Chapter endings are important to get right. Since they break the narrative flow, they are a natural point for the reader to put the book down or stop reading altogether. It's important to end a chapter with enough intrigue to keep the reader reading.
Types of Chapter Endings
There are four general types of chapter endings: Obstacles, Foreshadowing, Action Breaks and Reveals. These can be broken down into smaller subsets. While the specific methodology of each chapter ending is different, ultimately they all function the same: they present the reader with a question(s). Humans are naturally curious and wired for story. Engage the reader's curiosity and they're hooked. The trick to a good chapter ending is knowing when to cut the narrative to create maximum intrigue.
Obstacles
Obstacle endings are the easiest to understand. They present a problem that the character(s) need to overcome, asking the question "How?"
When considering a narrative as a whole, there are many different types of obstacles. They can be internal or external, physical, emotional, psychological or environmental. When it comes to chapter endings, the obstacles are usually external: someone or something that prevents the protagonist from furthering their goal.
It could be a locked door.
It could be that the book the protagonist believed would have the answers they were looking for has no new information.
It could be the protagonist finds out their father is still alive, meaning they can't ascend to the throne.
It could be the protagonist discovers their best friend is in love with the same person they are.
But internal obstacles can also work:
The heroine realizes she no longer loves her husband.
The protagonist suffers a panic attack.
The important thing is that the obstacle is appropriate to the situation. The obstacle must fit into the story world and must be something the protagonist can overcome based on their character development and abilities. This doesn't mean they will easily surpass it, but it must be believable that they can overcome it.
The prevalence of obstacle chapter endings will depend on the genre and narrative structure. A quest narrative can handle obstacles at the end of almost every chapter without the reader feeling the narrative is repetitive. However, a romance with nothing but obstacles for the lovers can begin to feel tedious.
An obstacle also doesn't have to be quickly overcome. It can be dispatched in the next chapter or it can set up the overarching narrative and not be overcome until the end of the book or even the series.
Note: Since obstacles are the basis of conflict, which is what makes stories interesting, they should be present in various forms throughout the narrative, not just at the end of chapters. Save the big, important ones that lead to major narrative or character developments for chapter endings and sprinkle smaller ones in the beginning and middle of chapters.
Foreshadowing
Foreshadowing hints at what's to come. Foreshadow endings are great for building excitement and suspense but can also be used to set up the overall themes and events of the narrative.
Foreshadowing comes in two main forms: long game and short game.
Long Game
Long-game foreshadowing sets the narrative in motion by hinting at answers to big questions. Because these endings set up events/themes that can be found throughout the narrative, this is a chapter ending that only works in the first third of the narrative. The exception is the final chapter, where foreshadowing can set up the next book in a series.
The brother the protagonist has spent her life protecting is kidnapped.
A flower is seen for the first time in months.
The protagonist notices a change in how they view their surroundings.
Since these endings flow through the narrative, the answers they promise take time to reveal. Often, the question(s) they present is so central to the narrative that once the reader has the answer the story is over.
For long-game endings to be effective, the ideas and themes they present need to remain present until they are resolved. The reader doesn't need to get all the information at once, but they need to get enough to maintain interest and keep the narrative moving.
Note: While foreshadowing provides hints to the answer, it is possible to circumvent the obvious hints with a twist ending. Be careful with these. If there have been no hints of the true ending, the reader can feel cheated.
Short Game
As the name implies, short-game foreshadowing doesn't look too far into the future. This is a type of chapter ending that can be used at any point in the narrative.
A messenger arrives at the village after weeks of no news from the outside.
The protagonist opens the book they've been searching for their whole lives.
In the case of the short game, the answer needs to come quickly. What is the news from the outside world? What does this magical book contain? The answers can lead to more questions, especially early in the narrative, but there should be an immediate response to what the reader has been promised.
Note: Foreshadowing can also be used throughout a narrative and not just at the end of a chapter to hint at overarching themes, an important reveal such as parentage or how to defeat the big bad, or the climax.
Action Breaks
These are also called cliffhangers. An action break ends the chapter in the middle of a scene, event or action compelling the reader to turn to the next chapter to learn how the event concludes. Unlike foreshadowing where there is a promise of information, an action break freezes time between the chapters, starting the action in the first chapter and finishing it in the second.
The protagonist feels a tap on their shoulder and starts to turn.
An explosion sends the protagonist flying through the air.
A ball soars through the air towards the goal.
The key to an effective action break is an uncertain or exciting outcome. Sometimes the result is predictable. Sometimes not. If the ball soaring through the air is from a middle grade novel and was kicked by the protagonist, it's probably ending up in the back of the net, especially at the end of the book. However, if the reader is engaged with the protagonist, they can empathize with them and still be on the edge of their seat. Other actions are less predictable. In a narrative where important characters are regularly killed, the explosion that sends the protagonist through the air might have them landing safe and sound. Or they could end up impaled on an enemy spear. The important thing is to keep a sense of movement and excitement across the chapters.
This isn't limited to physical actions like fight scenes or gravity defying feats. An action break could be in the middle of a conversation or dialogue.
A woman asks her partner a question.
A couple having a heated debate are cut off in the middle.
The chapter breaks before the big reveal of a campaign speech.
The important thing is not the nature of the action, but the implications it has for the story. Does the completion of the action matter to the reader? Does breaking the action pose questions that can only be answered by turning the page? Is the question enticing enough for the reader to want to keep reading?
Reveal
Reveal endings give the reader new and important information.
It could be the inciting incident: The queen is dead setting up the battle between her heirs for the throne.
It could be information that changes the course of the narrative: The protagonist discovers that she's actually of noble birth, changing the options she has for her future.
It could be the big reveal at the end: Turns out the villain is the protagonist's sister!
This type of ending presents the reader with the questions "What?" or "Why?" and sometimes "How?" If the chapter is in the beginning or middle of the narrative, it's important that the revelation gives the reader more questions and not just answers. If the reveal gives away too much, then there is no need to keep reading. The exception is in the final few chapters.
Resolution
There should be a resolution at the end of any completed narrative. Resolutions wrap things up in a way that leaves the reader satisfied with the ending. This doesn't mean that every question posed by the narrative needs to be addressed. But there needs to be enough closure that the reader walks away satisfied.
In series, every book should have its own resolution even if the narrative continues through the series as a whole. Not giving the reader some kind of closure at the end of each book will lead to frustration.
Occasionally, resolutions can end up in the middle of the narrative, usually in the form of a reveal. In these cases, it is important that the resolution to that narrative arc or question opens up new story avenues.
A character spends the first part of the narrative trying to avenge the death of their father only to discover their father isn't dead. This wraps up the revenge plot but initiates a whole new plot arc.
A resolution without posing new questions is an ending with nowhere to go. If the story is over, this is what you want. If there is more story to be told, then make sure the resolution closes the door while opening another.
Conclusion
The most important thing about a chapter ending is that it compels the reader to turn the page. The best way to do this is to present the reader with something that poses questions. The types of questions you will lean on vary depending on the genre, narrative structure and chapter location. With the exception of the final chapter or two, chapter endings should have a propulsive feel to them. They should drive the narrative forward to the next moment creating excitement and intrigue. If information is being revealed, make sure that the reveal presents more questions or leaves a few important ones unanswered. Regardless of the genre, curiosity is what keeps readers turning the page.
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