Twist chapter endings

SwallowFeather · Dec 5, 2019

I'm writing shorter chapters in my current WIP than I've ever done before (not all that short by most standards probably--2500-3000 words, I just used to go pretty long) and I'm noticing an increasing tendency as a direct result to keep ending every chapter on a twist. Or at least a turn.

Character's trying to convince an authority figure of the right way to deal with a situation? Authority figure gives her the go-ahead, chapter ends. Guy who we thought was dead/captured suddenly knocks on the door? Boom, chapter ends. I think it's because it's so easy--the chapter was going to end somewhere around here anyway, and when you hit the point that satisfies the reader with something big happening/sets up that something further will happen soon, it feels natural to end it there. You've given them the meat--why tack on extra?

Overall I think this is positive, but I have some doubts. I keep remembering the moment I threw up my hands at one too many chapter-ending-twists in The Hunger Games. I believe it was the line "And then I watch myself get shot on television." (In real time, that is.) It didn't make me put down the book, but it was a big eyeroll moment, even though the line itself was fine. Just, one too many.

What are your feelings on twist chapter endings? Do you feel annoyed by too many? Do you think it's fine as long as the structure doesn't echo itself over and over (i.e. they're different *kinds* of twists/turns with differently structured lead-ups etc.)? I'm thinking I'll try to deliberately end some chapters on a calmer, more resolved note, but I'm wondering how important this is & basically trying to figure out what proportion is best (e.g., only after major act climaxes, where they're probably going to naturally occur? a little more often than that?) Interested in any thoughts you all have.

Bufty · Dec 5, 2019

Readers keep turning pages to see what happens next. If everything is hunky-dory, and the reader decides to put the book aside at that point, what reason has he been given to pick the book up again?

lonestarlibrarian · Dec 5, 2019

I remember being in third grade and picking up on that device in a bunch of the Nancy Drew/Hardy Boys/Bobbsey Twins/etc-type books. Even though I recognized it for what it was--- keeping the momentum going so that the reader never really got to a slow, boring spot to put the book down, and possibly never pick it up again--- I thought it was a good idea--- because you don't really want the reader to get to a slow, boring spot to put the book down and possibly never pick it up again.

(I also remember picking up on using snappy dialogue to start every. single. book.)

But because of that, if it's used too artificially, I do tend to associate it with writing for younger readers.

Flipping through a random book---

Ch. 1 - "...If you boys know what's good for you, you'll keep your mouths shut about this!" he snarled. "And I'm warning you-- don't try to follow me!"
He darted off into the darkness of the surrounding trees!

Ch. 2 - Frank and Joe gasped. The man looked like the one in the photograph of Noel Strang their father had in his files!

Ch. 3 - Suddenly a loud explosion shook the Sleuth!

Ch. 4 - The stool struck Joe on the temple and he sank to the floor unconscious!

Ch. 5 - He brought his face up closer to the pane for a better view, then gave a cry of astonishment.
"Frank, look! The room has no floor!"

etc, etc, etc.

Woollybear · Dec 5, 2019

I think it's an important skill to develop because it's so useful, but if a writer is using this solely as a way to keep readers going, at the expense of a nice, meaty, satisfying story, that seems bad.

As in we risk buying into the idea that the feedback "I couldn't put it down" is the best we could ever reach for.

I watched six seasons of The 100 because (even though every episode was predictable and blah blah blah) it ALWAYS ended on a twist, and I ALWAYS wanted to start the next episode. I watched it to learn how the writers did that. But I gotta say, although The 100 had my eyeballs, it never had my heart. the characters were fine, the acting decent, the story thematic in ways I care about, but I probably couldn't tell you much about those six seasons except that every episode ended on a twist. After a while this feels so contrived.

SwallowFeather · Dec 5, 2019

lonestarlibrarian said:
I remember being in third grade and picking up on that device in a bunch of the Nancy Drew/Hardy Boys/Bobbsey Twins/etc-type books. Even though I recognized it for what it was--- keeping the momentum going so that the reader never really got to a slow, boring spot to put the book down, and possibly never pick it up again--- I thought it was a good idea--- because you don't really want the reader to get to a slow, boring spot to put the book down and possibly never pick it up again.

(I also remember picking up on using snappy dialogue to start every. single. book.)

But because of that, if it's used too artificially, I do tend to associate it with writing for younger readers.

Flipping through a random book---

Ch. 1 - "...If you boys know what's good for you, you'll keep your mouths shut about this!" he snarled. "And I'm warning you-- don't try to follow me!"
He darted off into the darkness of the surrounding trees!

Ch. 2 - Frank and Joe gasped. The man looked like the one in the photograph of Noel Strang their father had in his files!

Ch. 3 - Suddenly a loud explosion shook the Sleuth!

Ch. 4 - The stool struck Joe on the temple and he sank to the floor unconscious!

Ch. 5 - He brought his face up closer to the pane for a better view, then gave a cry of astonishment.
"Frank, look! The room has no floor!"

etc, etc, etc.

Wow! An exclamation point every time!

I basically have a rule of NO exclamation points except in dialogue (and not often then) probably because of this kind of thing...

SwallowFeather · Dec 5, 2019

Patty said:
I think it's an important skill to develop because it's so useful, but if a writer is using this solely as a way to keep readers going, at the expense of a nice, meaty, satisfying story, that seems bad.

As in we risk buying into the idea that the feedback "I couldn't put it down" is the best we could ever reach for.

Yes, that's a good way of putting it. I want this book to be more than a "quick read." That doesn't mean I don't want some momentum in it--I think the audience I'm currently writing to would like that--but there's deeper stuff I don't want people to miss as they skim along toward "what is going to happen?"

I mean geez--similar to your The 100 story but infinitely more embarrassing--as a younger, more naive feather I read the first three books of the Left Behind series in two empty Christmas-break days before realizing that although the pacing was keeping me reading, I didn't give a crap that this super-beloved character had just died and this was actually quite bad writing. Had a similar experience with The Da Vinci Code later on (though I did finish that one, it was somewhat better writing.) It just goes to show how much you miss when you're going fast.

I think that's an argument in favor of making sure I don't do it every time, for sure. Just enough.

Ari Meermans · Dec 5, 2019

Twists and chapter-end cliffhangers are great for propelling the narrative when used judiciously. Too many twists and your reader learns to not trust the narrative—they come to expect yet another twist and that's often frustrating. Cliffhangers can start to look gimmicky and readers are quick to pick up on what the writer is doing. Every page, every chapter should have some reason for the reader to need to keep reading. A more subtle device that works splendidly is a question you've introduced in the reader's mind to which they must now have the answer. If the writer has lodged that question well in the reader's mind, that reader will keep reading (even over several chapters) to get their answer.

SwallowFeather · Dec 5, 2019

Bufty said:
Readers keep turning pages to see what happens next. If everything is hunky-dory, and the reader decides to put the book aside at that point, what reason has he been given to pick the book up again?

Very true. But is everything ever hunky-dory? If it is I think I've failed. There should be a "for now" resolution, and a larger issue still looming just a little off-stage but we know it's there.

SwallowFeather · Dec 5, 2019

Ari Meermans said:
A more subtle device that works splendidly is a question you've introduced in the reader's mind to which they must now have the answer. If the writer has lodged that question well in the reader's mind, that reader will keep reading (even over several chapters) to get their answer.

YES! Very true. That's something I'm starting to get a bit better at. Though I could definitely stand to improve more. I have several of those in this one, from "what exactly happened two years ago?" (it sounds like someone got arrested but who, why does the protagonist blame herself for it, etc) to "who is this guy and what does he know about the gunfire in the distance" to basic suspense (is X captured or not, he hasn't returned, we're not sure).

I just hope I've made those must-y enough.

Saoirse · Dec 5, 2019

I do that with all my books. I call them mini-cliffhangers. And if there's more than one POV character, I'll purposely not come back to him or her in the next chapter...hopefully building suspense, too. I've gotten great feedback and great reviews so I think it works.

Dan Rhys · Dec 5, 2019

My chapter endings often have little twists or will merely anticipate what will come (for instance, "The detective will likely gather new evidence and make another attempt to trap Kelton.") designed to make the reader want to read on. As with all book qualities, twists can be poorly used or misused or gratuitously employed. I say as long as the twist feels natural and not forced or doesn't seem too obvious an attempt to stir readers, you should be good.

hopeful09 · Dec 5, 2019

I love this response:

Ari Meermans said:
A more subtle device that works splendidly is a question you've introduced in the reader's mind to which they must now have the answer. If the writer has lodged that question well in the reader's mind, that reader will keep reading (even over several chapters) to get their answer.

And when Saoirse said this:

Saoirse said:
I do that with all my books. I call them mini-cliffhangers. And if there's more than one POV character, I'll purposely not come back to him or her in the next chapter...hopefully building suspense, too. I've gotten great feedback and great reviews so I think it works.

I wanted to second it too.

My thought was that if you have multiple plot lines (as with Saoirse's multiple POVs), you could avoid it feeling as gimmicky by ensuring your new chapter doesn't follow the plot line you just "twisted" at the end of the previous chapter. (I've got three plot lines going in my current WIP--which is the highest I've ever tried to juggle--and that's working for me.

Cobalt Jade · Dec 5, 2019

I watched six seasons of The 100 because (even though every episode was predictable and blah blah blah) it ALWAYS ended on a twist, and I ALWAYS wanted to start the next episode. I watched it to learn how the writers did that. But I gotta say, although The 100 had my eyeballs, it never had my heart. the characters were fine, the acting decent, the story thematic in ways I care about, but I probably couldn't tell you much about those six seasons except that every episode ended on a twist. After a while this feels so contrived.

Is it me or is every series doing this? I recently watched the whole first season of Britannia, and it seemed every damn segment ended this way! Now, I enjoyed watched it, and will probably watch the second season and enjoy it too, but it didn't exactly engender love for me. Whatever "love" for a series it. It was more of a way to take me out of myself for 40 minutes, like doing a jigsaw puzzle, gardening, or crocheting would do. I wasn't emotionally engaged because I knew some ironic or shocking death, element, or twist would always be coming.

indianroads · Dec 5, 2019

IMO television shows can be formulaic and tiresome. Writing can have greater depth because unlike a 2D image that talks, we can go into the heads of our characters and therefore intrigue our readers in ways other than a simple plot twist.

CAMueller · Dec 5, 2019

I think there is a lot of value in having a hook at the end of every chapter. There needs to be that open door for consequences/questions/etc. that propels the reader into the next chapter. While people will talk about chapters being "stopping points," you never actually want your reader to be able to put your book down. Being able to craft those punchy chapter endings that push the reader forward is certainly a skill. Mini-cliffhangers and open doors work really well here, as others have said.

sandree · Dec 5, 2019

Patty said:
I think it's an important skill to develop because it's so useful, but if a writer is using this solely as a way to keep readers going, at the expense of a nice, meaty, satisfying story, that seems bad.

As in we risk buying into the idea that the feedback "I couldn't put it down" is the best we could ever reach for.

I watched six seasons of The 100 because (even though every episode was predictable and blah blah blah) it ALWAYS ended on a twist, and I ALWAYS wanted to start the next episode. I watched it to learn how the writers did that. But I gotta say, although The 100 had my eyeballs, it never had my heart. the characters were fine, the acting decent, the story thematic in ways I care about, but I probably couldn't tell you much about those six seasons except that every episode ended on a twist. After a while this feels so contrived.

I so agree. I love TV but a lot of it has become tiresome. How about Greys Anatomy - in the beginning it was an ensemble cast of interesting characters with a fascinating hospital backdrop and lots of love and lust. Every season, the twists and the drama ramped up until it had to be a fire, a plane crash, a sniper shooting, or a lamppost protruding from someone’s head. It became exhausting. And I don’t watch anymore.

I feel the same about books that ramp up the tension without any room for a theme to be revealed or resolutions to be reached before the next twist. Maybe it’s because I’m old.

lilyWhite · Dec 5, 2019

Now that I think about it, my recent WiPs usually have their twists happen midway through chapters, rather than near the ends of them.

End-of-chapter twists and cliffhangers are a tool, but not the only one in the writer's arsenal. And before you can get a reader thinking "What happens next?!" with a cliffhanger, you need to have them interested in what happens further than that, what happens throughout the story.

Woollybear · Dec 5, 2019

We're finally watching Deep Space Nine from start to end and it uses a distinctly different model. Season arcs, but not episode cliffhangers--and in the case of DS9 the goal was definitely more toward sinking the audience teeth into ideas like: power structures, how they form, how alliances can come together and apart again (hello, John Bolton), and so on. The mix of federation and non-federation on the station becomes interesting.

We're also watching Supernatural. It has cliffhangers of a sort, but there is enough 'meat' of the idea of... what you sacrifice for family, and what family is, and whether the individual is more or less important than society as a whole, and under what circumstances... that we enjoy the show for reasons other than the cliffhangers. The relationships and comfort of the story keep us going. Cliffhangers or twists are OK, but that's not what dials up the next episode for us.

The twists that end every episode of The 100 are so over the top--and so absolutely effective to get me to watch the next episode's open--that I wanted to watch it to figure out how they were managing that effect on me.

I'm not good at cliffhangers.

angeliz2k · Dec 6, 2019

As ever, it's all in the execution, I'd say. If, at the end of every chapter, you're effectively turning to the audience and saying, "Betcha can't wait to find out how Favorite Character makes it outta this one alive!", then it gets irksome. And that's what a too-blatant cliffhanger does: it announces the authorial presence, to a greater or lesser extent depending on how it's done. As much as possible, I try to avoid showing the woman behind the curtain.

But that's all if it's done badly, or done well but too often. There's nothing wrong with ending a chapter or multiple chapters at a moment of crisis. There are, I think, better and more subtle ways to keep your reader reading than a plot twist or sudden, imminent danger. As someone else mentioned, I personally don't want my readers to read just to find out how (rarely whether) the protagonist makes it out alive. I want them to keep reading based on the overall story arc, characters, setting, and voice. I want it all to leave an impression, not just the plot.

Then again, the betas on my latest WIP liked the project but told me to consider what was pulling readers along from chapter to chapter. It's feedback I certainly need to consider, but in this instance, I'm relying almost entirely on character and voice to pull characters along, and I'm okay with that. I wasn't aiming for a fast-paces can't-put-it-down kind of story. It's a slow-burn tragedy.

Also worth noting, what brings one person to keep reading might not work for another person. With one WIP, one beta reader said they were really compelled to keep reading from chapter to chapter, but another made the comment that they didn't feel there was enough tension in some places to keep her reading.

Tl;dr: keep your audience and genre in mind, keep in mind what you are trying to accomplish with your story (to what degree are you trying to pull your reader along?), and also keep in mind that not everyone's going to react the same way to the same thing (so there's no pleasing everyone, and that way blandness lies).

indianroads · Dec 6, 2019

I think character development can be a strong driver to keep readers interested in your story. We have to care about what happens to a character to keep turning pages (and chapters).

StoryForest · Dec 14, 2019

I think if you are able to deliver on the twist, meaning there is a payoff or reason for it and not just there for surprise, then there is no problem with having more.

TurbulentMuse · Jan 19, 2021

Be careful not to establish a pattern you can't carry through on, though. If every chapter but one ends on a turn or twist, that one chapter ending will feel flat.

Mattpwriter · Jan 25, 2021

I think a good way to handle it is to have 1/3 of the chapters have twists at the end, while the rest transition as the narrative would logically suggest. That way, there are still plenty of twists, but not so many it gets predictably unpredictable.

Twist chapter endings

SwallowFeather

Oops I just swallowed a feather

Bufty

Where have the last ten years gone?

lonestarlibrarian

senior bean supervisor

Woollybear

SwallowFeather

Oops I just swallowed a feather

SwallowFeather

Oops I just swallowed a feather

Ari Meermans

MacAllister's Official Minion & Greeter

SwallowFeather

Oops I just swallowed a feather

SwallowFeather

Oops I just swallowed a feather

Saoirse

Mi verkas

Dan Rhys

hopeful09

Cobalt Jade

indianroads

Wherever I go, there I am.

CAMueller

Part-time ninja

sandree

lilyWhite

Love and Excitement

Woollybear

angeliz2k

never mind the shorty

indianroads

Wherever I go, there I am.

StoryForest

TurbulentMuse

Muse

Mattpwriter