lock pick before it’s important. And we know that he’s a locksmith. And the beginning starts with keys and his concern in where they’re placed. The keys are thematic, which is useful, setting the stage for what is to come. That thematic move works because it’s tied so closely to character and an impulse we all understand very well: not wanting to misplace our keys. Through practical strategies, Perri sets up a killer ending.
The Writing Exercise
Let’s lay the groundwork for a great ending, using “The Resurrection Act” by Shannon Perri as a model:
- Know your ending. This exercise works best if you know where your story is going. For some writers, that’s easy. They know right away. Other writers don’t know the ending until they write it at the very end of the final draft. If you’re the latter, go walk your dog or rake some leave. (I live in Texas, and we rake leaves in January.) But if you have some sense for where the story is headed, write it down. Be clear. What particular items are involved in the ending? Anton Chekhov wrote that a gun on the wall in the first act must go off by the third. This applies to all explosive elements in endings. What proves to be important?
- Show readers that element early on. Be practical about it. If it’s present at the end, it’s probably present earlier. Let us readers see it—sitting on a table or in a pocket. Show it in the most benign way, just something that’s present because it’s required.
- Connect an emotion to that element. Now, you’re hinting to the reader why the detail is important. Earl obviously cares a great deal about the lock. One, he’s a locksmith. Two, he can feel it in his pocket. Notice how both of these elements create an emotional attachment to the object. It’s part of his professional gear, and his mind is drawn to it, even when it’s thinking about other things. How can you show both a professional or practical need for your object and a kind of obsession with it?
- Hint at it thematically. Earl doesn’t use keys to open his cuffs, but keys serve as a pretty clear metaphor. What objects might your character be attracted to because they serve a similar purpose (literally or in the character’s mind) as the object you’ve chosen? Force your character to interact with that object.
The goal is to set up an ending by showing readers objects that are part of it before they’re relevant. You can do this both practically and thematically.