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LakeLake
May '20

I just finished outlining my next project and some of the groundwork that was necessary to push the main characters to the climax, could be interpreted by some as something much bigger potentially taking place compared to what actually happens. Particularly due to how similar “groundwork” might play out in other stories I've read.

It’s a story that’s heavily character focused, primarily focusing on the two main character overcoming their pasts. So, I feel the ending will be satisfactory for most, as both the character arcs are fully concluded by the end. But part of me is still stressing over those who read and expected more (and I realize that I can’t make everyone happy).

So basically I would love to start a discussion (and try to participate, yay communication anxiety :cry_01:) focusing on dealing with potentially anticlimactic scenes and ending that could disappoint some readers: be it general advice, a specific instance you’ve dealt with and how you fixed it, or just accepting that some readers won't be happy and go with what you’ve written.

Feel free to use this space to ask for advice for a scene you might be struggling with.

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    May '20

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    May '20
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joannekwan(ง ˙o˙)ว here to help~
May '20

For me, endings only feel empty when they don't address the main arcs and problems established at the beginning. And as you've stated, you are concluding the characters' arcs at the end.
What do you feel some readers are expecting that you aren't going to deliver to them?

miramiee
May '20

Question. If the groundwork that was necessary for the climax points to something much bigger potentially happening, why doesn't that actual big thing actually happen? Why settle for something that, in your words, may be anticlimactic to some? I feel like in that case it might just be a matter of rephrasing and specifying so your groundwork points to the conclusion you intended and not to anything else. But then again, I haven't seen your plot so I can't tell for sure.

I think something being anticlimactic is, to an extent, subjective. For example, I can have an ending that completely satisfies me but someone else may just not agree. If the ending for me doesn't feel right, then chances are it's already anticlimactic to other. But if that ending feels right to me but other people have a problem, then I would just take their critiques into consideration and see where I may have come short as a writer.

Here's a real life example: my fiction writing professor was never satisfied with my character's endings. I thought the endings might have been ok, but he said the characters weren't fully fleshed out yet for the ending to feel satisfying. Sometimes it's not the ending that's the problem. It's the in between.

iddqd
May '20

I think "anticlimactic" simply means that reader's expectations were thwarted, but not in a good way. I think the best thing to do is to leave behind the clues along the story that, when looking back, actually point towards the ending, like in Leonardo Di Caprio's film "Shutter Island" - the ending was not what I expected, but I really liked it, because it was there in front of my eyes the whole time!

And I think as long as your ending follows the same theme as the rest of your work (i.e. you don't turn a fairytale into a horror story at the very end) most people won't mind. But as much as I try setting those expectations up for the readers they will always have their own in the end - so here's hoping for the best, too :slight_smile:

LakeLake
May '20

Having since slept and gone to work giving me time to think over my issue. I think the feeling that the story wasn’t ending in satisfactory way, ultimately making it feel anticlimactic for me, is probably due to my tendency towards writing final boss/stopping the world from ending; very high stake, plot-driven, and obvious finishes to a story. Rather then two characters who overcome something from there past that’s been weighing them down, them moving forward more so because of their personal motivation (with only a few section require “plot” involvement to get characters to act) with a climax featuring some action and very small stakes. Nothing that makes feel like someone is in danger.

I think I was starting to figure out what was causing my issue when I wrote the opening to this thread last night. But its largely that I’m comparing to how I wrap up the groundwork, essentially a small revolt, would play out in another story (something I’m conscience I shouldn’t overly do). The main characters basically make the connections of what these antagonistic forces are up to (and ultimately get dragged into a mess the antagonists cause, the story’s climax). The main characters with their evidence, report it to higher ups, and the king’s army deals with the revolt while main character A’s arc is wrapped up (Main character B’s arc mostly wraps up during the climax), then its concluded.

The aforementioned desire to write high stakes (and honestly a much longer story then what I’m currently able to handle for a comic) as well as that most stories (that I’m familiar with) would get the main characters irreversibly neck deep in a revolt should it be included even vaguely at some point in the plot.

Given that I still only have a finished outline and a few fully scripted early chapters. I may have jumped the gun a bit asking for advice regarding a section that occurs later. I definitely think writing out the opening post as well as reading through what’s been stated and thinking over and thinking over this response helped put some of the issue into perspective for me. Thank you to everyone above for voicing questions for me to consider and other feedback to contemplate.

joannekwan(ง ˙o˙)ว here to help~
May '20

I think some people are inevitably going to want something bigger, something grander. But you have to decide what kind of story you want to tell.

For example, in my comic Demon House, I touched upon a higher order of angels and demons and the like, but I never thoroughly took an in depth look into those things because frankly, they have nothing to do really with my main character who's a girl that's just living with a bunch of demons haunting a house. It's a really down to earth and intimate story, so I never felt the need to expand upon the greater 'lore' of the world. And when I ended the comic, I had a few people voice their disappointment that none of the other things were explored. I brushed it off. I don't have the time or interest in exploring more of the 'lore' at the moment.

For a mainstream movie example, take a look at 1917. It's set against the backdrop of WWI, but the war is mostly a framework for the story that the movie focuses on which is just about two soldiers trying to get a message to the front lines. It's a very intimate look at a tight timeline experienced by just a couple of individuals without much focus on the bigger picture. Like don't expect to find a grand battle sequence like the beginning of Pearl Harbor in here. The movie starts with the mission to deliver the message and ends with the mission.

indagold
May '20

All my stories have unhappy endings or endings super up to the reader's interpretation. Some people liked it and some are just annoyed by it... I feel like you can't really do much to please them when that's your forte.

Jenny-Toons
May '20

I think the good thing about climaxes are that they don't have to be a big hurrah -- despite the feeling "climax" gives. A lot of climaxes I've consumed and enjoyed were on the softer side. Things don't have to be active for something to have a strong ending or climax. In fact, many stories ended with simply turning off a light and walking out of a room.

I do think good build up helps with climaxes/endings though. Especially if it's flexible and leaves room for readers to guess and still understand the themes you want to go for. Because that's honestly the biggest take-away: to help people understand the why behind the ending/climax. And I think as long as people can understand, you did good.

It's like T.S.Elliot had said: This is the way the world ends, not with a bang, but a whimper