Writing Tip of the Week: Story Structure – The End

In today’s post, we’ve made it to that all-important piece of the puzzle that helps tie everything up in a nice, neat bow: The End of the story.

The Final Test

Your hero has been dealt a decisive blow as they enter the arena of the End.  As they come out of the big Turning Point that jettisons them from the Middle, they may be ready to give up, give in, or just walk away. 

But that can’t happen.  If you’ve created an active protagonist, they aren’t going to go down without a fight.  They’re going to give everything they have left to get to their goal, even if it kills them.

And that’s why…

Cop-Outs are NOT an Option

The main character may feel a sense of impending doom at this point.  They may feel they have no options or choices left.  They may feel they are all alone.  But they can’t give up. They can’t just decide, “You know what?  You were right, Joker.  Gotham is yours.”  

It’s not in a protagonist’s nature to stop while there’s still hope of winning and reaching their intended goal.  This is still their fight, and even if they come out of it bruised, bloodied, and worse for wear, they will still have evolved as a character by the story’s end.

Win, Lose, or Draw

Ultimately, you get to decide what your hero’s fate is.  They have three viable options:

  • They can fight and win;
  • They can fight and lose; or
  • They can fight and decide along with the antagonist to settle their differences in a civilized manner.

This is the Climax of the story; the final battle between the forces of good and the forces of evil.  Or the forces of “I want to be a writer” and the forces of “no, you’re gonna work on the family farm.”

Most superhero and action movies choose the Win (The AvengersThe Dark KnightHobbs & Shaw).  Many dramas may opt for the hero to Lose, but still win in some respect (GladiatorDallas Buyers ClubAmerican Beauty).  But what about rom-coms or comedies?

These usually end in a Draw; where the hero wins, but their antagonist now supports them and wants them to succeed.  Maybe they end up with the antagonist by the end of the story (You’ve Got Mail).  Maybe their father decides that they shouldn’t be a coal miner and should design rockets instead (October Sky).

Often, we think in terms of “the antagonist must be destroyed,” but if you are writing something about real people, a family, a team, this probably won’t work.  Think about how the hero’s actions can persuade the antagonist to their side plausibly and positively. 

Bringing Everyone to the New Normal

Once the antagonist has been defeated and the hero has reached their goal, a New Normal has been achieved.  They have what they were seeking – a job, a significant other, an education, the Holy Grail, etc. – and their life will never be the same.

Take the time to acknowledge this new status, even if for a brief moment.  This is the point in the story when things are starting to wrap up.  The adventure is over.  Don’t drag your feet and make the audience stick around once their investment has paid off.  Make sure they know what happened after the final showdown and how the characters are doing after, but make it brief.

The technical term for this moment of the story is Denouement

The End of Legally Blonde

As we discussed two weeks ago, Elle found herself in a bad place with her professor sexually harassing her and her new friend Vivian witnessing the harassment.  But, instead of being on Elle’s side, Vivian accuses her of sleeping with the professor to get the internship.

Now, Elle is ready to quit law school, give up on her goal, and hide.  But, after a pep talk from one of her female professors (played by Holland Taylor), she decides that quitting is not an option.

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Elle returns to the trial, regains her confidence, and its through her cross-examination of the accused that the prosecution wins the case.  

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As she goes to leave, her ex, Warner, tries to get back with her.  She rebuffs him with a similar line he used to break up with her, and walks away.

Check out the clip here:

The final scene is of Elle giving an uplifting speech on graduation day.

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She did it!  She proved to herself and to others that she was capable of becoming a lawyer.  

Notice that the Climax in this film is a verbal exchange between the hero and villain.  No epic battle that destroys half of Harvard.  It’s simple yet effective.  Elle has evolved as a person who has realized her own value and self-worth.  And her final line to Warner and her graduation speech sum up how she has evolved throughout the film.

It’s been quite a journey over the past five posts.  We’ve explored all aspects of the Beginning, Middle, and End of a story.  We’ve looked at Legally Blonde and seen how that story is crafted with these story elements in mind.  And next time, I’ll share some final thoughts about story structure to wrap up this series.

Happy writing, and I’ll see you in two weeks!

The Basic Story Formula: An Effective Template

Most commercial films, TV series, and novels can be boiled down to one simple formula:

Hero + Goal + Opposition = Conflict, which = Drama

Let’s break this down into its respective parts.

The HERO, Heroine, or Protagonist is the main character we follow over the course of the story. Their hopes, dreams, fears, wants, needs, and desires become ours as we vicariously follow them throughout the narrative.  They are the character with which the writer wants us to identify with, empathize or sympathize with.  They become our avatar, giving us a role within the story through their eyes and experiences.

Now, that main character wants something.  They need something.  They are after something.  And that something (the GOAL) is what sets things in motion for the character, and in turn creates a series of events that the character must experience and surpass in order to reach the intended goal.

What’s preventing the HERO from achieving their GOAL?  It’s an obstacle, a unyielding force, and foe, a villain, an antagonist…OPPOSITION. Someone or something is causing them problems on their way to reaching their intended goal.  And while there may be a main antagonist for the protagonist to face and defeat, the antagonist will definitely throw plenty of obstacles and other issues the protagonist’s way as they attempt to achieve their goal.

And if you and a protagonist after something and someone or something trying to prevent them from reaching said goal, you will create CONFLICT.  It is through conflict that stories create DRAMA.  All of these elements are important in order to drive the action and events forward in your story, to create suspense, to create tension, and to give your audience a desire to see what happens next.

Pick a mainstream film genre and this formula fits.  Superhero? Yep.  Action?  Definitely. Sci-fi?  You bet.  Romantic-Comedy?  Uh-huh. Western?  Yup. 

I’ll use a recent blockbuster as an example:  Avengers: Infinity War. (SPOILER ALERT!)

Screenwriters Christopher Markus and Stephen McFeely talked about in an article that Thanos was the true hero of the film. Having that information, and knowing the basic story of the film, we can plug in the following variables:

HERO (Thanos) + GOAL (retrieve all six Infinity Stones to implement final plan) + OPPOSITION (The Avengers and The Guardians of the Galaxy) = CONFLICT (plenty of teams of superheroes trying to stop Thanos from getting all the stones), which = DRAMA (plenty of dramatic and tragic moments befall everyone as Thanos moves toward his goal)

We are following Thanos on his journey.  It’s his character arc that is center stage, and therefore he is the main character of Avengers: Infinity War.  And, as the screenwriters state: “This is the hero’s journey for Thanos,” McFeely explained. “By the end of the hero’s journey, our main character, our protagonist — at least, in this case — gets what he wants.”

So, as you begin to construct your story, try and plug in these basic elements first as a foundation to build on.  Hey, if it works for a film that made $2,046,626,158 worldwide, it’s a safe bet it’s a tried and true formula for creating a strong story.