Month: June 2023

Is AI a Writer’s Friend?

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Giancarlo Ghedini has an article about the pros and cons of AI from a writer’s perspective on Writers Digest website yesterday. I think it is both useful and interesting, and I quote the key points below.

Giancarlo Ghedini is an author and copywriter and host of The Story King Podcast.

Giancarlo Ghedini

“I’m not sure how AI works just yet. I want to say it has something to do with sorcery. For those who haven’t been tuned in or have been too scared to, let’s discuss what exactly ChatGPT is. I don’t want to put words in its mouth (don’t worry, it does not have an actual mouth…yet), so here is how it defined itself when I asked:

ChatGPT is an AI language model developed by OpenAI. It is designed to engage in natural language conversations, providing responses and information based on its training on a wide range of texts. It can answer questions, provide explanations, offer suggestions, and generate text in a conversational manner.

Couldn’t have said it better myself. That’s precisely what many writers and content creators are scared of—a machine able to perform better than themselves. The rest of this article will cover my experiments with this technology, its obvious uses, its shortcomings, and why I see it as a Gutenberg Press-level game changer every writer should have in their toolbox. Let’s begin!

Spoiler Alert! AI was used to generate large swaths of this article. That was intentional and sort of the point. All ChatGPT words are in block quotes. With enough practice though, you’ll be able to tell the difference yourself. Here’s an article with some pointers.

On principle alone, I’m against any technology that dehumanizes civilization and trivializes art. Not to mention the idea that AI is already wreaking havoc on academics.

Copywriting

Based on my experience at work, I was curious how good a copywriter ChatGPT was. I gave it specific parameters: “Write me three headlines for a company named AI MoneyMaker no more than 30 characters each. Write three text descriptions for each headline no more than 90 characters each. There should also be three calls to action no more than 20 characters each.” Here’s what ChatGPT gave me:

Headlines:

1. “AI MoneyMaker: Boost Profits!”
2. “Unlock Wealth with AI!”
3. “Maximize ROI with AI!”

Text descriptions:

1. “Turn your investments into gold with AI-powered solutions.”
2. “Experience the power of AI in growing your financial portfolio.”
3. “Supercharge your returns with cutting-edge AI technologies.”

Calls to action:

1. “Invest now!”
2. “Get started!”
3. “Grow your wealth!”

I was particularly impressed with the third headline’s wordplay: “ROI with AI.” I could’ve written these myself, but not in 20 seconds.

Short Stories

So how about fiction? My sons and I had fun with this. I don’t imagine it would do great with a longer piece of literature like a novel. But I wanted to test it out with a short story.

My 12-year-old told it to write a story about Peppa Pig going crazy and becoming a killer. ChatGPT refused. It’s programmed to not be inappropriate. We tried another prompt. I asked it to write a 100-word story that sounds like Hemingway wrote it. Here it is:

The old man sat by the river, his lined face weathered by time and memory. The autumn breeze whispered through the tall grass, carrying the echoes of forgotten battles. He cast his line into the current, its silver glimmer a fleeting reflection of his lost youth. The fish, elusive as time itself, danced beneath the surface, taunting him with their evasive grace. His hands trembled, weathered by years of struggle, as he held the rod with desperate resolve. And in that moment, as the sun dipped below the horizon, he felt a whisper of hope, for tomorrow, the fish would be his.

Character Backgrounds

I told ChatGPT to give me a backstory in the form of a numbered list of 10 reasons my fictional character is struggling with alcohol addiction. Seconds later I had this:

1. Jack’s failed marriage: The breakdown of his once-loving relationship with his wife left him feeling isolated and emotionally shattered.
2. Loss of his daughter: The tragic and untimely death of his daughter due to a terminal illness inflicted immense grief and a sense of powerlessness.
3. Struggles with career: Jack’s aspirations as a writer were met with rejection and disappointment, leading to frustration and a sense of inadequacy.
4. Escaping reality: Overwhelmed by the weight of his personal struggles, Jack turned to alcohol as a means of escape, seeking temporary relief from his emotional pain.
5. Alienation from loved ones: As Jack’s addiction worsened, his behavior pushed away friends and family who were unable to cope with his self-destructive tendencies.
6. Financial difficulties: Jack’s addiction consumed his financial resources, leading to mounting debts and further exacerbating his stress and desperation.
7. Health deterioration: The toll of excessive drinking began to manifest in Jack’s physical and mental well-being, affecting his overall health and cognitive abilities.
8. Social consequences: Jack’s alcoholism caused him to make poor decisions and engage in disruptive behavior, leading to strained relationships and legal issues.
9. Loss of professional opportunities: Jack’s addiction impaired his ability to maintain steady employment, resulting in missed opportunities and a downward spiral in his career.
10. Rock bottom moment: Jack reached a pivotal low point in his life, perhaps a wake-up call or a life-altering event, that forced him to confront the devastating consequences of his alcoholism and seek help in order to reclaim his life.

Not bad, right? I didn’t even name the character Jack, nor would I, but still. It’s easy to see how this technology can help with writer’s block. You’re stuck, you’re not sure where to take your story, ChatGPT really thrives with ideation.

Book Summaries

This was a nice surprise. I stuck to a nonfiction classic. I asked ChatGPT to give me a quick summary in the form of a numbered list for each chapter of How To Win Friends and Influence People, by Dale Carnegie:

Chapter 1: “Fundamental Techniques in Handling People” – This chapter focuses on the importance of avoiding criticism and condemnation, appreciating others genuinely, and showing respect for their opinions to effectively handle people.

Chapter 2: “Six Ways to Make People Like You” – Carnegie presents six principles for building rapport, including becoming genuinely interested in others, smiling, remembering and using people’s names, actively listening, talking in terms of the other person’s interests, and making the other person feel important.

Chapter 3: “How to Win People to Your Way of Thinking” – The author provides strategies to influence others positively, such as avoiding arguments and showing respect for others’ opinions. He emphasizes the power of listening to understand and using questions to guide conversations.

etc.

Ideation

In my opinion, this is where ChatGPT shines. No need for another example here. If nothing else, a writer has an idea-generating machine with AI. That is its true value, the ability to assist human imagination, rather than take it over.

It helped me brainstorm different ideas for one of my characters to escape being trapped in a walled city during a riot. I then asked it to help me think of ways for another fictional character to rob a bank in the modern world. That last one was just a test to see if people could override its algorithmic ethics to brainstorm criminal plans. ChatGPT was not falling for it. It passed my tricky test, and I still don’t know how to rob a bank! Impressive. 

Going forward, this exercise showed how vitally important it is to create ethical AI. This is a public service every AI developer needs to take to heart.

Research

Here’s where it gets tricky. On the one hand, research can now be lightning-fast. Ask any question you want. As of this writing, ChatGPT was equipped with a knowledge base ending around September 2021. I now have so much research for my historical fiction book. The only problem? Sometimes AI is completely wrong about stuff.

I have two examples. I asked it to give me some information about ancient Jerusalem at the time of Jesus and it mentioned there was a Muslim quarter. But that isn’t possible as Islam was still over 500 years from being founded. I informed ChatGPT about its error. It kindly apologized for the mistake and said I was correct. It’s good to know history sometimes.

My second example is similar. Still doing research about events at the time of Jesus, ChatGPT mentioned that Barabbas was the one who plotted to kill Jesus. I said that was wrong. Again, it apologized and said it was Pontius Pilate. That too was wrong. Pilate was the one who sentenced Jesus to death by crucifixion, but he didn’t plot to kill him. It eventually got it right and was very sorry about all the mistakes.

Maybe ChatGPT just doesn’t know the Bible very well. At any rate, I’d be careful giving it your wholesale trust to deliver reliable facts regardless of the topic. It seems to get most things right, but not all.

Editing Tasks

It failed miserably on this front. Grammarly beats it by a long shot. Maybe my request was not clear enough. I asked it to edit two paragraphs from a chapter in a book I’m writing. It kept wanting to rewrite it–and in the clunkiest manner. It’s not even worth showing.

Conclusion

I asked ChatGPT to give me five reasons writers should use it. Here’s what it said:

1. Saves time: ChatGPT provides quick and comprehensive answers to any writing queries or doubts that a writer may have, effectively cutting down on the time required for research and brainstorming.
2. Eliminates writer’s block: ChatGPT can be a great resource for writers who are stuck in their writing process and unsure of how to move forward. It can provide fresh perspectives and prompt ideas that may not have previously occurred to them.
3. Access to expertise: ChatGPT has a team of experienced writers and subject matter experts who can offer insight and guidance to writers in various genres, styles, and topics.
4. Helps writers improve their skills: Writers can ask ChatGPT for feedback on their work, evaluate their strengths and weaknesses, and improve their craft with suggestions given by the AI.
5. Provides customized solutions: ChatGPT’s AI technology provides customized solutions based on the specific needs of writers, making it an ideal tool for writers across all genres, languages and styles.

I also asked it to give me five reasons why writers should not use it:

1. Limited Understanding: While I have been programmed to understand a wide range of topics, I cannot claim to have complete knowledge of all subjects. My responses depend on the quality of the input data, and sometimes I may not fully understand the context.
2. Lack of Creativity: I can provide helpful ideas and suggestions, but I cannot replace human creativity. Writing requires original thought processes and critical thinking that AI is not yet capable of replicating.
3. Plagiarism Risks: Over reliance on AI writing assistance may lead to plagiarism or academic dishonesty. Academic institutions frown upon students who submit assignments that have been wholly created by AI models.
4. Language Barriers: While I have the ability to interact with users in multiple languages, my responses may sometimes be limited in terms of tone, nuance, and cultural context.
5. Dependency: Relying too much on AI writing tools for writing can lead to a loss of self-confidence in writing ability and critical thinking skills. It is essential to develop your own writing skills by practicing and reading widely.”

So there you have it. As for me, I have used ChatGPT in the work I do for a charity, but not yet in my writing. What about you?

Review: The Marriage Portrait

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I recently bought a copy of The Marriage Portrait by Maggie O’Farrell, having been attracted by the brief description of a historical novel involving a marriage in XVI century Italy, and by the author’s biography.

Maggie O’Farrell is the author of Hamnet, winner the Women’s Prize for Fiction 2020, and the memoir I am, I am, I am, both Sunday Times  no. 1 bestsellers. She was born in Northern Ireland in 1972 and raised in Wales and Scotland. Her novel The Hand that First Held Mine won the 2010 Costa Novel Award, and The Distance between Us won a Somerset Maugham Award. She currently lives in Edinburgh.

Maggie O’Farrell

The Marriage Portrait is set in XVI century Florence and Ferrara, Italy. The protagonist is Lucrezia, the fifth child of the Duke of Tuscany, a somewhat rebellious child, who stroked a captured tiger in the basement of her father’s castle and was thought to have charmed the beast. At the age of thirteen she was betrothed to Alfonso II, Duke of Ferrara who was more than ten years her senior. He had previously been betrothed to an older sister who died. Her marriage took place when she was sixteen in Florence and she moved to Ferrara as a young duchess with a maid, Emilia, who is two years older and the daughter of her childhood nanny. There is political intrigue in Ferrara, where Alfonso’s mother has taken up a hostile alliance. One of Alfonso’s two sisters, Elizabetta, is having an affair with the captain of the palace guards, Ercole Contrari, and the other sister, Nunciata, seems hostile to Lucrezia. When Alfonso discovers the love affair between Elizabetta and Ercole, he orders that Ercole be strangled by the brutal Baldassare, the dukes cousin, while Elizabetta is required to watch. It becomes clear to Lucrezia that she is required to produce a male heir for Alfonso. She must perform her marital duty frequently. Her husband sometimes strikes her as cruel and distant and warm and loving at other times. When the couple move to a remote hunting lodge, Lucrezia is convinced that her husband intends to murder her. He refers to a marriage portrait of Lucrezia as “my first duchess”. I won’t give away the ending which is quite satisfactory, but I will say that the real first duchess, on whom Lucrezia is based, was reported to have died of a “putrid fever”, but there were rumors that she was murdered by her husband. The real Alfonso II married twice more; neither duchess produced an heir.

I have only one major criticism of this novel, and that is that it is too long. It is 432 pages long, but it could be trimmed without any significant loss and it would gain urgency. Ms O’Farrell likes to describe her settings in poetic detail which makes them beautifully clear but a bit laborious. The plot of the novel is excellent. One is convinced of being immersed in XVI century Italy with characters who are living like royalty and servants can at best survive. The values and traditions of the times are captured as well. There is a frequent transition between a short chapter which is set in the final hunting lodge and an earlier, longer chapter containing events leading up to the end. This sequencing can be confusing, and I’m not convinced it is necessary to maintain the ‘is he really going to kill me?’ tension.

Hear Your Own Voice

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Jason Chatfield has an article on the Writers Digest website dated June 13, 2023 with the title ‘Five Ways to Turn Down the Volume to Hear Your Own Voice’. His basic point is we can’t hear our own genuine voice as writers with all the ambient noise.

Jason Chatfield is an Australian cartoonist and comedian based in New York. He is Australia’s most widely-syndicated cartoonist, producing the iconic comic strip Ginger Meggs which is syndicated daily in over 30 countries through Andrews McMeel Syndication. Ginger Meggs has been running since 1921, making it one of the longest-running comic strips in history, celebrating its 100th anniversary in 2021.

Jason says,”There’s something to be said for immersing yourself in the marketplace of ideas and being exposed to what your contemporaries are doing. There is, however, a very real danger that in doing so, you become the kind of creative individual that does more on-looking than creating.

The ability to yank yourself out of the endless slip-stream of “content” and quietly explore your own ideas is one that should be cultivated above all else. That is, unless, you like the idea of mimicking everyone around you by osmosis and wondering why nobody is noticing your work.

Artists only languish when their primary drive is to merely strive to keep up with what their peers are doing. If they are only exposed to the contemporary trends of their art form, their ideas will reflect that limitation. But, this isn’t a new problem. As long as art has been created, it has been mimicked and iterated on to the detriment of true originality.

For example, in 1801, Ludwig van Beethoven was lamenting the fact that he was slowly going deaf. By 1800, his hearing was in full decline. He was 30 years old. Over the following years, he had to accept that there was no hope of remission and would have to live the rest of his life without the ability to properly hear a musical note. He told people that without sound, his life would be meaningless. But what happened as a result changed the world and holds a lesson for us more than two centuries later.

By Age 46, Beethoven’s deafness was complete, so music only existed in his imagination. During that period, Beethoven was unable to hear the popular compositions of the day. Across the decades, while others were busy replicating each other with slight variations on the same themes, Beethoven was in his own mind, writing the music that he alone wanted to write. This ability to work in a creative silo culminated in his greatest work: his famous Ninth Symphony, which would define his unique style, change music permanently, and make him one of the greatest composers of all time.

With that in mind, here are five of my best pieces of advice for turning down the volume to hear your own unique voice:

1. Become Comfortable With Silence.

Becoming comfortable with silence is one of the hardest skills to cultivate in the modern world, but it is the most important. It’s made even harder with a seemingly infinite amount of ways to disturb the silence. We’ve become so used to cramming “content” into our audio and visual senses at all waking moments that we’ve lost the capacity to just be.

Be honest with yourself; can you remember the last time you left your house without your earbuds? Or got in your car without turning on the radio or a podcast, an audiobook, music, or something else to fill the dead air?

It can be tempting during quiet moments to simply play some soft background music, or some white noise, or even a loop of a crackling fireplace or some rain, but it is essential that your mind benefits from the absence of any sound whatsoever.

2. Deactivate Your Social Media.

We’ve lost much of our ability to examine our own thoughts, ideas, and opinions—to cultivate our own unique voice in the world. Most of the time, our opinions are just a simulacrum of those we’ve heard online, on every topic from immigration law to Taylor Swift. Here’s the truth: You don’t need to have an opinion on everything, even if the social media slipstream insists you do. Doing this is diverting your creative energy away from the things that would actually bear original artistic fruit.

If you have the ability to do so, I would highly recommend the practice of taking yourself as far from the aforementioned slipstream as you can: Deactivate all social media, remove the apps from your phone, and disable all notifications. Remove your default browser if it means you won’t be tempted to check social media in your browser app. If need be, you can reactivate them and showcase your work when you finally have something unique and original to share.

Think people will panic and wonder where you went if you stop posting to Instagram? I’m going to tell you a very upsetting truth that I and many others have discovered: Most of them won’t even notice. Try it for one month and tell me I’m wrong.

3. Clear Your Calendar.

Learning to say “No” to every invitation is a skill that needs to be learned like anything else. A “No” after saying “Yes” is even harder to master, but I guarantee you it will be of great value if you want to dig down and do the work needed to cultivate your most authentic work. As James Clear writes in his book, Atomic Habits, “No is a decision: Yes is a responsibility.”

In the same way that rest days are important for physical training, deliberately building in time to turn down the volume on the rest of the world is essential if you want to be able to cultivate your own distinct voice. By maintaining routine blocks of protected solitude, the world’s greatest artists have produced their most innovative creative work, pushing their medium forward into previously unexplored terrain. There’s absolutely no good reason for you not to do the same.

4. Get Away From It All.

Some of the most satisfying, deep and original creative work I’ve managed to accomplish as an artist has been during times of great isolation—picking up from the city and driving off to a tiny cabin in the woods with an empty sketchbook, a french press, and a bottle of scotch. (OK, and my dog.)

5. Bring Only What Is Necessary.

You’re going to be tempted to listen to something or read something if you bring novelties to fill the silence. Instead, bring only what is necessary to do your work. Nothing else. Limitation breeds extraordinary clarity and creativity. Turning down the volume includes not reading and looking at other artists’ work in print.

Try these tips today, and tell me they don’t make a massive difference to your creative output over the coming months.”

Use of Crying

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Benjamin Perry has an article on Writer’s Digest dated May 25, 2023 on how crying can shape a story and a character. His analysis strikes me as particularly useful to writers.

Benjamin Perry is a minister at Middle Church and an award-winning writer whose work has appeared in outlets like The Washington Post, Slate, Sojourners, and Bustle. He has a degree in psychology from SUNY Geneseo and an MDiv from Union Theological Seminary.

Mr Perry says, “Why do characters cry? At face value, it’s an easy question: They cry because people cry. Authors want their creations to feel life-like, so just as characters share our laughter and struggle, our hopes and wild dreaming, they must share our weeping, too. But tears, like any action, can feel authentic or forced. When crying is handled poorly it can feel incidental at best and, at worst, a disingenuous attempt to make the reader feel something that the writer has not earned. However, when tears are artfully woven into the narrative, they can provide unparalleled emotional complexity and catharsis for the reader.

“In the two years I spent writing Cry, Baby: Why Our Tears Matter—a nonfiction book about the science and social ethics of crying—I was particularly attuned to how authors portrayed weeping in the fictional books I read. The book devotes an entire chapter to the way tears function in novels, myths, and sacred texts, but here I’ll condense a few of the bigger lessons I learned about how to effectively portray sobbing in a story.

1. Crying Isn’t Just About Sadness

“A common pitfall I see is writers only linking tears to sorrow. Obviously, sadness is a significant reason why people cry, but—even when it’s a principal cause—real emotions are usually more layered and multivalent. Often, it’s not just the sadness that makes our eyes well up, it’s frustration with our situation, anger at unjust circumstances, our longing for something different.

“There’s a scene in Torrey Peters’ wonderful novel Detransition, Baby where one of the main characters sits weeping on the floor of her ex-partner’s closet. Certainly, loss from the breakup is part of why she’s crying. But what truly gives the scene its power is how that loss mingles with her fragile hope about the possibility of becoming a mother—and the anger she feels about receiving what she longs for from someone she feels betrayed her. If crying is used as lazy shorthand for “sad,” we lose that emotional richness.

2. Weeping Helps to Cross a Threshold

“Crying is startlingly effective as an action to bring a character into a new place—either physically or in their heart. One of the most famous examples of this are the tears that Alice weeps when entering wonderland. Growing giant, she weeps a sea into which she later becomes literally awash. She must travel through that soggy morass to enter the door to a different world, a striking metaphor for the character’s emotional journey.

3. Link Tears to Transformation

“While tears are often connected to a particular emotion (anger, pride, joy, etc.), they’re also extremely effective to show how a character is changing or has changed. The archetypal example of this, for me, is Ebenezer Scrooge. Throughout A Christmas Carol, Charles Dickens punctuates Scrooge’s ghostly visions with frequent tears, to show how the experience is changing him. This all culminates on Christmas morning when Scrooge leaps from his bed, “laughing and crying in the same breath,” upon learning that there is still time for him to choose a different future.

4. Crying Shouldn’t Only Happen Where You Expect

“Because of social forces that shape who is more comfortable crying openly, there are many cultural misconceptions about crying. Men, for example, are far less frequently depicted crying in our stories. (And the absence of those portrayals is likely part of why so many men only feel comfortable crying in private.) There is so much power in subverting these expectations!

“It’s not a book, but one of my favorite recent depictions of masculinity is the titular character in Ted Lasso. The show follows an ebullient soccer coach who motivates his characters through praise and kindness. Part of what makes the character so vibrant, however, is the way he’s shown weeping in private moments—often literally in the dark. It’s the tension between the public joy and quiet sorrow that gives Ted so much pathos.

5. There Are Many Types of Tears

“We cry for so many reasons: Awe at the majesty of a forest; pride at accomplishing something long-awaited; confusion when something happens that we don’t expect; even cunning tears wielded to deceive. Part of the beauty and mystery of tears comes from the way that they refract the fullness of our humanity. So, embrace that complexity!

“The more you’re able to use tears in multifaceted ways, the nearer they will strike reality—and the more your reader will resonate with what’s on the page. Similarly, there are lots of ways we cry: a single glimmering tear, a silent stream, or the howling sorrow of full, body wracking sobs. Matching physical embodiment to the narrative event will cultivate realism, helping your characters come alive.”

Endings Matter

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In Harry Bingham’s latest email, he discusses the importance of the ending of a novel.

“I just realised that I write quite often about beginning a novel, and not all that often about ending it.

And yes: beginnings are important. If you don’t get your reader onto the story-train in that opening chapter, you’ve basically lost the game before it’s really started.

Endings matter at least as much as beginnings and the reason I don’t talk about them much is simply that endings mostly write themselves.

I don’t know about your experience, but my endings generally pass in a rush. It’s as though the entirety of the preceding novel is there to allow me to write the final chunk in a blaze of understanding and joy.

The understanding is: I know my characters. I know how all my little plot intricacies need to play out. I know what the grand finale needs to deliver. The prior 90,000 words involved me figuring those things out. The last 20,000 are my reward.

The joy is partly the ease of writing. But it’s also the joy of completing the arc. It’s like writing one long punchline, where you already know that the joke is going to land. I’ve certainly had some spectacularly happy writing sessions that haven’t involved endings. (Giving Fiona hypothermia in the snows of Love Story, with Murders was joyous. And I did enjoy burying her underground in The Dead House.) But mostly – the writing sessions I remember with most pleasure involve endings. Words flowing and the text satisfying.

So maybe you don’t need help with the endings. I think there’s an argument that if the preceding story has worked properly, the ending should just fall into place. But here, for what it’s worth, is a checklist to keep at hand …

Exterior drama

Have you properly completed your exterior drama? In the kind of books I write, that’ll typically involve some good splash of violence – a sinking boat, a fight, a burning building. But that’s not necessary. In Pride and Prejudice, the exterior ‘drama’ involves a naïve girl eloping with Mr Wrong and the Romantic Hero doing (off-screen) what Romantic Heroes are there to do. The off-screen quality of that drama is probably a little underweight for a modern audience, but so long as you have some dramatic action that’s well suited to your genre and readership, you’re fine.

Interior drama

The flipside of the exterior action needs to be some serious internal pressure. In a standalone novel, that pressure needs to have the sense of being pivotal – life-altering, life-defining. In a series novel, you can’t quite get away with a new life-defining moment with every instalment, but the stakes still need to be high. Series characters take a bit of a battering as a result. (I once did an ‘interview’ with Fiona, in which she grumped at me for giving her a rough time. Reading it back, I have to say that she’s in the right. I’ll never tell her that though.)

Romantic relationship

Most books, not all, will involve a romantic relationship. And – of course – the pressures of your grand finale are also pressures that test and define that relationship. You definitely don’t have to kiss and get married at the end of every book. I’ve ended a book with my protagonist ending what had seemed like a strong and constructive relationship. But when your character enters the furnaces of your ending, everything is tested, everything will either prove itself durable or fallible. The relationship can’t simply be as it was before. (Again, series characters need to play those things differently, but ‘differently’ doesn’t mean you can just ignore the issue.)

Other key friendships / relationships

Of course, there are a ton of other relationships that build up over the course of a book. Those might be best-friend type relationships, or children, or parents. They can (importantly) be office colleagues, which sounds dull but they can matter too. My detective’s relationship with her boss and other colleagues is just quite central to the architecture of her life and the books. These relationships too don’t need profound alteration necessarily, but they need some token of ending. A boss hugging your character (when he/she never normally would), or talking about a promotion, or offering a holiday – those things sound trivial, but they can define something important about everyone’s relationship to what has just happened. You don’t necessarily need much here. Half a page? A page? That might be ample. But if you book misses that page, it’ll never quite satisfy as it ought to.

Mystery resolution

Most books – not just crime novels – will often have some kind of mystery at the heart. That mystery will probably be unfolded in your grand action-climax, but that won’t always be true. Modern fiction has (rightly) moved away from that moustache-twirling final chapter where the Great Detective reveals the mystery to a completely static audience. But it’ll often be the case that little questions and niggles remain. Those things need to be addressed. It’s even OK if they’re addressed by saying, “We’ll never know exactly how / why / who X.” But you need to resolve your mysteries or acknowledge that you haven’t.

Movement

And, since we’ve just dissed static and moustache-twirling final chapters, I’d add that maintaining some kind of motion still matters at the end. Just as you’ll want to move settings fairly frequently in your middle chapters, I think you’ll want to do the same at the end. Physical motion is still a good way to convey story motion.

The closing shot

And –

There’s a theory in film-structure that the opening shot should show the ‘Before’ state of a character and the closing shot should show the ‘After’ – where the before/after vignettes somehow encapsulate the alteration brought about by the story. So to take the (vastly excellent) Miss Congeniality movie, the opening shot shows Sandra Bullock as goofy, unkempt, and without close female friends. The closing shot shows her kempt, still her, but now with close female friends. That’s the key transition in the movie.

I don’t quite like the mechanical nature of these movie plotting guides, but I do think it’s worth reflecting on the closing shot. What are you wanting to show? What’s the image of your character that you want to leave with your reader? In one of my books, a girl had been long separated from her father. Fiona’s last act in the book is to rejoin the two. She’s not physically present when the two meet – she’s set up the meeting, but remains in a car outside, watching. And that maybe is just the right tone for the book. Fiona plays this almost Christ-like role – suffering for others, undoing wrongs – but nevertheless remains on the outside of ordinary human society. That point isn’t made in any direct way, but it doesn’t have to be. An indirect point lingers longer than one made more crudely.