great endings to essays

So much is at stake in writing a conclusion. This is, after all, your last chance to persuade your readers to your point of view, to impress yourself upon them as a writer and thinker. And the impression you create in your conclusion will shape the impression that stays with your readers after they've finished the essay.

The end of an essay should therefore convey a sense of completeness and closure as well as a sense of the lingering possibilities of the topic, its larger meaning, its implications: the final paragraph should close the discussion without closing it off.

To establish a sense of closure, you might do one or more of the following:

• Conclude by linking the last paragraph to the first, perhaps by reiterating a word or phrase you used at the beginning.
• Conclude with a sentence composed mainly of one-syllable words. Simple language can help create an effect of understated drama.
• Conclude with a sentence that's compound or parallel in structure; such sentences can establish a sense of balance or order that may feel just right at the end of a complex discussion.

To close the discussion without closing it off, you might do one or more of the following:

• Conclude with a quotation from or reference to a primary or secondary source, one that amplifies your main point or puts it in a different perspective. A quotation from, say, the novel or poem you're writing about can add texture and specificity to your discussion; a critic or scholar can help confirm or complicate your final point. For example, you might conclude an essay on the idea of home in James Joyce's short story collection,  Dubliners , with information about Joyce's own complex feelings towards Dublin, his home. Or you might end with a biographer's statement about Joyce's attitude toward Dublin, which could illuminate his characters' responses to the city. Just be cautious, especially about using secondary material: make sure that you get the last word.
• Conclude by setting your discussion into a different, perhaps larger, context. For example, you might end an essay on nineteenth-century muckraking journalism by linking it to a current news magazine program like  60 Minutes .
• Conclude by redefining one of the key terms of your argument. For example, an essay on Marx's treatment of the conflict between wage labor and capital might begin with Marx's claim that the "capitalist economy is . . . a gigantic enterprise of dehumanization "; the essay might end by suggesting that Marxist analysis is itself dehumanizing because it construes everything in economic -- rather than moral or ethical-- terms.
• Conclude by considering the implications of your argument (or analysis or discussion). What does your argument imply, or involve, or suggest? For example, an essay on the novel  Ambiguous Adventure , by the Senegalese writer Cheikh Hamidou Kane, might open with the idea that the protagonist's development suggests Kane's belief in the need to integrate Western materialism and Sufi spirituality in modern Senegal. The conclusion might make the new but related point that the novel on the whole suggests that such an integration is (or isn't) possible.

Finally, some advice on how not to end an essay:

• Don't simply summarize your essay. A brief summary of your argument may be useful, especially if your essay is long--more than ten pages or so. But shorter essays tend not to require a restatement of your main ideas.
• Avoid phrases like "in conclusion," "to conclude," "in summary," and "to sum up." These phrases can be useful--even welcome--in oral presentations. But readers can see, by the tell-tale compression of the pages, when an essay is about to end. You'll irritate your audience if you belabor the obvious.
• Resist the urge to apologize. If you've immersed yourself in your subject, you now know a good deal more about it than you can possibly include in a five- or ten- or 20-page essay. As a result, by the time you've finished writing, you may be having some doubts about what you've produced. (And if you haven't immersed yourself in your subject, you may be feeling even more doubtful about your essay as you approach the conclusion.) Repress those doubts. Don't undercut your authority by saying things like, "this is just one approach to the subject; there may be other, better approaches. . ."

Copyright 1998, Pat Bellanca, for the Writing Center at Harvard University

• PRO Courses Guides New Tech Help Pro Expert Videos About wikiHow Pro Upgrade Sign In
• EDIT Edit this Article
• EXPLORE Tech Help Pro About Us Random Article Quizzes Request a New Article Community Dashboard This Or That Game Popular Categories Arts and Entertainment Artwork Books Movies Computers and Electronics Computers Phone Skills Technology Hacks Health Men's Health Mental Health Women's Health Relationships Dating Love Relationship Issues Hobbies and Crafts Crafts Drawing Games Education & Communication Communication Skills Personal Development Studying Personal Care and Style Fashion Hair Care Personal Hygiene Youth Personal Care School Stuff Dating All Categories Arts and Entertainment Finance and Business Home and Garden Relationship Quizzes Cars & Other Vehicles Food and Entertaining Personal Care and Style Sports and Fitness Computers and Electronics Health Pets and Animals Travel Education & Communication Hobbies and Crafts Philosophy and Religion Work World Family Life Holidays and Traditions Relationships Youth
• Browse Articles
• Learn Something New
• Quizzes Hot
• This Or That Game
• Train Your Brain
• Explore More
• Support wikiHow
• About wikiHow
• Log in / Sign up
• Education and Communications
• College University and Postgraduate
• Academic Writing

How to Conclude an Essay (with Examples)

Last Updated: April 3, 2023 Fact Checked

Writing a Strong Conclusion

What to avoid, brainstorming tricks.

This article was co-authored by Jake Adams and by wikiHow staff writer, Aly Rusciano . Jake Adams is an academic tutor and the owner of Simplifi EDU, a Santa Monica, California based online tutoring business offering learning resources and online tutors for academic subjects K-College, SAT & ACT prep, and college admissions applications. With over 14 years of professional tutoring experience, Jake is dedicated to providing his clients the very best online tutoring experience and access to a network of excellent undergraduate and graduate-level tutors from top colleges all over the nation. Jake holds a BS in International Business and Marketing from Pepperdine University. There are 8 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 3,207,497 times.

So, you’ve written an outstanding essay and couldn’t be more proud. But now you have to write the final paragraph. The conclusion simply summarizes what you’ve already written, right? Well, not exactly. Your essay’s conclusion should be a bit more finessed than that. Luckily, you’ve come to the perfect place to learn how to write a conclusion. We’ve put together this guide to fill you in on everything you should and shouldn’t do when ending an essay. Follow our advice, and you’ll have a stellar conclusion worthy of an A+ in no time.

Things You Should Know

• Rephrase your thesis to include in your final paragraph to bring the essay full circle.
• End your essay with a call to action, warning, or image to make your argument meaningful.
• Keep your conclusion concise and to the point, so you don’t lose a reader’s attention.
• Do your best to avoid adding new information to your conclusion and only emphasize points you’ve already made in your essay.

• “All in all”
• “Ultimately”
• “Furthermore”
• “As a consequence”
• “As a result”

• Make sure to write your main points in a new and unique way to avoid repetition.

• Let’s say this is your original thesis statement: “Allowing students to visit the library during lunch improves campus life and supports academic achievement.”
• Restating your thesis for your conclusion could look like this: “Evidence shows students who have access to their school’s library during lunch check out more books and are more likely to complete their homework.”
• The restated thesis has the same sentiment as the original while also summarizing other points of the essay.

• “When you use plastic water bottles, you pollute the ocean. Switch to using a glass or metal water bottle instead. The planet and sea turtles will thank you.”
• “The average person spends roughly 7 hours on their phone a day, so there’s no wonder cybersickness is plaguing all generations.”
• “Imagine walking on the beach, except the soft sand is made up of cigarette butts. They burn your feet but keep washing in with the tide. If we don’t clean up the ocean, this will be our reality.”
• “ Lost is not only a show that changed the course of television, but it’s also a reflection of humanity as a whole.”
• “If action isn’t taken to end climate change today, the global temperature will dangerously rise from 4.5 to 8 °F (−15.3 to −13.3 °C) by 2100.”

• Focus on your essay's most prevalent or important parts. What key points do you want readers to take away or remember about your essay?

• For instance, instead of writing, “That’s why I think that Abraham Lincoln was the best American President,” write, “That’s why Abraham Lincoln was the best American President.”
• There’s no room for ifs, ands, or buts—your opinion matters and doesn’t need to be apologized for!

• For instance, words like “firstly,” “secondly,” and “thirdly” may be great transition statements for body paragraphs but are unnecessary in a conclusion.

• For instance, say you began your essay with the idea that humanity’s small sense of sense stems from space’s vast size. Try returning to this idea in the conclusion by emphasizing that as human knowledge grows, space becomes smaller.

• For example, you could extend an essay on the television show Orange is the New Black by bringing up the culture of imprisonment in America.

Community Q&A

• Always review your essay after writing it for proper grammar, spelling, and punctuation, and don’t be afraid to revise. Thanks Helpful 2 Not Helpful 1
• Ask a friend, family member, or teacher for help if you’re stuck. Sometimes a second opinion is all you need. Thanks Helpful 2 Not Helpful 1

You Might Also Like

• ↑ https://www.uts.edu.au/current-students/support/helps/self-help-resources/grammar/transition-signals
• ↑ https://owl.purdue.edu/owl/general_writing/common_writing_assignments/argument_papers/conclusions.html
• ↑ http://writing2.richmond.edu/writing/wweb/conclude.html
• ↑ https://writingcenter.fas.harvard.edu/pages/ending-essay-conclusions
• ↑ https://www.pittsfordschools.org/site/handlers/filedownload.ashx?moduleinstanceid=542&dataid=4677&FileName=conclusions1.pdf
• ↑ https://www.cuyamaca.edu/student-support/tutoring-center/files/student-resources/how-to-write-a-good-conclusion.pdf
• ↑ https://library.sacredheart.edu/c.php?g=29803&p=185935

About This Article

To end an essay, start your conclusion with a phrase that makes it clear your essay is coming to a close, like "In summary," or "All things considered." Then, use a few sentences to briefly summarize the main points of your essay by rephrasing the topic sentences of your body paragraphs. Finally, end your conclusion with a call to action that encourages your readers to do something or learn more about your topic. In general, try to keep your conclusion between 5 and 7 sentences long. For more tips from our English co-author, like how to avoid common pitfalls when writing an essay conclusion, scroll down! Did this summary help you? Yes No

• Send fan mail to authors

Reader Success Stories

Eva Dettling

Jan 23, 2019

Did this article help you?

Mar 7, 2017

Jul 16, 2021

Gabby Suzuki

Oct 17, 2019

Nicole Murphy

Apr 26, 2017

Featured Articles

Trending Articles

Watch Articles

• Terms of Use
• Privacy Policy
• Do Not Sell or Share My Info
• Not Selling Info

wikiHow Tech Help Pro:

Develop the tech skills you need for work and life

• Link to facebook
• Link to linkedin
• Link to twitter
• Link to youtube
• Writing Tips

5 Examples of Concluding Words for Essays

4-minute read

• 19th September 2022

If you’re a student writing an essay or research paper, it’s important to make sure your points flow together well. You’ll want to use connecting words (known formally as transition signals) to do this. Transition signals like thus , also , and furthermore link different ideas, and when you get to the end of your work, you need to use these to mark your conclusion. Read on to learn more about transition signals and how to use them to conclude your essays.

Transition Signals

Transition signals link sentences together cohesively, enabling easy reading and comprehension. They are usually placed at the beginning of a sentence and separated from the remaining words with a comma. There are several types of transition signals, including those to:

●  show the order of a sequence of events (e.g., first, then, next)

●  introduce an example (e.g., specifically, for instance)

●  indicate a contrasting idea (e.g., but, however, although)

●  present an additional idea (e.g., also, in addition, plus)

●  indicate time (e.g., beforehand, meanwhile, later)

●  compare (e.g., likewise, similarly)

●  show cause and effect (e.g., thus, as a result)

●  mark the conclusion – which we’ll focus on in this guide.

When you reach the end of an essay, you should start the concluding paragraph with a transition signal that acts as a bridge to the summary of your key points. Check out some concluding transition signals below and learn how you can use them in your writing.

To Conclude…

This is a particularly versatile closing statement that can be used for almost any kind of essay, including both formal and informal academic writing. It signals to the reader that you will briefly restate the main idea. As an alternative, you can begin the summary with “to close” or “in conclusion.” In an argumentative piece, you can use this phrase to indicate a call to action or opinion:

To conclude, Abraham Lincoln was the best president because he abolished slavery.

Find this useful?

Subscribe to our newsletter and get writing tips from our editors straight to your inbox.

As Has Been Demonstrated…

To describe how the evidence presented in your essay supports your argument or main idea, begin the concluding paragraph with “as has been demonstrated.” This phrase is best used for research papers or articles with heavy empirical or statistical evidence.

As has been demonstrated by the study presented above, human activities are negatively altering the climate system.

The Above Points Illustrate…

As another transitional phrase for formal or academic work, “the above points illustrate” indicates that you are reiterating your argument and that the conclusion will include an assessment of the evidence you’ve presented.

The above points illustrate that children prefer chocolate over broccoli.

In a Nutshell…

A simple and informal metaphor to begin a conclusion, “in a nutshell” prepares the reader for a summary of your paper. It can work in narratives and speeches but should be avoided in formal situations.

In a nutshell, the Beatles had an impact on musicians for generations to come.

Overall, It Can Be Said…

To recap an idea at the end of a critical or descriptive essay, you can use this phrase at the beginning of the concluding paragraph. “Overall” means “taking everything into account,” and it sums up your essay in a formal way. You can use “overall” on its own as a transition signal, or you can use it as part of a phrase.

Overall, it can be said that art has had a positive impact on humanity.

Proofreading and Editing

Transition signals are crucial to crafting a well-written and cohesive essay. For your next writing assignment, make sure you include plenty of transition signals, and check out this post for more tips on how to improve your writing. And before you turn in your paper, don’t forget to have someone proofread your work. Our expert editors will make sure your essay includes all the transition signals necessary for your writing to flow seamlessly. Send in a free 500-word sample today!

Share this article:

Post A New Comment

Got content that needs a quick turnaround? Let us polish your work. Explore our editorial business services.

3-minute read

How to Insert a Text Box in a Google Doc

Google Docs is a powerful collaborative tool, and mastering its features can significantly enhance your...

2-minute read

How to Cite the CDC in APA

If you’re writing about health issues, you might need to reference the Centers for Disease...

5-minute read

Six Product Description Generator Tools for Your Product Copy

Introduction If you’re involved with ecommerce, you’re likely familiar with the often painstaking process of...

What Is a Content Editor?

Are you interested in learning more about the role of a content editor and the...

The Benefits of Using an Online Proofreading Service

Proofreading is important to ensure your writing is clear and concise for your readers. Whether...

6 Online AI Presentation Maker Tools

Creating presentations can be time-consuming and frustrating. Trying to construct a visually appealing and informative...

Make sure your writing is the best it can be with our expert English proofreading and editing.

How To End A College Essay - 6+ Strategies, Tips & Examples

Reviewed by:

Former Admissions Committee Member, Columbia University

Reviewed: 3/25/24

Are you having trouble writing a conclusion for your college essay? Here’s how to end a college essay with expert tips and examples. 

‍ Writing the perfect ending for your college essay is no easy feat; it can be just as challenging as starting your college essay . But don’t fear - we’ve got you covered! This complete guide will discuss everything you need to know about how to end a college application essay. Follow along for tips, examples, and more.

Let’s get started!

How to End Your College Essay

After an energetic essay , it’s essential to end on a high note. Your conclusion should be clear, concise, and, most importantly - memorable. 

Here are some strategies on how to end your personal statement. 

• Circle back to the opening using a "full-circle" structure.
• Unveil the central point or revelation within your narrative.
• Consider the future implications or possibilities.
• Conclude with a decisive action or resolution.

Remember, your ending shouldn't summarize the essay, repeat points that have already been made, or taper off into nothingness. You don’t want it to just fade out–you want it to go out with a bang! Keeping it interesting at this stage can be challenging, but it can make or break a good college essay. 

What Makes an Essay Ending Great?

A good ending of an essay reflects your voice and personality, avoiding clichés or generic statements that lack originality. End on a positive, forward-looking note that demonstrates your excitement for the future and your readiness to take on new challenges.

6 College Essay Endings Examples and Tips

Let’s go over some college application essay ending examples. Follow along to learn different powerful strategies you can use to end your college essay.

1. End the Essay With The Lesson Learned Statement

One of the best things you can do in your college essay is demonstrate how you can get back up after getting knocked down. Showing the admissions committee how you’ve learned and grown from a challenging life event is an excellent way to present yourself as a strong candidate. 

Think of this method as the ending of a good novel about a complex character: they’re not perfect, but they try to be better, and that’s what counts. In your college essay, you’re the main character of your story. Don’t be afraid to talk about a mistake you’ve made as long as you demonstrate (in your conclusion) that you learned something valuable.

Here’s an example of a college essay ending from a Harvard student using the “Lesson Learned” technique:

"The best thing that I took away from this experience is that I can't always control what happens to me, especially as a minor, but I can control how I handle things. In full transparency: there were still bad days and bad grades, but by taking action and adding a couple of classes into my schedule that I felt passionate about, I started feeling connected to school again. From there, my overall experience with school – and life in general – improved 100%."

Why It Works 

This is a good example because it effectively demonstrates the "Lesson Learned" technique by showcasing personal growth and resilience. 

The conclusion reflects on the experiences and challenges faced by the applicant, emphasizing the valuable lessons learned and the positive changes made as a result. It shows maturity, self-awareness, and the ability to overcome obstacles, which can leave a positive impression on admissions committees.

2. End the Essay With the Action-Packed Conclusion Method

As you see in the movies, ending your college essay in action can leave an impactful impression on the admissions committee. In the UMichigan example below, the student ends their essay on an ambiguous, energetic note by saying, “I never saw it coming,” as the last line. 

You can also achieve this approach by ending your essay with dialogue or a description. For example, “Hi Mom, I’m not coming home just yet,” or “I picked up my brother's phone, and dialed the number.” These are examples of endings that leave you “in the action”–dropping off the reader almost mid-story, leaving them intrigued. 

Here is an example of an “action-packed” college essay ending from a UMichigan student .

"No foreign exchange trip could outdo that. I am a member of many communities based on my geography, ethnicity, interests, and talents, but the most meaningful community is the one that I never thought I would be a part of…

On that first bus ride to the Nabe, I never saw it coming.”

The example from the UMichigan student provides a strong ending to the college essay by using an "action-packed" approach. It engages the reader with an unexpected twist, creating intrigue and leaving them wanting more. 

The phrase "I never saw it coming" adds a sense of anticipation and curiosity, making the conclusion memorable. This technique effectively leaves the reader with a lasting impression, showcasing the applicant's storytelling skills and ability to capture attention.

3. End the Essay By Going Full Circle

As you may know, a “full circle” ending ties the story’s ending to the very beginning. Not to be confused with a summary, this method is an excellent way to leave a lasting impression on your reader. 

When using this technique, tie the very first sentence with the very last. Avoid over-explaining yourself, and end with a very simple recall of the beginning of the story. Keep in mind if you use this method, your “full circle” should be straightforward and seamless, regardless of the essay topic . 

Here is an example of a “Full Circle” college essay ending from a Duke student :

“So next time it rains, step outside. Close your eyes. Hear the symphony of millions of water droplets. And enjoy the moment.”

In response to the beginning: 

“The pitter-patter of droplets, the sweet smell that permeates throughout the air, the dark grey clouds that fill the sky, shielding me from the otherwise intense gaze of the sun, create a landscape unparalleled by any natural beauty.”

This example of a "Full Circle" college essay ending is effective because it masterfully connects the ending to the beginning of the story. The essay begins with a vivid description of a rainy day, and the conclusion seamlessly brings the reader back to that initial scene. 

It emphasizes the importance of savoring the moment, creating a sense of reflection and unity in the narrative. This technique allows the reader to feel a sense of closure and reinforces the central theme of the essay, making it a strong and memorable conclusion.

4. End the Essay By Addressing the College

Directly addressing your college is a popular method, as it recalls the main reason you want to attend the school. If you choose to address your school, it is imperative to do your research. You should know precisely what you find attractive about the school, what it offers, and why it speaks to you. 

Here is a college essay ending example using the “College Address” technique from a UMichigan Student:

"I want to join the University of Michigan’s legacy of innovators. I want to be part of the LSA community, studying economics and political science. I want to attend the Ford School and understand how policy in America and abroad has an effect on global poverty. I want to be involved with the Poverty Solutions Initiative, conducting groundbreaking research on the ways we can reform our financial system to better serve the lower and middle classes.”

This is a good example because it effectively utilizes the "College Address" technique. The student clearly articulates their specific intentions and aspirations related to the University of Michigan. 

They showcase a deep understanding of the university's offerings and how these align with their academic and career goals. This kind of conclusion demonstrates genuine interest and a strong connection to the school, which can leave a positive impression on admissions committees.

5. End the Essay With a Look To the Future

Admissions committees want to know how attending their school will help you on your journey. To use this method, highlight your future goals at the end of your essay. You can highlight what made you want to go to this school in the first place and what you hope to achieve moving forward. If done correctly, this can be highly impactful.

Here is a college essay ending example from a med student using the “Look To The Future” technique:

“I want to tell my peers that doctors like my grandfather are not only healers in biology but healers in the spirit by the way he made up heroic songs for the children and sang the fear out of their hearts. I want to show my peers that patients are unique individuals who have suffered and sacrificed to trust us with their health care, so we must honor their trust by providing quality treatment and empathy.

My formative experiences in pediatrics contributed to my globally conscious mindset, and I look forward to sharing these diverse insights in my medical career.”

This is a good example because it effectively ties the applicant's personal experiences and aspirations to their desire to attend the specific school. It showcases a clear passion for medicine and a genuine desire to make a positive impact on patients' lives. 

By highlighting the applicant's unique perspective gained from their experiences in pediatrics and emphasizing their commitment to providing quality care and empathy, it demonstrates a strong connection between their goals and the opportunities offered by the school. 

This kind of conclusion helps the admissions committee understand how the applicant will contribute to the school's community and align with their future ambitions.

6. End the Essay by Showing You’ve Learned What Not to Do

Admissions committees are unimpressed by clichéd and generic conclusions that fail to demonstrate an applicant's individuality or genuine interest in the institution. Unfortunately, many students fall into the trap of providing vague recaps of their academic journey without adding any unique insights or future aspirations. 

Below is an example of such an unimpressive conclusion:

"In conclusion, I've learned a lot throughout my life, and I hope to continue learning in college. College will be a new chapter for me, and I'm excited to see where it takes me. I'm looking forward to the opportunities and experiences that lie ahead, and I can't wait to grow as a person. College is the next step in my journey, and I'm ready to embrace it with open arms."

Why It Doesn't Work

This is a bad example because it's overly generic and doesn't offer any specific insights or compelling reasons why the applicant is interested in the college. It simply states the obvious without adding any depth or uniqueness to the conclusion. Admissions committees are looking for applicants to stand out and showcase their genuine enthusiasm for the institution, which this conclusion fails to do. So, make sure to avoid essay topics that don’t genuinely excite you.

If you want 190+ examples of good college essays , we’ve got you covered. Learn how to craft the perfect college essay from introduction to conclusion and everything in between.

​​3 College Essay Endings to Avoid

You want your essay to have an impactful ending - but these methods may have the opposite impact. Now that you know some effective ways to end your college essay, let’s go over some methods to avoid. 

1. The Summary

Remember that you’re writing a college essay, not a high school assignment you need to scrape through. Avoid simply summarizing the points you made during your essay. This method can come off as lazy and ultimately leave a negative impression on the admissions committee–or no impression at all. Instead, end the essay on a high note, with a point of action, or with your future goals. 

2. The Famous Quote

Some students start their college essay with one, and some end it with one. Neither is a good idea. Avoid using a famous quote anywhere in your essay, as it can give the impression that you don’t know what to write. The admissions committee wants to get to know you –they already know the famous quotes.

Unless you’ve done thorough research and are quoting someone affiliated with the school, you should avoid quotes altogether in your college essay.

3. The Needy Student

In your college essay conclusion, avoid begging for admission. You don’t want to come off desperate in your essay. Saying things like “Please consider me” or “I really want to attend” doesn’t say anything about you and doesn’t read smoothly. Instead, demonstrate who you are and how you’ve learned and grown in your life. Focus on you, not them!

Tips and Strategies on How to Approach Essay’s Conclusion

When it comes to nailing your college essay's conclusion, here are some practical tips to keep in mind:

• Sum It Up : Your conclusion should be a neat little bow that wraps up your essay. Summarize the key points you've made throughout, but don't just regurgitate what you've already said. Instead, try to offer a fresh perspective or insight that ties everything together in a meaningful way.
• Look Ahead : Your conclusion is also a great opportunity to connect your past experiences with your future goals. Show the admissions committee how attending their college fits into your grand plan. They want to see that you have a clear vision for your future and that their institution plays a key role in helping you achieve it.
• Get personal : Don't be afraid to get specific and personal in your conclusion. Use vivid anecdotes and details to make your writing come alive. The more authentic and genuine you can be, the more likely you are to leave a lasting impression on your reader.
• Show your growth : Admissions committees love to see how you've grown and changed as a result of your experiences. Use your conclusion to reflect on the lessons you've learned and how you've matured. This shows that you're self-aware and ready to tackle the challenges of college life.
• End with a bang : Your final sentence should be like a mic drop moment. Leave your reader with something to think about, whether it's a thought-provoking question, a powerful quote, or a call to action. The key is to end on a strong, confident note that leaves a lasting impression.

Your college essay's conclusion is your chance to make a final pitch. It should reinforce your suitability for the college and leave a strong, positive impression on the admissions committee. So, take your time and craft it carefully—it's worth the effort.

FAQs: How to End a College Essay

Here are some answers to frequently asked questions about how to end a college application essay.

1. How Do You Conclude a College Essay?

The end of your college essay should be strong, clear, and impactful. You can talk about your future goals, end in a moment of action, talk about what you’ve learned, or go full circle. Whatever method you choose, make sure to avoid summarizing your essay.

2. What Is a Good Closing Sentence?

A good closing sentence on your college essay is impactful, meaningful, and makes the reader think. You’ll want to ensure the reader remembers your essay, so conclude with something unique that ends your story with a bang.

3. What Words Can You Use to End an Essay?

Avoid saying “to conclude,” “to summarize,” or “finally.” Your essay should end on a high note, like the ending of a movie. Think of moving sentences such as “I never saw it coming,” “I’ll always remember what happened,” or “I’ve learned so much since then.”

Access 190+ sample college essays here

Final Thoughts

By following our tips, you should be on track to write a stellar college essay with an impactful ending. Think of what you’ve learned, what you’ll do in the future, and where you can end the story that would leave a lasting impression. 

If you’re still having a hard time ending your college essay, you can always contact an expert or counselor to help guide you through the process. 

Good luck with your essay!

Get A Free Consultation

You may also like.

Yale vs. Princeton: Which College to Choose?

What Is the SSAT? Everything You Need to Know

• SAT BootCamp
• SAT MasterClass
• SAT Private Tutoring
• SAT Proctored Practice Test
• ACT Private Tutoring
• Academic Subjects
• College Essay Workshop
• Academic Writing Workshop
• AP English FRQ BootCamp
• 1:1 College Essay Help
• Online Instruction
• Free Resources

How to end a college essay

How to end your college application essay (with examples).

Bonus Material: PrepMaven’s 30 College Essays That Worked

We’ve all been there: you’ve just about finished creating a brilliant, gripping piece of writing. All that’s left is to wrap it up with the perfect ending…but how do you give your essay the kind of ending that sticks with the reader, that wraps everything up neatly?

With college application essays, the stakes are even higher: the right ending can ensure you stand out from the thousands of other applicants and wow admissions officers. 

At PrepMaven, we’ve helped thousands of students do just that: create compelling, memorable admissions essays that land them acceptances at top-tier universities. 

In this post, we’ll specifically break down how to put those finishing touches on your Common App essay (or any other personal essay), providing examples so you can see exactly how each technique works. 

You can also feel free to hit the button below to download a free collection of 30 successful essays that worked, many of which provide great examples of these very strategies. 

Download 30 College Essays That Worked

Jump to section: Necessary elements of a college essay ending Reflect Connect to your narrative Look ahead to college 3 specific ways to end your college essay (with examples!)   The full-circle callback   The return with a difference   The statement of purpose Next Steps

Necessary elements of a college essay ending

In this section of the post, we’ll cover the beats that every college essay ending should hit to be maximally successful. Later, we’ll show you specific tricks for ending the essay–structures that you can easily integrate into your own writing. If you’d like to jump there, click here: specific ways to end your college essay .

Regardless of which specific technique you use to wrap up your essay, though, it should still help you accomplish the key things we list below. The fact is, college admissions counselors are really looking for pretty specific things in these essays. 

Whatever the structure, tone, or style of your admissions essay, you should be sure that the conclusion does all of the following:

Connect to your narrative

Look ahead to college.

If you’ve read our other posts on how to structure your application essay or how to start it , you probably already know a big part of your personal statement should involve a story. 

But it can’t be just a story: just as important is an element of reflection, which is best developed at the conclusion of your essay. 

What do we mean by reflection? Simply put, you need to think through the story you’ve laid out throughout the entire essay and articulate what it says about you, why it matters. In essence, the reflection is your answer to the question, “So what?”

For example, if you write an essay about giving up professional dance, your reflection might be about how that choice led you to view dance differently, perhaps as something that you can value independently regardless of whether you pursue it as a career. You might then expand that reflection to other elements of your life: did that changed viewpoint also apply to how you view academics, the arts, or other extracurriculars? 

Or say you wrote an essay about overcoming an obstacle to your education. Your reflection might then touch on how this process shaped your thinking, altered how you view challenges, or led you to develop a particular approach to academics and schoolwork. 

The key here is that you really show us the process of you thinking through the important changes/lessons/etc. at play in your essay. It’s not enough to just say, “This is important because X.” Admissions committees want to see you actually think through this. Real realizations don’t usually happen in an instant: you should question and consider, laying your thoughts out on paper. 

Rhetorical questions are often a great way to do this, as is narrating the thought process you underwent while overcoming the obstacle, learning the lesson, or whatever your story might be. 

A suggestion we often give our students is to read over the story you’ve written, and ask yourself what it means to you, what lessons you can take from it. As you ask and answer those questions, put those onto the page and work through them in writing. You can always clean it up and make it more presentable later. 

Below, we’ve selected the conclusion from Essay 2 in our collection of   30 Essays that Worked . In that essay, the writer spends most of the intro and body discussing their love for hot sauce and all things spicy, as well as how they’ve pursued that passion. Take a look at how they end their essay:

I’m not sure what it is about spiciness that intrigues me. Maybe my fungiform papillae are mapped out in a geography uniquely designed to appreciate bold seasonings. Maybe these taste buds are especially receptive to the intricacies of the savors and zests that they observe. Or maybe it’s simply my burning sense of curiosity. My desire to challenge myself, to stimulate my mind, to experience the fullness of life in all of its varieties and flavors.

In that example, the student doesn’t just tell us “the lesson.” Instead, we get to see them actively working through what the story they’ve told means and why it matters by offering potential ways it’s shaped them. Notice that it’s perfectly okay for the student not to have one clear “answer;” it actually works even better, in this case, that the student is wondering, thinking, still figuring things out. 

That’s reflection, and every good college application essay does it in one form or another. 

Who, on paper, are you? We know–it’s a brutal question to try to answer. That’s what these essays are all about, though, and these college essay conclusions are the perfect place to tie everything together. 

Now, this doesn’t mean you should try to cram elements of your resume or transcript into the end of your essay–please don’t! When we say the conclusion should “connect to your narrative,” we mean that you should write it while bearing in mind the other aspects of your application the admissions committee will be looking at. 

So, the conclusion of your college essay should work to connect the story and reflection you’ve developed with the broader picture of you as a college applicant. In a way, this goes hand in hand with reflection: you want your conclusion to tie all these threads together, explaining why this all matters in the context of college applications. 

You might, as in the above “hot sauce” essay example, allude to an element of your personality/mentality that your personal statement exemplifies. In that example, we can clearly see the writer showing off some scientific knowledge (“fungiform papillae”) while also highlighting their “curiosity” and desire to challenge themselves. 

This helps the reader see what this whole story is meant to tell us about the applicant, connecting to who they are and what they’re looking for. 

Or, you might connect this reflection to your academic goals. Or else you could connect elements of your story and reflection to some passion evident in the rest of your application. Often, the best essays involve a mix of all of these connections, but there’s no “right” or “wrong” connection to make, so long as it develops convincingly from the story you’ve told. 

There are numerous ways to go here, and it doesn’t have to be super heavy-handed or to take up much real estate. Simply bear in mind that these essays gain an additional sense of balance when they resonate with other elements of your broader high school narrative. 

Though it’s true these college essays are, in part, ways to demonstrate your writing skills and ability to respond concisely to a complicated essay prompt, their primary purpose is to show a college admissions counselor why you’re a good fit for their college. 

So, a strong college essay ending should draw strong connections to your future as (hopefully) a college student. As with the previous point, this is one that you don’t need to go over the top with! Don’t take away from your story by suddenly telling us how smart you are and what great grades you’ll get. 

Instead, you might want to suggest how the experiences you write about have prepared you for college–or, even better, how they’ve shaped what you hope to get out of the next four years. 

Generally, this is a small and subtle part of your conclusion: it might be a sentence, or it might even be the kind of thing that you imply without stating directly. The idea is that a college admissions officer reading your essay will walk away with some idea of why you’d be a good fit for college in general. 

In the example we quoted above, the essay does this fairly subtly: by describing their desire to challenge themselves and stimulate their mind, the writer is clearly alluding to the exact kinds of things college is for, even if they don’t come right out and say it. 

A successful college conclusion will contain all three of these elements. You can find thirty fantastic examples of such conclusions in the sample college essays below.

Read on for 3 specific techniques to end your college admissions essay. 

3 Specific ways to end your college essay (with examples!)

Each of the essay endings we cover below is designed to help your essay develop a sense of closure while simultaneously accomplishing all of those tricky things it needs to do to wow admissions officers. 

While all of these endings have been proven to work countless times, how you incorporate them and which you choose matters–a lot!

Because every student’s essay is (or at least should be) unique, we recommend getting a trusted advisor to offer guidance on how to wrap up your essay. You can get paired up with one of our expert tutors quickly by contacting us here . 

Now, for the techniques. 

The full-circle callback

This is probably the most classic ending structure for college essays, and with good reasons. The premise is simple: your essay’s conclusion will return to the image, story, or idea that your essay began with. 

Take a look at the below example, which includes just the first and last paragraphs of Essay 12 from our collection of 30 essays that worked . In this essay, the writer uses a discussion of food to explore their integration into American society as a Russian immigrant. 

“So long as you have food in your mouth, you have solved all questions for the time being.” – Franz Kafka […] So, Kafka, I hope that next time a memorable quote comes to mind, you think before you speak. Because when peanut butter cleaves to the roof of my mouth, I think about what it means “to cleave:” both to adhere closely to and to divide, as if by a cutting blow, especially along a natural weakness. And I think about my dual identity, how the Russian side and American side simultaneously force each other apart and bring each other together. I think about my past, feeling a little ashamed, and about my present and future, asking how I can create harmony between these two sides of me. That, Kafka, does not sound like solved questions to me. This student started with a quote from Kafka (a risky move, but check out our post on “ How to start your college essay ” to see why it was a good choice in this case). After spending the majority of the essay exploring how American and Russian foods can serve as a shorthand for their relationship to their Russian-American identity, this author ends with a final paragraph that returns to the Kafka quote and continues to work through it. 

Why does it work?

In part, people just love a full-circle ending, the idea that something ends up back where it began. 

Specifically, this ending helps the student tick off all three of our boxes for what a conclusion must do: 

• They reflect (by thinking further about the quote and even the specific word “cleave”)
• They connect to their narrative (by bringing it back to their own identity)
• They look ahead (by highlighting their desire to create harmony in the future)

Check, check, check–plus, they come up with a clever enough one-liner at the end, slamming poor Kafka for a perhaps hyperbolic quote. 

The Return with a difference

This one is quite similar to the full-circle callback, but shouldn’t be confused with it. With this ending technique, you do indeed return to whatever you began your personal statement with. The emphasis, however, is on some significant change or perspective shift. The below example, once again taken from Essay 18 in our collection of 30 college essays that worked, makes what we mean more clear: 

I first encountered Naruto Uzumaki when I was seven and was immediately captivated by his story. An orphan navigating the world alone, without guidance or love, Naruto was misunderstood and often despised, deemed a threat by his village. Although my loving and supportive family was intact, I sympathized with Naruto. Even more, I appreciated his grit and audacity, thrilled by the way he managed to rewrite his own narrative, forging a new path and transforming himself into a hero.    […] Today, I am the protagonist of my own story. Hard work, baby steps, large leaps, occasional setbacks, countless revisions and refinements- all are essential to my journey of discovery. Ranging from unraveling the mystery of dark gravity, to writing a handful of papers that scrape a few flakes off the mountain of the unknown, my narrative is evolving; I am a work in progress and a champion of insight, advancement, and positive change. 

This essay starts by describing the appeal of Naruto’s story to the writer. When the writer concludes by saying that “I am the protagonist of my own story,” it’s clearly a reference to that initial introduction. 

The focus, however, is on the difference or shift: the author is no longer primarily captivated by Naruto’s story; instead, they’re excited to be carving out their own. It’s a return, but with a (big) difference, and that difference is precisely what allows this conclusion to succeed in hitting each of those key elements: 

• It reflects (highlighting the theme of discovery and the hard work that it took to get to this point)
• It connects to the broader narrative (making reference to this student’s interests in science and research)
• It looks ahead to college (emphasizing the continued growth this student looks forward to)

It isn’t a coincidence that essays using the four techniques we’re outlining here succeed so well in capturing the key elements of an application essay conclusion. While these techniques can’t guarantee success, they certainly set you up for it: the structure of each of these methods makes it much easier to give college admissions counselors exactly what they’re looking for. 

The Direct Appeal

Compared to the previous techniques, this one is a lot more direct. It involves finishing your essay by directly addressing how the story you’ve been telling has shaped your future desires, often by articulating some goal you plan to accomplish or by highlighting the importance of college. 

You might think of it as leaning much more heavily on the “look forward to college” element of the conclusion. This ending technique can be risky, and really depends on how effectively you’ve been able to convey your story up to this point. 

Whereas the other ending techniques we’ve mentioned can, in general, only help the overall quality of your essay, this one can backfire. It tends to work best for essays that highlight some particular struggle you’ve overcome, or some injustice you plan to address. 

Take a look at an excerpt from Essay 29, which discusses the writer’s experiences as lower-income student attending an expensive private school, for a good use of the direct appeal: 30 college essays that worked : 

    Today, the drug-ravaged apartments of Southern Trace are transformed. Gentrified shortly after we moved, they boast a different crowd—Lisa and Linda have since been priced out of their homes and evicted. Heroin-addicts are replaced by “prettier” middle-class families; police rarely need visit their homes. Though dysfunctional, my childhood neighborhood was a community—people wrought with problems but filled with compassion, with beauty. But where was their voice when developers began to renovate? Who was there to listen? This community is an intrinsic part of me: I want to be their voice. And, with my understanding of the socioeconomic palette, maybe I can provide the canvas to blend the world of my childhood with the privileged society of Cincinnati Hills.  

Although this essay actually combines a few of our ending techniques (returning to something discussed in the introduction), it’s a great example of when a direct appeal works. This student shows a nuanced understanding of a complex socioeconomic issue that hits close to home. Their “pitch” at the end of this essay is simple: “I want to be their voice.” 

In this particular essay, the direct appeal works because it feels honest, like it comes from a real place (though you’ll have to read the entire essay to really see that). In terms of our 3 criteria, it easily fits the bill: 

• It reflects on this student’s “dysfunctional” neighborhood and how those issues shaped the student’s viewpoint. 
• It connects to their broader narrative, both by highlighting their own identity and their “understanding of the socioeconomic palate.”
• It looks ahead to college, clearly articulating how the student’s long term goal–fighting for economically marginal communities–is an outcome of this story and a motivation for them to attend college. 

This is a perfect example of the direct appeal in action. In another, weaker essay, however, simply saying something like “I want to be their voice” might not work at all. If the actual story were weaker, if the student’s background were less carefully explained, it might have simply come off as preachy or presumptuous. 

The techniques we’ve outlined here will take you far. But, as always when the stakes are this high, we really recommend getting a professional opinion on your college essays. Our college essay tutors aren’t just fantastic writers: they’re expert editors who can ensure that you don’t miss anything in your own essays. Get paired with one quickly by reaching out to us here . 

In the meantime, click the link below and check out our collection of 30 sample essays, which include the full text of all the examples used above. 

Mike is a PhD candidate studying English literature at Duke University. Mike is an expert test prep tutor (SAT/ACT/LSAT) and college essay consultant. Nearly all of Mike’s SAT/ACT students score in the top 5% of test takers; many even score above 1500 on the SAT. His college essay students routinely earn admission into their top-choice schools, including Harvard, Brown, and Dartmouth. And his LSAT students have been accepted In into the top law schools in the country, including Harvard, Yale, and Columbia Law.

Privacy Preference Center

Privacy preferences.

• Good Writing
• Revising & Rewriting
• Nonfiction Writing
• Academic Writing
• Travel Writing
• Literary Agents
• Getting Published
• Fiction Writing
• Self-Publishing
• Marketing & Selling Books
• Building a Blog
• Making Money Blogging
• Boosting Blog Traffic
• Online Writing
• eZine Writing
• Making Money Online
• Non-Fiction Writing
• Magazine Writing
• Pitching Query Letters
• Working With Editors
• Professional Writers
• Newspaper Writing
• Making Money Writing
• Running a Writing Business
• Privacy Policy

How to End Your Article: 5 Ways to Write a Powerful Conclusion

• April 28, 2024
• 13 Comments

A good article ends with a conclusion that surprises the reader, yet makes sense. Writing an ending that summarizes your ideas is difficult, but not impossible.

Endings are important. So important, in fact, that some writers say a strong ending is more important than a strong beginning. I disagree. If you don’t hook your reader from the start, she’ll never get to the end.

Nevertheless, ending your article on a high note gives it power to stick with the reader forever. Or a really long time. In this article, you won’t find a “one size fits all” tip on how to end your article because it doesn’t exist. You will, however, find the five most effective ways to write a conclusion.

“It is always important to know when something has reached its end,” writes Paulo Coelho in The Zahir: A Novel of Obsession . “Closing circles, shutting doors, finishing chapters, it doesn’t matter what we call it; what matters is to leave in the past those moments in life that are over.”

Sometimes the ending practically writes itself. Other times you have to wrestle that ending to the ground. Either way, you must be alert. Writing a great conclusion is easier when you have a variety of tools and techniques to choose from. Who goes into battle empty-handed? These five tips for ending your article will help you find the right way to say “The End” without coming out and saying…The End.

Whether you’re writing an article for a national magazine or blogging a little blurb, keep the ending at the back of your mind. What impression do you want to leave the readers with? How do you want them to feel, what do you want them to do? As you research, write and revise your article, stay alert to possible endings. Play with different ideas.

5 Powerful Ways to End Your Article

Some writers say the conclusion of an article could work just as well as the introduction – with a slight modification. I think it depends on your article, writing style, and audience.

Your conclusion rounds out the article, ties up the loose ends. It’s not an afterthought. To be powerful, a strong ending has to develop naturally from the article, essay, or chapter. The conclusion has to both surprise readers and make them feel like they should’ve known it was coming all along.

1. End with a quotation that looks back or looks forward

You don’t necessarily want to add anything too new to the end of your article, but you can include a surprising twist. Readers want the same, but different. So do editors and publishers. So, give your reader more of what you’ve been doing in the article — ending with a little poke in the ribs.

“…don’t make the surprise so foreign that it seems out of place and doesn’t tie into the article. If the quote or surprising statement seems out of place, then you only leave the reader confused, and you have lost the value of what you have built throughout the article,” writes Roger Palms in Effective Magazine Writing: Let Your Words Reach the World .

2. Invite the reader to go in a different direction

The most powerful ending neatly wraps up the article  and gives the reader something new to think about. This is difficult for most writers – even seasoned freelancers. Imagine your ending as a fork in the road. Where do you want readers to go? Write two or three different endings, then take a break. Have a nap, visit another world. Now how does the ending feel? Maybe it needs more work, or maybe one of your conclusions does the job.

The bad news is there is no one perfect way to write a powerful ending to your article. This is also the good news! If there was one perfect way to end it, then all writers would use that conclusion. And it would lose its power. You need to find the right ending for your article.

3. Finish with a dollop of something different

“If you say in the first chapter that there is a rifle hanging on a wall, in the second or third chapter it absolutely must go off,” says Paula LaRocque, author of The Book on Writing: The Ultimate Guide to Writing Well . “If it’s not going to be fired, it shouldn’t be hanging there.”

This type of conclusion might involve weaving in (not tacking on) a whole new anecdote, or including a new bit of information that adds to the story you introduced in the lead or body of the article. Many professional freelance writers like to end with a relevant story, a little vignette, something that gives the reader a feeling that the essence of the article or essay was captured.

How do I end my articles? I circle back to the beginning somehow – it depends on the topic, interviewees, audience, article length, and deadline. I often include more information about something I introduced earlier in the article.

“What is this ‘more’ you speak of?”, you ask? It depends on the article you’re writing. That’s the pain and power of writing: so much simply depends on so many things. If you know how to end your article or essay but your writing is flimsy and weak, read  How to Write Powerful Words That Grab Attention .

4. If you must summarize, do it with style

Some endings need to clearly restate and summarize the article’s main argument. Other articles don’t need a summary because there wasn’t a stated theme. Does your article need a summary? Ask it. Ask yourself as the writer. Maybe even ask a beta reader. If you’re arguing for or describing something complicated or new to readers, perhaps a summary is the most powerful way to end the article.

A summary isn’t the most creative   way to end your article, but you can spice it up with different literary techniques. Use sensory details to fire up your writing, or bring an inanimate object alive with personification. Learn different types of  edgy and quirky writing . Sometimes it’s not what you write…it’s how you write it.

Here’s how NOT to end an article:

• “In summary, I would like to say….”
• “The End.”
• “In conclusion, may I reiterate….”
• “I know I said this in my intro and in paragraphs three through thirty, but it cannot be overstated that…”

I take a week to write magazine articles. This allows my brain and the article to tell me how to write a powerful ending. It’s never perfect, but it is as good as I can write it.

5. Circle back to the beginning

The final, most powerful tip on how to end an article: write a conclusion that refers back to your introduction or opening statements. This, says some professional freelance writers, gives readers a feeling of arrival.

You could pick up a word, a phrase, or part of an anecdote from your introduction, and round it out more. Don’t just repeat it; expand on it, color it in, give it some texture and depth. Ideally, leave readers with a hook at the end of your article – something that lodges in their minds so deeply that they can’t forget it right away.

Good writing isn’t just about learning how to end an article with a strong conclusion or conclude an essay with a summary of all your main points. Rather, good writing is about weaving all the aspects of the whole piece together.

Are you writing for a magazine?

In 11 Most Popular Articles to Write for Magazines (Freelance Writing is Easier Than You Think!) I share tips for getting published in magazines.

Getting published in print and online magazines is a lot easier when you know what types of articles editors and publishers need.

I welcome your thoughts on writing good endings – and learning how to listen to your article for the ending it wants to tell. Remember that writing a good ending involves editing and revising; it’s not something you can just tack onto the end.

She Blossoms Newsletter

Comments cancel reply.

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Notify me of new posts by email.

13 thoughts on “How to End Your Article: 5 Ways to Write a Powerful Conclusion”

Great article! Your explanation of how to write a conclusion was very clear and informative. I particularly appreciated the tips on summarizing the main points and tying them together to leave a lasting impact on the reader. Thank you for sharing this valuable information with the writing community

Appreciate the encouragement!

Just to say: Paula LaRocque is quoting (or ripping off?!) master playwright Anton Chekhov there (about the gun that must go off). It’s a pretty famous quote from him: he just says “acts” instead of chapters, since he was a playwright. Just sayin’! Thanks for the tips on endings!

39 Different Ways to Say ‘In Conclusion’ in an Essay (Rated)

The phrase “In conclusion …” sounds reductive, simple and … well, just basic.

You can find better words to conclude an essay than that!

So below I’ve outlined a list of different ways to say in conclusion in an essay using a range of analysis verbs . Each one comes with an explanation of the best time to use each phrase and an example you could consider.

Read Also: How to Write a Conclusion using the 5C’s Method

List of Ways to Say ‘In Conclusion’ in an Essay

The following are the best tips I have for to say in conclusion in an essay.

1. The Weight of the Evidence Suggests…

My Rating: 10/10

Overview: This is a good concluding phrase for an evaluative essay where you need to compare two different positions on a topic then conclude by saying which one has more evidence behind it than the other.

You could also use this phrase for argumentative essays where you’ve put forward all the evidence for your particular case.

Example: “The weight of the evidence suggests that climate change is a real phenomenon.”

2. A Thoughtful Analysis would Conclude…

My Rating: 9/10

Overview: I would use this phrase in either an argumentative essay or a comparison essay. As an argument, it highlights that you think your position is the most logical.

In a comparison essay, it shows that you have (or have intended to) thoughtfully explore the issue by looking at both sides.

Example: “A thoughtful analysis would conclude that there is substantial evidence highlighting that climate change is real.”

Related Article: 17+ Great Ideas For An Essay About Yourself

3. A Balanced Assessment of the Above Information…

Overview: This phrase can be used to show that you have made a thoughtful analysis of the information you found when researching the essay. You’re telling your teacher with this phrase that you have looked at all sides of the argument before coming to your conclusion.

Example: “A balanced assessment of the above information would be that climate change exists and will have a strong impact on the world for centuries to come.”

4. Across the Board…

My Rating: 5/10

Overview: I would use this phrase in a less formal context such as in a creative discussion but would leave it out of a formal third-person essay. To me, the phrase comes across as too colloquial.

Example: “Across the board, there are scientists around the world who consistently provide evidence for human-induced climate change.”

5. Logically…

My Rating: 7/10

Overview: This phrase can be used at the beginning of any paragraph that states out a series of facts that will be backed by clear step-by-step explanations that the reader should be able to follow to a conclusion.

Example: “Logically, the rise of the automobile would speed up economic expansion in the United States. Automobiles allowed goods to flow faster around the economy.

6. After all is Said and Done…

Overview: This is a colloquial term that is more useful in a speech than written text. If you feel that the phrase ‘In conclusion,’ is too basic, then I’d also avoid this term. However, use in speech is common, so if you’re giving a speech, it may be more acceptable.

Example: “After all is said and done, it’s clear that there is more evidence to suggest that climate change is real than a hoax.”

7. All in All…

Overview: ‘All in all’ is a colloquial term that I would use in speech but not in formal academic writing. Colloquialisms can show that you have poor command of the English language. However, I would consider using this phrase in the conclusion of a debate.

Example: “All in all, our debate team has shown that there is insurmountable evidence that our side of the argument is correct.”

8. All Things Considered…

My Rating: 6/10

Overview: This term is a good way of saying ‘I have considered everything above and now my conclusion is..’ However, it is another term that’s more commonly used in speech than writing. Use it in a high school debate, but when it comes to a formal essay, I would leave it out.

Example: “All things considered, there’s no doubt in my mind that climate change is man-made.”

9. As a Final Note…

My Rating: 3/10

Overview: This phrase gives me the impression that the student doesn’t understand the point of a conclusion. It’s not to simply make a ‘final note’, but to summarize and reiterate. So, I would personally avoid this one.

Example: “As a final note, I would say that I do think the automobile was one of the greatest inventions of the 20 th Century.”

10. As Already Stated…

My Rating: 2/10

Overview: I don’t like this phrase. It gives teachers the impression that you’re going around in circles and haven’t organized your essay properly. I would particularly avoid it in the body of an essay because I always think: “If you already stated it, why are you stating it again?” Of course, the conclusion does re-state things, but it also adds value because it also summarizes them. So, add value by using a phrase such as ‘summarizing’ or ‘weighing up’ in your conclusion instead.

Example: “As already stated, I’m going to repeat myself and annoy my teacher.”

11. At present, the Best Evidence Suggests…

My Rating: 8/10

Overview: In essays where the evidence may change in the future. Most fields of study do involve some evolution over time, so this phrase acknowledges that “right now” the best evidence is one thing, but it may change in the future. It also shows that you’ve looked at the latest information on the topic.

Example: “At present, the best evidence suggests that carbon dioxide emissions from power plants is the greatest influence on climate change.”

12. At the Core of the Issue…

Overview: I personally find this phrase to be useful for most essays. It highlights that you are able to identify the most important or central point from everything you have examined. It is slightly less formal than some other phrases on this list, but I also wouldn’t consider it too colloquial for an undergraduate essay.

Example: “At the core of the issue in this essay is the fact scientists have been unable to convince the broader public of the importance of action on climate change.”

13. Despite the shortcomings of…

Overview: This phrase can be useful in an argumentative essay. It shows that there are some limitations to your argument, but , on balance you still think your position is the best. This will allow you to show critical insight and knowledge while coming to your conclusion.

Often, my students make the mistake of thinking they can only take one side in an argumentative essay. On the contrary, you should be able to highlight the limitations of your point-of-view while also stating that it’s the best.

Example: “Despite the shortcomings of globalization, this essay has found that on balance it has been good for many areas in both the developed and developing world.”

14. Finally…

My Rating: 4/10

Overview: While the phrase ‘Finally,’ does indicate that you’re coming to the end of your discussion, it is usually used at the end of a list of ideas rather than in a conclusion. It also implies that you’re adding a point rather that summing up previous points you have made.

Example: “Finally, this essay has highlighted the importance of communication between policy makers and practitioners in order to ensure good policy is put into effect.”

15. Gathering the above points together…

Overview: While this is not a phrase I personally use very often, I do believe it has the effect of indicating that you are “summing up”, which is what you want out of a conclusion.

Example: “Gathering the above points together, it is clear that the weight of evidence highlights the importance of action on climate change.”

16. Given the above information…

Overview: This phrase shows that you are considering the information in the body of the piece when coming to your conclusion. Therefore, I believe it is appropriate for starting a conclusion.

Example: “Given the above information, it is reasonable to conclude that the World Health Organization is an appropriate vehicle for achieving improved health outcomes in the developing world.”

17. In a nutshell…

Overview: This phrase means to say everything in the fewest possible words. However, it is a colloquial phrase that is best used in speech rather than formal academic writing.

Example: “In a nutshell, there are valid arguments on both sides of the debate about socialism vs capitalism.”

18. In closing…

Overview: This phrase is an appropriate synonym for ‘In conclusion’ and I would be perfectly fine with a student using this phrase in their essay. Make sure you follow-up by explaining your position based upon the weight of evidence presented in the body of your piece

Example: “In closing, there is ample evidence to suggest that liberalism has been the greatest force for progress in the past 100 years.”

19. In essence…

Overview: While the phrase ‘In essence’ does suggest you are about to sum up the core findings of your discussion, it is somewhat colloquial and is best left for speech rather than formal academic writing.

Example: “In essence, this essay has shown that cattle farming is an industry that should be protected as an essential service for our country.”

20. In review…

Overview: We usually review someone else’s work, not our own. For example, you could review a book that you read or a film you watched. So, writing “In review” as a replacement for “In conclusion” comes across a little awkward.

Example: “In review, the above information has made a compelling case for compulsory military service in the United States.”

21. In short…

Overview: Personally, I find that this phrase is used more regularly by undergraduate student. As students get more confident with their writing, they tend to use higher-rated phrases from this list. Nevertheless, I would not take grades away from a student for using this phrase.

Example: “In short, this essay has shown the importance of sustainable agriculture for securing a healthy future for our nation.”

22. In Sum…

Overview: Short for “In summary”, the phrase “In sum” sufficiently shows that you are not coming to the moment where you will sum up the essay. It is an appropriate phrase to use instead of “In conclusion”.

But remember to not just summarize but also discuss the implications of your findings in your conclusion.

Example: “In sum, this essay has shown the importance of managers in ensuring efficient operation of medium-to-large enterprises.”

23. In Summary…

Overview: In summary and in sum are the same terms which can be supplemented for “In conclusion”. You will show that you are about to summarize the points you said in the body of the essay, which is what you want from an essay.

Example: “In summary, reflection is a very important metacognitive skill that all teachers need to master in order to improve their pedagogical skills.”

24. It cannot be conclusively stated that…

Overview: While this phrase is not always be a good fit for your essay, when it is, it does show knowledge and skill in writing. You would use this phrase if you are writing an expository essay where you have decided that there is not enough evidence currently to make a firm conclusion on the issue.

Example: “It cannot be conclusively stated that the Big Bang was when the universe began. However, it is the best theory so far, and none of the other theories explored in this essay have as much evidence behind them.”

25. It is apparent that…

Overview: The term ‘ apparent ’ means that something is ‘clear’ or even ‘obvious’. So, you would use this word in an argumentative essay where you think you have put forward a very compelling argument.

Example: “It is apparent that current migration patterns in the Americas are unsustainable and causing significant harm to the most vulnerable people in our society.”

26. Last but not least…

Overview: The phrase “last but not least” is a colloquial idiom that is best used in speech rather than formal academic writing. Furthermore, when you are saying ‘last’, you mean to say you’re making your last point rather than summing up all your points you already made. So, I’d avoid this one.

Example: “Last but not least, this essay has highlighted the importance of empowering patients to exercise choice over their own medical decisions.”

27. Overall…

My Rating: 7.5/10

Overview: This phrase means ‘taking everything into account’, which sounds a lot like what you would want to do in an essay. I don’t consider it to be a top-tier choice (which is why I rated it 7), but in my opinion it is perfectly acceptable to use in an undergraduate essay.

Example: “Overall, religious liberty continues to be threatened across the world, and faces significant threats in the 21 st Century.”

28. The above points illustrate…

Overview: This phrase is a good start to a conclusion paragraph that talks about the implications of the points you made in your essay. Follow it up with a statement that defends your thesis you are putting forward in the essay.

Example: “The above points illustrate that art has had an overwhelmingly positive impact on humanity since the renaissance.”

29. The evidence presented in this essay suggests that…

Overview: I like this phrase because it highlights that you are about to gather together the evidence from the body of the essay to put forward a final thesis statement .

Example: “The evidence presented in this essay suggests that the democratic system of government is the best for securing maximum individual liberty for citizens of a nation.”

30. This essay began by stating…

Overview: This phrase is one that I teach in my YouTube mini-course as an effective one to use in an essay conclusion. If you presented an interesting fact in your introduction , you can return to that point from the beginning of the essay to provide nice symmetry in your writing.

Example: “This essay began by stating that corruption has been growing in the Western world. However, the facts collected in the body of the essay show that institutional checks and balances can sufficiently minimize this corruption in the long-term.”

31. This essay has argued…

Overview: This term can be used effectively in an argumentative essay to provide a summary of your key points. Follow it up with an outline of all your key points, and then a sentence about the implications of the points you made. See the example below.

Example: “This essay has argued that standardized tests are damaging for students’ mental health. Tests like the SATs should therefore be replaced by project-based testing in schools.”

32. To close…

Overview: This is a very literal way of saying “In conclusion”. While it’s suitable and serves its purpose, it does come across as being a sophomoric term. Consider using one of the higher-rated phrases in this list.

Example: “To close, this essay has highlighted both the pros and cons of relational dialectics theory and argued that it is not the best communication theory for the 21 st Century.”

33. To Conclude…

Overview: Like ‘to close’ and ‘in summary’, the phrase ‘to conclude’ is very similar to ‘in conclusion’. It can therefore be used as a sufficient replacement for that term. However, as with the above terms, it’s just okay and you could probably find a better phrase to use.

Example: “To conclude, this essay has highlighted that there are multiple models of communication but there is no one perfect theory to explain each situation.”

34. To make a long story short…

My Rating: 1/10

Overview: This is not a good phrase to use in an academic essay. It is a colloquialism. It also implies that you have been rambling in your writing and you could have said everything more efficiently. I would personally not use this phrase.

Example: “To make a long story short, I don’t have very good command of academic language.”

35. To Sum up…

Overview: This phrase is the same as ‘In summary’. It shows that you have made all of your points and now you’re about to bring them all together in a ‘summary’. Just remember in your conclusion that you need to do more than summarize but also talk about the implications of your findings. So you’ll need to go beyond just a summary.

Example: “In summary, there is ample evidence that linear models of communication like Lasswell’s model are not as good at explaining 21 st Century communication as circular models like the Osgood-Schramm model .”

36. Ultimately…

Overview: While this phrase does say that you are coming to a final point – also known as a conclusion – it’s also a very strong statement that might not be best to use in all situations. I usually accept this phrase from my undergraduates, but for my postgraduates I’d probably suggest simply removing it.

Example: “Ultimately, new media has been bad for the world because it has led to the spread of mistruths around the internet.”

37. Undoubtedly…

Overview: If you are using it in a debate or argumentative essay, it can be helpful. However, in a regular academic essay, I would avoid it. We call this a ‘booster’, which is a term that emphasizes certainty. Unfortunately, certainty is a difficult thing to claim, so you’re better off ‘hedging’ with phrases like ‘It appears’ or ‘The best evidence suggests’.

Example: “Undoubtedly, I know everything about this topic and am one hundred percent certain even though I’m just an undergraduate student.”

38. Weighing up the facts, this essay finds…

Overview: This statement highlights that you are looking at all of the facts both for and against your points of view. It shows you’re not just blindly following one argument but being careful about seeing things from many perspectives.

Example: “Weighing up the facts, this essay finds that reading books is important for developing critical thinking skills in childhood.”

39. With that said…

Overview: This is another phrase that I would avoid. This is a colloquialism that’s best used in speech rather than writing. It is another term that feels sophomoric and is best to avoid. Instead, use a more formal term such as: ‘Weighing up the above points, this essay finds…’

Example: “With that said, this essay disagrees with the statement that you need to go to college to get a good job.”

Do you Need to Say Anything?

Something I often tell my students is: “Can you just remove that phrase?”

Consider this sentence:

• “In conclusion, the majority of scientists concur that climate change exists.”

Would it be possible to simply say:

• “ In conclusion, The majority of scientists concur that climate change exists.”

So, I’d recommend also just considering removing that phrase altogether! Sometimes the best writing is the shortest, simplest writing that gets to the point without any redundant language at all.

How to Write an Effective Conclusion

Before I go, I’d like to bring your attention to my video on ‘how to write an effective conclusion’. I think it would really help you out given that you’re looking for help on how to write a conclusion. It’s under 5 minutes long and has helped literally thousands of students write better conclusions for their essays:

You can also check out these conclusion examples for some copy-and-paste conclusions for your own essay.

In Conclusion…

Well, I had to begin this conclusion with ‘In conclusion…’ I liked the irony in it, and I couldn’t pass up that chance.

Overall, don’t forget that concluding an essay is a way to powerfully summarize what you’ve had to say and leave the reader with a strong impression that you’ve become an authority on the topic you’re researching. 

So, whether you write it as a conclusion, summary, or any other synonym for conclusion, those other ways to say in conclusion are less important than making sure that the message in your conclusion is incredibly strong.

Chris Drew (PhD)

Dr. Chris Drew is the founder of the Helpful Professor. He holds a PhD in education and has published over 20 articles in scholarly journals. He is the former editor of the Journal of Learning Development in Higher Education. [Image Descriptor: Photo of Chris]

• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ Social-Emotional Learning (Definition, Examples, Pros & Cons)
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ What is Educational Psychology?
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ What is IQ? (Intelligence Quotient)
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 5 Top Tips for Succeeding at University

Leave a Comment Cancel Reply

Your email address will not be published. Required fields are marked *

Literature's greatest closing paragraphs - best book endings of all time

Brilliant endings that will stay with you.

Writing the opening lines of a book is easy. Not that we’ve done it or anything. But just think of all the words that exist – you can choose any that you like. Just start bashing them out – words, words, words… And then you can go anywhere you like. Probably.

Writing the closing lines and/or paragraphs, however, now that’s hard. How to tie up your intricate web of intrigue? How to finish on a high?

Let’s leave it to the masters, eh? For your entertainment and intellectual wellbeing, 30 of the best closing lines in literature. Bang. The End.

The best book endings

1 . Animal Farm (George Orwell)

The creatures outside looked from pig to man; and from man to pig; and from pig to man again; but already it was impossible to say which was which.

2 . A Tale Of Two Cities (Charles Dickens)

It is a far, far better thing that I do, than I have ever done; it is a far, far better rest than I go to than I have ever known.

3 . The Great Gatsby (F Scott Fitzgerald )

So we beat on, boats against the current, borne back ceaselessly into the past.

4 . The Adventures Of Huckleberry Finn (Mark Twain)

But I reckon I got to light out for the Territory ahead of the rest, because Aunt Sally she’s going to adopt me and sivilize me and I can’t stand it. I been there before.

5 . The Road (Cormac McCarthy)

Once there were brook trout in the streams in the mountains. You could see them standing in the amber current where the white edges of their fins wimpled softly in the flow. They smelled of moss in your hand. Polished and muscular and torsional. On their backs were vermiculate patterns that were maps of the world in its becoming. Maps and mazes. Of a thing which could not be put back. Not be made right again. In the deep glens where they lived all things were older than man and they hummed of mystery.

6 . Picture Of Dorian Gray (Oscar Wilde)

When they entered, they found hanging upon the wall a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognized who it was.

7 . Crime And Punishment (Dostoevsky)

But that is the beginning of a new story - the story of the gradual renewal of a man, the story of his gradual regeneration, of his passing from one world into another, of his initiation into a new unknown life. That might be the subject of a new story, but our present story is ended.

8 . Catcher In The Rye (JD Salinger)

Don’t ever tell anybody anything. If you do, you start missing everybody.

9 . The Stranger (Albert Camus)

And I too felt ready to live my life again. As if this great outburst of anger had purged all my ills, killed all my hopes, I looked up at the mass of signs and stars in the night sky and laid myself open for the first time to the benign indifference of the world. And finding it so much like myself, in fact so fraternal, I realised that I’d been happy, and that I was still happy. For the final consummation and for me to feel less lonely, my last wish was that there should be a crowd of spectators at my execution and that they should greet me with cries of hatred.

10 . Wuthering Heights (Emily Brontë)

I lingered round them, under that benign sky; watched the moths fluttering among the heath, and hare-bells; listened to the soft wind breathing through the grass; and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth.

11 . Alice’s Adventures In Wonderland (Lewis Carroll)

Lastly, she pictured to herself how this same little sister of hers would, in the after-time, be herself a grown woman; and how she would keep, through all her riper years, the simple and loving heart of her childhood; and how she would gather about her other little children, and make their eyes bright and eager with many a strange tale, perhaps even with the dream of Wonderland of long ago; and how she would feel with all their simple sorrows, and find a pleasure in all their simple joys, remembering her own child-life, and the happy summer days.

12 . Heart Of Darkness (Joseph Conrad)

The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed sombre under an overcast sky – seemed to lead into the heart of an immense darkness.

13 . Anna Karenina (Leo Tolstoy)

I shall go on in the same way, losing my temper with Ivan the coachman, falling into angry discussions, expressing my opinions tactlessly; there will be still the same wall between the holy of holies of my soul and other people, even my wife; I shall still go on scolding her for my own fright and being remorseful for it; I shall still be as unable to understand with my reason why I pray, and I shall still go on praying; but my life now, my whole life apart from anything that can happen to me, every minute of it is no more meaningless, as it was before, but it has the positive meaning of goodness, which I have the power to put into it.

14 . The Dead (James Joyce)

A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

15 . On The Road (Jack Kerouac)

So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars'll be out, and don't you know that God is Pooh Bear? the evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what's going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty.

16 . The Trial (Franz Kafka)

But the hands of one of the gentleman were laid on K.’s throat, while the other pushed the knife deep into his heart and twisted it there, twice. As his eyesight failed, K. saw the two gentlemen cheek by cheek, close in front of his face, watching the result. “Like a dog!” he said, it was as if the shame of it should outlive him.

17 . Post Office (Charles Bukowski)

In the morning it was morning and I was still alive. Maybe I'll write a novel, I thought. And then I did.

18 . The Bell Jar (Sylvia Plath)

The eyes and faces all turned themselves towards me, and guiding myself by them, as by a magical thread, I stepped into the room

19 . Trainspotting (Irvine Welsh)

He had done what he had wanted to do. He could now never go back to Leith, to Edinburgh, even to Scotland, ever again. There, he could not be anything other than he was. Now, free from them all, for good, he could be what he wanted to be. He’d stand or fall alone. This thought both terrified and excited him as he contemplated life in Amsterdam.

20 . The Big Sleep (Raymond Chandler)

What did it matter where you lay once you were dead? In a dirty sump or on a marble tower on top of a high hill? You were dead, you were sleeping the big sleep, you were not bothered by things like that. Oil and water were the same as wind and air to you. You just slept the big sleep, not caring about the nastiness of how you died or where you fell. Me, I was part of the nastiness now. Far more a part of it than Rusty Regan was. But the old man didn’t have to be. He could lie quiet on his canopied bed with his bloodless hands folded on the sheet waiting. His heart was a brief uncertain murmur. His thoughts were as gray as ashes. And in little while, he too, like Rusty Regan would be sleeping the big sleep. On the way downtown I stopped at a bar and had a couple of double Scotches. They didn’t do me any good. All they did was make me think of Silver-Wig and I never saw her again.

21 . Killing Floor (Lee Child)

I had tears in my eyes for more than a hundred miles. Then the old bus rattled over the state line. I looked out at the southeast corner of Alabama. Opened Roscoe's envelope. It was the photograph of Joe. She'd taken it from Molly Beth's valise. Taken it out of the frame. Trimmed it with scissors to fit my pocket. On the back she had written her telephone number. But I didn't need that. I had already committed it to memory.

22 . Norwegian Wood (Haruki Murakami)

Gripping the receiver, I raised my head and turned to see what lay beyond the telephone booth. Where was I now? I had no idea. No idea at all. Where was this place? All that flashed into my eyes were the countless shapes of people walking by to nowhere. Again and again, I called out for Midori from the dead center of this place that was no place

23 . Brave New World (Aldous Huxley)

Slowly, very slowly, like two unhurried compass needles, the feet turned towards the right; north, north-east, east, south-east, south, south-south-west; then paused, and, after a few seconds, turned as unhurriedly back towards the left. South-south-west, south, south-east, east

24 . American Psycho (Bret Easton Ellis)

Someone has already taken out a Minolta cellular phone and called for a car, and then, when I'm not really listening, watching instead someone who looks remarkably like Marcus Halberstam paying a check, someone asks, simply, not in relation to anything, "Why?" and though I'm very proud that I have cold blood and that I can keep my nerve and do what I'm supposed to do, I catch something, then realize it: Why? and automatically answering, out of the blue, for no reason, just opening my mouth, words coming out, summarizing for the idiots: "Welll, though I know I should have done that instead of not doing it, I'm twenty-seven for Christ sakes and this is, uh, how life presents itself in a bar or in a club in New York, maybe anywhere, at the end of the century and how people, you know, me, behave, and this is what being Patrick means to me, I guess, so well, yup, uh..." and this is followed by a sigh, then a slight shrug and another sigh, and above one of the doors covered by red velvet drapes in Harry's is a sign and on the sign in letters that match the drapes' color are the words THIS IS NOT AN EXIT.

25 . Emma (Jane Austen)

But, in spite of these deficiencies, the wishes, the hopes, the confidence, the predictions of the small band of true friends who witnessed the ceremony, were fully answered in the perfect happiness of the union.

26 . To The Lighthouse (Virginia Woolf)

Yes, she thought, laying down her brush in extreme fatigue, I have had my vision.

27 . Lolita (Vladimir Nabokov)

The following decision I make with all the legal impact and support of a signed testament: I wish this memoir to be published only when Lolita is no longer alive.

Thus, neither of us is alive when the reader opens this book. But while the blood still throbs through my writing hand, you are still as much part of blessed matter as I am, and I can still talk to you from here to Alaska. Be true to your Dick. Do not let other fellows touch you. Do not talk to strangers. I hope you will love your baby. I hope it will be a boy. That husband of yours, I hope, will always treat you well, because otherwise my specter shall come at him, like black smoke, like a demented giant, and pull him apart nerve by nerve. And do not pity C. Q. One had to choose between him and H.H., and one wanted H.H. to exist at least a couple of months longer, so as to have him make you live in the minds of later generations. I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art. And this is the only immortality you and I may share, my Lolita.

28 . Harry Potter And The Deathly Hallows (JK Rowling)

The scar had not pained Harry for nineteen years. All was well.

29 . The Unnamable (Samuel Beckett)

Perhaps it’s done already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don’t know, I’ll never know, in the silence you don’t know, you must go on, I can’t go on, I’ll go on.

30 . Any Human Heart (William Boyd)

Life in the old dog. Life – still living, pleased to have managed to live in every decade of this long benighted century. What a time I’ve had – quel parcours, as the French say. I think a drink is called for. Yes, absolutely – I will open a chill bottle of white wine and take it out and sit under the big chestnut and drink a toast to Logan Mountstuart. Every decade. All my ups and downs. My personal rollercoaster. Not so much a rollercoaster - a rollercoaster's too smooth - a yo-yo rather - a jerking, spinning toy in the hands of a maladroit child, more like, trying too hard, too impatiently eager to learn how to operate his new yo-yo.

Now for the best opening lines in books .

SOMETHING MISSING FROM OUR SHORTLIST?

Best free books for Kindle: classics to read for free

15 Things You Probably Don't Know About Catcher In The Rye

Banned books list: books so controversial they were banned

Related reviews and shortlists.

The best short books under 100 pages and quick to read

The best subscription boxes for the ultimate recurring gifts

The best comedy audiobooks: fantastic funny stories to listen to

The best audiobooks in 2023: great reads to listen to today

Classic books to read before you die: bucket list novels

34 of literature's greatest opening paragraphs

• Translators
• Graphic Designers

Please enter the email address you used for your account. Your sign in information will be sent to your email address after it has been verified.

How To Write a Great Ending

If you've made it to the final stretch of your story but can't seem to end it in a satisfying way, don't worry. Even the best writers struggle to create powerful endings, in part because they know that an ending often makes or breaks a good story. If you do it right, readers will continue thinking and talking about your story and its resolution for years. Unfortunately, the reverse is also true. If you write a great story that dribbles off with an unsatisfying ending, readers will forget the reading delight they experienced along the way.

Whether you like to plan the ending before you type your first word or you'd rather start your story with endless possibilities and let your characters to lead you to a resolution, the fact remains that you have to find a way to end it. If you feel overwhelmed by the seemingly infinite ways your story could end, it might surprise you to learn that there are only about six different story endings. The details of your story will be unique, but hopefully one of these six classic endings will offer you the conclusion you've been searching for.

1. Resolved ending

With a resolved ending, the characters have overcome internal and conflicts, achieved their goals and no questions remain at the end of the story. The resolved ending tends to tie all the narrative threads into a pretty bow. The happily-ever-after endings in fairy tales like Cinderella and Snow White are classic examples of resolved endings, and most modern-day romantic comedies rely on resolved endings as well. While both Cinderella and Snow White find true love at the end of their stories, a resolved ending does not have to be a happy one. Consider Shakespeare's Romeo and Juliet : The conclusion leaves the reader devastated even though all of the story's conflicts have been resolved and the characters have achieved their goal of being together in life or death.

Don't confuse a resolved ending with a predictable ending—a resolved ending should still surprise readers and take them to places they didn't expect. If the ending is completely predictable, there's no reason for anyone to read your story.

One way to see if a resolved ending might work for you is to imagine painting a portrait that conveys the conclusion. If it's possible to conclude every storyline in one final picture, then try writing a resolved ending. For example, a portrait depicting the conclusions of Snow White or Cinderella might show our heroine riding into the sunset with her one true love on a white horse while her animal friends celebrate with glee. In contrast, the final image for Romeo and Juliet would use dark, bleak tones to portray the lovers in their eternal embrace. If you can't envision one strong image that conveys your conclusion, it's possible that your story can't be tied up in a perfect bow, and you should end your story with a different kind of ending.

2. Unresolved ending

Unresolved endings leave readers full of questions. The best unresolved endings will tie up a few elements of the story while leaving some critical story arcs unfinished. An unresolved ending is ideal if you are planning a sequel, since you can continue those unfinished arcs in the next book. However, an unresolved ending shouldn't be an unsatisfying ending, so make sure your story feels complete despite any unresolved pieces. To make sure your ending is satisfying even if it leaves some questions unanswered, make sure the main characters grow and change over the course of the story . Even if your main characters still have a ways to go before they accomplish all of their goals or overcome their biggest struggles, by the time they reach the unresolved ending, they will have achieved some goals and addressed some conflicts. Even if you hope the book will become part of a series, make sure each book can stand alone. The best series are composed of multiple books that each tell a complete story on their own, yet when read together, they tell a broader and more complex story.

Cliffhangers are unresolved endings that conclude with dramatic or terrifying moments that leave readers filled with suspense. If you end your story with an engaging cliffhanger, readers will beg for the sequel so they can find out what happens. When writing a cliffhanger ending, you still need to make sure characters grow and change and overcome some struggles to ensure that the story feels complete. For a cliffhanger to resonate with readers, it needs to connect to other parts of the story and make sense within the narrative.

3. Twist ending

It can be challenging to end your story with a twist, but if you do it right, you will delight your readers while cementing your place in literary history. In at least three of the Harry Potter books, JK Rowling included incredible twists that shocked readers upon first read yet made sense and gained meaning with each subsequent read. A twist ending usually requires advance planning, because you need to sprinkle breadcrumbs that won't stand out to readers on their initial reading journeys but will add depth upon rereading. If you are too obvious when you sprinkle those breadcrumbs, readers will predict the twist and lose interest. The best way to write a twist ending is by planning out each plot point in your story so you can identify ideal places to bury information.

4. Circular ending

A circular ending, also called a tie-back ending, loops around and ends in the same place where the story started. When done well, tie-back endings can give readers an aha moment as they suddenly realize that they've returned to the story's starting place but now possess a full understanding of what is happening and why.

5. Ambiguous ending

An ambiguous ending allows readers to draw their own conclusions about what happened, so different readers will interpret the ending in different ways. Do not confuse an ambiguous ending with an unresolved ending. An ambiguous ending is distinctly different, because it leaves certain aspects open to each reader's individual interpretation. Margaret Atwood's The Handmaid's Tale offers a satisfying, well-crafted ambiguous ending that gives readers the opportunity to envision a positive or negative resolution to the story.

An ambiguous ending is ideal when a character's story arc ends with a moral choice, and it can be easier for you since you don't have to make difficult choices about your characters' morality or their ultimate fate.

6. Expanded ending

An expanded ending provides a glimpse into your characters' future, usually through an epilogue. An expanded ending works well if you want to include information that doesn't quite fit within the narrative style of the rest of your story. An expanded ending might offer a perspective shift that provides information the original narrator either didn't possess or chose not to share, or it can show readers how the character's views changed with retrospect. An expanded ending is useful if you want to lead readers towards a powerful conclusion or inspire a deep feeling of resolution.

If you still feel unsure about how to end your story, here are a few tips to stimulate your mind and help you find your story's best ending point:

• Think about your story from a reader's perspective, and consider what emotions the story has evoked up to this point. Do you want to continue fostering those emotions, or do you want to take the reader to another emotional place?
• What is the primary conflict that your main character is facing? To write a satisfying ending, your main character should confront, deal with, or overcome that element by the end of the story. If you want to write an unresolved ending or a cliffhanger, your character could overcome one aspect of their primary struggle only to discover that this issue is a many-headed hydra and the journey has just begun.
• What is your goal for this story? Do you hope to make readers think about certain issues, or do you want to entertain readers and offer them a reprieve from daily life? Identifying your goals for the story can help you decide how you want your story to end.

I hope that learning about the six ways to end a story helps you find the way to your story's resolution. Does one way stand out to you as the obvious choice for your story?

Header image by viperagp .

Related Posts

Writing Romantic Suspense: Blooming Love and Looming Danger

Crafting Worlds Beyond: A Guide To Writing Science Fantasy

• Book Writing Advice
• All Blog Posts
• Writing Advice
• Academic Writing Advice
• Admissions Writing Advice
• Short Story Advice
• Employment Writing Advice
• Business Writing Advice
• Web Content Advice
• Article Writing Advice
• Magazine Writing Advice
• Grammar Advice
• Dialect Advice
• Editing Advice
• Freelance Advice
• Legal Writing Advice
• Poetry Advice
• Graphic Design Advice
• Logo Design Advice
• Translation Advice
• Blog Reviews
• Short Story Award Winners
• Scholarship Winners

Professional book editing services you can trust

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Welcome to the Purdue Online Writing Lab

Welcome to the Purdue OWL

This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

The Online Writing Lab at Purdue University houses writing resources and instructional material, and we provide these as a free service of the Writing Lab at Purdue. Students, members of the community, and users worldwide will find information to assist with many writing projects. Teachers and trainers may use this material for in-class and out-of-class instruction.

The Purdue On-Campus Writing Lab and Purdue Online Writing Lab assist clients in their development as writers—no matter what their skill level—with on-campus consultations, online participation, and community engagement. The Purdue Writing Lab serves the Purdue, West Lafayette, campus and coordinates with local literacy initiatives. The Purdue OWL offers global support through online reference materials and services.

A Message From the Assistant Director of Content Development 

The Purdue OWL® is committed to supporting  students, instructors, and writers by offering a wide range of resources that are developed and revised with them in mind. To do this, the OWL team is always exploring possibilties for a better design, allowing accessibility and user experience to guide our process. As the OWL undergoes some changes, we welcome your feedback and suggestions by email at any time.

Please don't hesitate to contact us via our contact page  if you have any questions or comments.

All the best,

Social Media

Facebook twitter.

Improve your writing in one of the largest and most successful writing groups online

Join our writing group!

How to End a Story: 7 Different Kinds of Endings

by Fija Callaghan

Imagine this: you’re reading a thrilling, breakneck story full of deep thematic resonance and memorable characters. The plot is powering towards its climax, and you’re clutching the pages as the clock beside your bed careens past one o’clock in the morning. And then—! The book suddenly grinds to a puzzling, disappointing, and ultimately unsatisfying halt because the writer didn’t know how to end a story the right way.

Don’t be that writer.

Knowing how to end a story is one of the most important, yet undervalued, skills in a writer’s toolbox. Let’s look at why a satisfactory ending matters and how to find the right ones for your own stories.

Why is the ending of a story important?

The ending of a story matters because it’s the final note that the reader will walk away with. Your story’s ending shows the reader what to feel as they leave your story world behind and return to the real one, what lessons to learn from and incorporate into their own lives, and what to expect from you, the author, as they wait impatiently for your next book.

Knowing how to write a good story ending is the key to “closing the deal” with your reader.

How are story endings connected to genre?

You might have noticed that some of your favourite books end in the same way. If you read a lot within the same genre, you might even be able to predict the ending before it happens! This is because certain literary genres come with predetermined expectations based on the patterns we see most often.

You don’t have to use the classic ending for your own story, but it’s good to have an idea of what your readers will be expecting when they open your book. Familiarising yourself with their expectations will also help you subvert them in new, creative ways.

Here are some of the classic literary genres you’ll see most often, and the endings that usually go with them.

1. Romance endings

In romance novels, we’ve been conditioned to look for happy endings. From the opening scene through all the clever plot twists and machinations, everything in the book is working towards a happily ever after for the two romantic leads.

The protagonists go through their own character arcs as they discover more about themselves and their relationship with the world, but ultimately they’ll end up doing pretty okay by the story’s conclusion.

This doesn’t mean you can’t challenge genre norms and give your main characters a bittersweet ending or leave their love story unresolved; however, in this case you might end up moving away from writing a traditional romance and towards something more like literary fiction (we’ll look at that below too).

2. Mystery endings

The golden rule of mystery novels is “expect the unexpected.” If the story you’re writing follows a clear, logical path from start to finish and lays everything out for the reader, they may come away with a frustrating experience. Mysteries and thrillers will be filled with plot twists that keep readers turning pages to find out who done it, or why.

These types of stories aren’t a great match for open or unresolved endings. Even though the reader wants to be surprised, they also want to know exactly what happened and what’s going to happen next. Did the murderer go to prison, escape, or die trying? Did the protagonist uncover the truth and bring the criminal to justice?

There is no right or wrong answer, but the answer does need to be a definitive conclusion rather than something left to interpretation.

3. Horror endings

Horror novels are more flexible than mysteries. They might have a happy or unhappy ending; they might answer all the remaining questions, or they might leave some open to keep the reader mulling things over after the book is closed.

Horror stories are particularly well-suited to ambiguous or unresolved endings. You’ll probably recognise this in some of your favourite horror films or TV series finales:

The heroes finally defeat the monster and celebrate with an extra-cheesy pizza and plans for the future they now have. In the corner of the screen, the dirt where the monster was buried begins to shift ominously. Roll credits.

By leaving a few lingering questions, you make a lasting impression on your reader.

4. Tragic endings

Tragedies are defined by their sad ending. Unlike mysteries, which are filled with twists and turns, the tragic ending should feel inevitable; the hero, through their own weaknesses or choices, brought it on themself.

Tragedies have fallen somewhat out of fashion in contemporary literature (probably because they’re kind of a downer to read), but Shakespeare loved writing them. These types of stories are designed to teach us something about human nature and what happens when we let our weaknesses control us.

Tragedies might use a resolved ending or an implied ending, leaving the final conclusion of the story to happen off the page.

5. Literary endings

Really, all fiction is “literary.” But when we say “literary fiction,” we usually mean books that are marketed as “contemporary,” “women’s fiction,” or realistic historical fiction. This type of story tends to be introspective and thematic, and is suited to both long-form novels and short stories.

In a short story, you generally won’t have the space to flesh out an ambiguous or unresolved ending. These are best suited to a circular ending—for instance, if your story begins and ends in the same location (we’ll take a closer look at circular endings below!)—or a clear ending that show how your main character has undergone some personal transformation.

If you’re writing a novel of literary fiction, you have more room to play with ambiguous, unresolved, or extended endings—so long as they support the broader theme you’re trying to communicate through the work.

We’ll look at all of these types of endings in more detail below!

What about sci-fi and fantasy?!

We didn’t forget, don’t worry! But science fiction and fantasy are actually more marketing genres than literary genres—they tell a reader to expect elves, robots, sorcerers, portals to other worlds, etc, etc. But , they don’t tell you much about what to expect from the plot. You can have a fantasy novel that’s also a romance, mystery, horror, tragedy, or literary story.

Travis Baldree’s Legends & Lattes is a good example of a book that subverts expectations by cramming every possible high fantasy trope into a work of literary fiction.

This means that a sci-fi or fantasy book can comfortably close with any one of the seven story endings we’ll look at below.

7 different ways to end a story

When it comes to figuring out how to end your story and tie up its lingering loose ends, there are a few different paths you can take in your writing. Let’s look at the different types of endings in stories you’ll find throughout literature, so you can find the perfect ending that works best for you.

1. Circular ending

Sometimes called a tie-back ending or a full circle ending, a circular ending brings the story “full circle” back around to where it began—with subtle differences that show how your characters have grown within their world.

Most stories that follow the Hero’s Journey story archetype have a circular plot structure with a tied ending. The protagonist goes on a grand adventure, learns and experiences new things, and then returns to the life they once had, but changed.

In larger works, such as a novel, your circular elements might be a place where your story starts and stops, a thematic idea that your protagonist was working to understand at the beginning of the story, or a metaphor that has taken on new meaning.

2. Resolved ending

Sometimes called a “tied ending,” a resolved ending ties up all the loose ends in your story. Shakespeare was a big fan of resolved story endings; so was Jane Austen. Romance readers have grown to expect a resolved ending, which usually involve everyone living happily ever after (except the villain, who slinks off into obscurity).

Your resolved ending doesn’t necessarily have to be a happily ever after, but it should give the reader a sense of conclusion and fulfillment. For now, at least, everyone’s story has reached its finish line and there’s nothing left to say.

This means tying off all your artfully crafted subplots, addressing all of the dramatic questions raised at the beginning of the story, and ensuring that any lingering secrets have been laid to rest. If your main characters deserve a happy ending, this is the moment they finally reach it.

Giving your story a resolved ending doesn’t mean that your characters’ lives won’t go on beyond the last page in the book. It means that this particular chapter of their lives has come to a close, and now they can embrace a blank slate from which to begin a new one.

3. Unresolved ending

Unresolved story endings leaves loose threads so that the story can continue after the book is closed. This is especially popular with books in a longer series. When you end your story on a cliffhanger , your readers remain engaged with your story until they get a chance to read what happens in the next installment.

Even when you use an unresolved ending to close your story, it should still have that essential sense of completion by the end. You wouldn’t finish the whole story the way you’d finish a chapter. By the time you reach the ending to a story, the major, central conflicts of the plot should be resolved and your players should reach a resting place between battles.

However, an unresolved ending will leave some questions unanswered, and raise new ones about the future of your characters and their world. It’ll always give the reader the feeling that the story continues after the last page.

4. Ambiguous ending

The purpose of an ambiguous ending is to make your readers think. Like an unresolved ending, ambiguous story endings leaves some lingering questions at the end of the book.

The difference is that with an unresolved ending, the reader needs to wait to get the answers from the writer later on. With an ambiguous ending, the readers can reflect on the story and look for answers within themselves.

The best ambiguous endings offer two or more equally conceivable possibilities. For example, your story may end with a separated couple agreeing to meet for coffee. The readers are left wondering: Do they get back together? Or do they get the closure they need so they can move on? Both are within range, and it’s up to the reader to decide what they believe the real truth to be.

Ending the story ambiguously is also a great way to bring your readers together. It will make them want to compare ideas in forums, discussion groups, or with friends. Ambiguous endings engage the reader in a creative and cognitive way.

5. Unexpected ending

Commonly known as the “twist ending,” this ending gives the story one dramatic, final turn as it reaches its close. This works like a literary sleight-of-hand—you tell the reader, “Look, here, at this perfectly incongruous hat!” while your story mechanics are working to create something much more powerful and surprising.

Even though your story ending may be unexpected, it still has to make sense within the world you’ve created. This means laying the groundwork in bits and pieces through plot, character, and setting in a way that slips beneath the reader’s notice, but that they can easily refer back to in their memory so that everything makes sense as they consider the unexpected ending of your story.

This type of ending is the cornerstone of mystery novels. Through genre convention, readers have grown to expect a twist ending that will shock and delight them, but in a way that feels like a natural progression of the story. Done skillfully, the unexpected ending can pack a huge emotional punch and secure you a fan for life.

6. Expanded ending

Also known as an epilogue, this is a second, smaller story built out of your story’s ending. This gives the writer space to explore what happens after the story’s close, and to address any last questions the readers may have.

Do the hero and heroine ever see each other again after they save the world? Does the little girl really grow up to be a doctor like she always wanted? Does the misogynistic young pilot ever grow out of his flaws and become a better person? These are all things that you may not have space for inside your story, but you still want to share with the reader to give them a fuller understanding of your story world. An expanded ending will give your readers the answers they’re craving.

The expanded story ending gives your readers a little more time with your characters before they have to say goodbye. As readers, we understand that their story goes on even after our role of observer has ended. The expanded ending isn’t meant to be a resolution to your plot, but rather a window into what the next chapter of life holds in store for the characters we’ve grown to love.

7. Reflective ending

A reflective ending happens when the protagonist is able to look back at their experiences and consider them through the lens of their growth over the course of the story. They may ask themselves, “Was it really worth it, in the end? Did I do the right thing? How different does the world appear, now that I know the things I do?”

This creates one final, intimate connection with the reader as they explore these ideas together.

This reflection might happen if the character is looking back at an event from their youth, or if their circumstances have changed dramatically through the events of the plot. This type of ending is popular in fantasy and science fiction—for instance, if the character returns to the “real world” after a period of intense fantastical experiences—as well as in creative nonfiction, where the author may be reflecting on some formative events in their real life.

How to find the ending to your story

Now that you know the seven major ways to end a story, how do you decide which one is right for you? Knowing how to end a story is one of the most important steps in finding your story’s trajectory . Let’s look at three ways to write a story ending as you work through your plot from its opening scene to its powerful last lines.

1. Start with the end in mind

Many writers begin with an idea of how their story ends, and build their plot around it. This is particularly true for murder mysteries, where many writers will identify the crime they want to write about, and then form the rest of the story around clues leading up to it.

In other genres such as romance you may have an idea of where you want your characters to end up, and then you’ll spend the rest of the time figuring out the best ways to bring them there.

Starting with the end of your story already in mind is useful for keeping your writing on track and not getting pulled away from the story’s path. You already know that your characters are going to end up together, that they’re going to find the buried treasure in the end, or that they’re going to vanquish the forces of darkness that have risen up against them.

Knowing where your story is going to lead takes away some of the pressure, so that you can enjoy maneuvering your characters through obstacles and life lessons before they reach the finish line.

2. Match your ending to your character arc

Since all story is born out of character , part of your story planning will involve looking at the ways your character is going to learn and grow over time. Often, this will help you see where they need to end up.

For example, if your protagonist is avaricious and sacrifices his relationship with his family to excel at his job, you may decide that by the end he’ll need to have shuffled his priorities and learned the value of what really matters in life. This creates a natural character arc to carry your story from beginning to end.

In a romance, you may have a character who has spent their life disenchanted by love after watching their parents’ messy divorce. Therefore, a natural ending to their story may be that they learn how to avoid their parents’ mistakes and take a chance on a healthy, happy relationship.

By exploring what your character needs, the inevitable ending to their story will become clear.

3. Let the ending surprise you

Some writers find they work best if they explore their story as they write. As in life, the events of a great story may be things we could never have predicted.

As you move through the events of your plot, you may find that your characters take on a life of their own and pull you in directions you didn’t expect.

The great thing about this method is that you can be as fluid as you like; no one ever said you have to write every page in the proper order. As you discover new things about your story world and get a clearer and clearer idea of what the ending is going to look like, you can go back into the early stages of your story and lay the groundwork.

If you decide to incorporate an unexpected twist into your ending, or the people you had planned on ending up together wound up being completely wrong for each other after all, you can return to earlier scenes and gently shift things around so that your ending looks like a natural progression of everything that came before.

Neil Gaiman famously (and wisely) said, “The process of doing your second draft is a process of making it look like you knew what you were doing all along.”

Go out with a bang or a whisper, but go out the right way

With so many different ways to end a story, and so much riding on your story’s big finish, deciding how to end a narrative can be a little intimidating.

Knowing how to write a good ending is essential in finding success as a storyteller, but fortunately, we’ve got your back. With these tips, tricks, and examples, you’ll find that figuring out how to end a story can be the most fun and rewarding part.

Get feedback on your writing today!

Scribophile is a community of hundreds of thousands of writers from all over the world. Meet beta readers, get feedback on your writing, and become a better writer!

Join now for free

Related articles

Freytag’s Pyramid: Definitions and Examples of Dramatic Structure

How to Write a Plot Outline: 7 Approaches to Outlining

Writing the Hero’s Journey: Steps, Examples & Archetypes

Story Archetypes: 50+ Plot Archetypes to Craft Your Narrative

How Many Chapters Should a Book Have? Book and Chapter Lengths Demystified

What is Plot? Definition, Examples & 10+ Types of Story Plots

• Bookfox Academy (All Courses)
• Write Your Best Novel
• How to Write a Splendid Sentence
• Two Weeks to Your Best Children’s Book
• Revision Genius
• The Ultimate Guide to Writing Dialogue
• Your First Bestseller
• Master Your Writing Habits
• Writing Techniques to Transform Your Fiction
• Triangle Method of Character Development
• Children’s Book Editing
• Copy Editing
• Novel Editing
• Short Story Editing
• General Books
• Children’s Books

100 Ways to End a Story (with examples)

But where do you stop? Which sentences are the last sentences?

In this post, we’ll look at 100 ending lines from a diverse group of authors, both novelists and short story writers. We’ll identify how different types of endings contribute to a story. And, ultimately, we’ll determine how the author crafts a sense of satisfaction in their closing phrases.

After collecting many, many endings, the following categories emerged:

Cliffhanger

Normally, writers think of using a cliffhanger at the end of a chapter. But they absolutely can be used at the end of a story or book, for a few reasons:

• Pique the reader’s interest for the next book in the series
• Uses the “in media res” technique to go out on a high point, rather than dribble to a conclusion
• Extend the reader’s imagination beyond the story, so they finish hungry for more, and curious about the future of the storyline. It keeps the story alive, rather than closing it off.

“Lie back, Michael, my sweet.” She nodded briskly at Pauline. “If you’ll secure the strap, Nurse Shepherd, then I think we can begin.”

— Ian McEwan, “Pornography”

“I turned and looked past the neighborhood kids — my playmates — at the two men, the strangers. They were lean and seedy, unshaven, slouching behind the brims of their hats. One of them was chewing a toothpick. I caught their eyes: they’d seen it too.

I threw the first stone.”

— T. C. Boyle, “Rara Avis”

“Then his father walks toward the door stooping slightly and B stands aside to give him room to move. Tomorrow we’ll leave, tomorrow we’ll go back to Mexico City, thinks B joyfully. And then the fight begins.”

– Roberto Bolano, “Last Evenings on Earth”

Whatever you’re ending on, it’s something you want to emphasize, right? So heighten that emphasis with repetition.

Here’s an exercise: take all the examples below and try rewriting them without any repetition. Just say the key word once. Doesn’t have the same ring, does it? In fact, it makes it seem like the middle of the story, just another unremarkable line.

It takes two or three repetitions before there’s a finality to it, like a bell tolling for the conclusion of the story.

“His feet are light and nimble. He never sleeps. He says that he will never die. He dances in light and in shadow and he is a great favorite. He never sleeps, the judge. He is dancing, dancing. He says that he will never die.”

— Cormac McCarthy, Blood Meridian

“Big flakes not falling in orderly rows, a dervishing mob that swirls, lifts, goes limp, noiselessly spatters the glass. Snow obscuring the usual view greeting me when I’m up at crazy hours to relieve an old man’s panicked kidneys or just up, up and wondering why, staring at blank, black windows of a hulking building that mirrors the twenty-story bulk of ours, up prowling instead of asleep in the peace. I hope you’re still enjoying, peace I wish upon the entire world, peace I should know better by now than to look for through a window, the peace I listen for beside you in the whispering of our tangled breaths.”

— John Edgar Wideman, “Microstories”

“I imagined the story of a girl made human. I imagined Tallie’s grave, forsaken and remote. I imagined banishing forever those sentiments that she chastened and refined. I imagined everyone I knew sick to the point of death. I imagined a creature even more slow-hearted than myself. I imagined continuing to write in this ledger, here; as though that were life; as though life were not elsewhere.”

— Jim Shepard, “The World to Come”

“Sometimes all humanity strikes me as lovely. I just want to reach out and stroke someone, and say, ‘There, there, it’s all right honey. There, there, there.’”

— Sandra Cisneros, “Never Marry a Mexican”

“That would be the man we’d spare. That would be the man who’d drop to his knees in the mud and, in the cloud of gun smoke, raise his hands in surrender. That would be the man who’d tell us who he was, where he’d come from and why.”

— Will Mackin, “Crossing the River No Name”

“In the desert, in the lightning, in his crumbling duplex, in the field, in the many rooms of night, Wild Turkey wakes up, he wakes up, he wakes up.”

— Arna Bontemps Hemenway “The Fugue”

“Then sometimes I get up and don my robe and go out into our quiet neighborhood looking for a magic thread, a magic sword, a magic horse.”

— Denis Johnson, “The Largesse of the Sea Maiden”

“Your time’s not up. Your time’s not even close to being up.”

— David Means, “The Chair “

Sense of Sound

Good writers understand that sensory details are the lifeblood of fiction. And just as images are crucial ways to end a story (that’s the next section), you can also use sound as a way to dial up or dial down the end of your story.

A crescendo ends a story well because it makes the story’s end feel climatic. While a decrescendo eases you out of the story, giving a sense of closure to the reader. 

If you look at the examples below, especially Jones and Bausch, you see how they use sound as a stand-in for a character — a deceased mother’s footsteps echoing through time, a wife’s domestic duties that make the husband feel estranged from her.

So sound can often a way to wrestle with complex character conflicts.

“And even when the teacher turns me toward the classrooms and I hear what must be the singing and talking of all the children in the world, I can still hear my mother’s footsteps above it all.”

— Edward P. Jones, “The First Day”

“The mastiff’s howl tears through the estate, setting off the usual thousand and twelve strange little circuses that disrupt the science of slavery.”

— Patrick Chamoiseau, “The Old Man Slave and the Mastiff”

“A long silence and then, slowly, applause, soft at first, then waves of it, which on this old recording came across like a pounding rain. I was shivering. There was no question we were under water.”

— Daniel Alarcón, “The Bridge”

“She heard the barking of an old dog that was chained to the sycamore tree. The spurs of a cavalry officer clanged as he walked across the porch. There was the hum of bees, the musky odor of pinks filled the air.”

— Kate Chopin, The Awakening

“He shut his eyes. Listened to the small sounds she made in the kitchen, arranging her flowers, running the tap. Mary, he had said. But he could not imagine what he might have found to say if his voice had reached her.”

— Richard Bausch, “Aren’t You Happy for Me?”

Descriptions

When you end a story, you’re helping the reader transition from the world of the story back into the real world. Sometimes that transition is easier if the last lines of the story don’t deal with the main characters, or plot, or themes, but instead talk about the universe of the story.

Namely: description. Try to describe a particular thing in the story which resonates with the main themes of your story. If you’re writing about father/son relationships, then end on the description of your character seeing a father walk with his son.

If you have a character sacrificing everything in the hopes of a big payday, then show that same idea in the animal world, for instance, pelicans divebombing for fish, like the Taylor Antrim example below. 

“They’ve forgotten, or left on purpose, a few things they don’t need, things I hold on to. Pictures the girls drew, shells they picked up at the beach, the last drops of a perfumed shower gel. Shopping lists in the faint, small script that the mother used, on other sheets of paper, to write all about us.”

— Jhumpa Lahiri, “The Boundary”

“His eyes went upward, looking again for some civilizing sign — better yet, for the rectangular peak of his building, like the needle of a compass, the darkness down here, the shadow of his life up there. Friedrich and Lana resting up for tomorrow. Paulette waiting for him posed on all fours in bed. They were trying. He was trying. But above him there was just sky and trees in all directions.”

— David Gilbert, “The Sightseers”

“And in the morning when the sun came up and the colors of the hill and its valley accelerated from gray and brown to red and green to white, the company agent gathered stones for his family and they breakfasted on snow.”

— Jim Crace, “The Prospect from Silver Hills”

“Boom-splash. The pelicans take these kamikaze plunges into the water. The way they hit, not one should survive — but of course they all do. They come up with their beaks full of fish.”

— Taylor Antrim, “Pilgrim Life”

Unspoken Dialogue

Unspoken Dialogue is very similar to a cliffhanger. While a cliffhanger refuses to resolve plot , this Unspoken Dialogue technique refuses to resolve the dialogue .

There’s tension when a character wants to say something, but doesn’t.

If you’re trying to learn how to write good dialogue, it’s always important to remember that characters don’t often say exactly what they’re thinking, or even what they want to say.

Why does this work to conclude a story? Well, it highlights the weakness of the character, how they are not doing what they want to be doing. They are holding back, and perhaps they will regret it later. 

“I wanted to say she’d lied to us all, she’d faked it about the dog, as if it mattered whether the animal spoke, as if love were about the truth, as if he would love her less — and not more — for pretending to talk to a dog.”

— Francine Prose, “Talking Dog”

“Tell more, more, I want to say to Eduardo but do not say because he seems ready to leave. Tell me about Garcilaso and about how things went well for him.”

— Joseph O’Neill, “The Sinking of the Houston”

“They are always very interested to hear that you don’t read music. Once, you almost said— to a sneaky fellow from the Daily News, who was inquiring— you almost turned to him and said Motherfucker I AM music. But a lady does not speak like that, however, and so you did not.”

— Zadie Smith, “Crazy They Call Me”

“She begins to scream, her face turning even redder, you cannot hear or understand what she is saying but you know she hates your father, hates you, hates many, many people. You want to help your father, the man who has only recently come back into your life, clean-shaven and speaking of God, you want to run toward him and defend him and protect him, but now he is holding out his hand to the man again, he has taken off his hat and is holding it out toward the man. The woman is now silent. The man takes the hat, a brand-new fedora with a feather, and puts it on his head. And looks at you, as if for the first time.”

— Justin Bigos, “Fingerprints”

Asking Questions

A question is one of the most popular ways to end a story (look at all the examples below!). I could even add more quite easily, like the question to conclude Margaret Atwood’s book, “Handmaid’s Tale”: “Are there any questions?”

But if you use this technique, I would recommend following these three guidelines:

• Must not have an easy answer
• Must resonate with the main themes of your book
• Must strike an emotional chord (look at the Russel Banks example). 

“But why are you invested in other people’s stories? You too must be unable to fill in the gaps. Can’t you be satisfied with your own dreams?”

— Antonio Tabucchi, “A Riddle”

“And who would she tell her stories to while he was gone? Who would listen?”

— Russel Banks, “My Mother’s Memoirs, My Father’s Lie, and Other True Stories”

“Then in the space of a wet blink, the gap between the trees would close and the mown grass disappear, a violent indigo cloud would cover the sun and history, gross history, daily history, would forget. Is this how it would be?”

— Julian Barnes, “Evermore”

“I imagined John-Jin’s girder underneath me. I wondered, in my rage, if you took that one piece away, would everything fall?”

— Rose Tremain, “John-Jin”

If a blind man could play basketball, surely we…If he had known Doc’s story would it have saved them? He hears himself saying the words. The ball arches from Doc’s fingertips, the miracle of it sinking. Would she have believed any of it?”

— John Edgar Wideman, “Doc’s Story”

“Safer and better to have no freedom, maybe, but no, you wouldn’t say that. The humming stopped when he flicked the light switch by the door. No you wouldn’t say that, would you? In the dark of the hall he could not see his way; he went toward the vague light of the front window with one hand on the wall. No you wouldn’t but what would you say?”

— Madison Smartt Bell, “Witness”

“Who was it that thought up that idea, the idea that had made today better than yesterday? Who loved him enough to think that up? Who loved him more than anyone else in the world loved him?

— George Saunders, “Puppy”

“Where was she now, this Clara? What had become of her, this ardent, hopeful girl in her white dress, surrounded by her family, godparents, friends, that her Bible should end up in a Goodwill bin? Even if she no longer read it, or believed it, she wouldn’t have thrown it away, would she? Had something happened? Ah, girl, where were you?”

— Tobias Wolff, “Bible”

“He reached for the telephone and dialed his home number. ‘Rhona,’ he said in the quaking receiver. ‘Would you like to see the juvenile tuataras? The babies?’”

— Barbara Anderson, “Tuataras”

“But for the other man, who would be watching the night fall around the orange halo of the street lamps with neither longing nor dread, what did the future offer but the comfort of knowing that he would, when it was time for his daughter to carry out her plan of revenge, cooperate with a gentle willingness?”

— Yiyun Li, “A Man Like Him”

You can’t write good fiction without making your characters feel things (and your reader feel things). So here, we see authors ending stories by showing the final arc of their character’s emotions.

Some of these characters have emotional epiphanies, feeling something for the first time. Others have felt it all along but perhaps only now have been able to admit it to themselves. 

But if character arc and character change are essential for stories, it makes sense that their emotional journey would conclude the narrative.

“Even so, I sat there gazing up at the granite outcrops of Spruce Clove streaked in evening gold, I had an almost overpowering sense of being looked at myself, stared at in uncomprehending astonishment by some wild creature standing in the doorway.”

— James Lasdun, “Oh Death”

“I stand here shameless in ways he has never seen me. I am free, afloat, watching somebody else.”

— Bharati Mukherjee, “A Wife’s Story”

“She has done an outrageous thing, but she doesn’t feel guilty. She feels light and peaceful and filled with charity and temporarily without a name.”

— Margaret Atwood, “Hairball”

Paul Harding, who won the Pulitzer Prize for “Tinkers,” said that contrast is the essential technique of music, painting, and storytelling. 

Below, we see contrasts between:

• chill cats and stressed-out humans
• the busyness of day with the solitude of night
• the flowers of love with the chants for the dead. 

When you contrast something, you throw it into higher relief. A happy person doesn’t seem exceptionally happy until you see her side by side with a depressed person.

Contrast offers that extra emphasis — much like repetition — to make the reader feel satisfied that this ending resolves the story.

“She hears a distant siren, the wind in the trees, the bass beat from a passing car. Please, she thinks. Please. She is about to go inside for a flashlight when she hears the familiar bell and then sees the cat slinking up from the dark woods, her manner cool and unaffected.”

— Jill McCorkle, “Magic Words”

“Susanne sat on the couch, surrounded by her family while out in the night, partner to the extraordinary, Roy held a shovel made for digging deeper in the dirt.”

— Samantha Hunt, “The Yellow”

“By day she entertained a constant stream of visitors. At night her father kept vigil beside her bed.”

— Jennifer Haigh, “Paramour”

“Violins and lit candles revolved in the sky. Leo ran forward with flowers outthrust. Around the corner, Salzman, leaning against a wall, chanted prayers for the dead.”

— Bernard Malamud, “The Magic Barrel”

Marcel Proust’s memories brought back by the taste of a madeleine are probably the most famous memories in literature, but stories have always used memory to make readers nostalgic, evoke the senses, and make us feel the bite of time.

When you end a story with memory, it ties the whole story together — past is united with the present.

In some ways, ending a story with a memory is the opposite of a cliffhanger — memory looks at the past, while a cliffhanger anticipates the future.

Memory allows the writer to skip around in time to find the perfect character moment to end the story — which could be much, much earlier in their life, or only a few years back, or only last week.

Perhaps in the character’s current life, there’s no event that perfectly captures the emotion you’re going for, so mine the past for it. 

“I no longer remembered the day we married. Only the day I knew we would, those moments with my heart warm and rapt, the silent promise of the frozen world, the elm chafing in its coat of ice.”

— Karen Brown, “Galatea”

“…She will be secretly glad, relieved that time is passing, that Paris is again becoming nothing more than a word she might see on the cover of a glossy magazine or on a cable travel channel, certainly not a place where she once spent a few breaths of her life, and she will hardly remember the way the Seine sliced the city in half, a radiant curving knife, merciless and perfect.”

— Victoria Lancelotta, “The Anniversary Trip”

“He remembers waking up the morning after they bought the car, seeing it, there in the drive, in the sun, gleaming.”

— Raymond Carver, “Are These Actual Miles”

“Who will remember?”

— Alex Rose, “Ostracon”

“She will see the garden that day and the tears shining in her sister’s large blue eyes and remember her unanswered cry for help.”

— Sheila Kohler, “Magic Man”

“And as for the scar, I’m glad it is not on Nyamekye. Any time I see it I only recall one afternoon when I sat with my chin in my breast before a Mallam came, and after a Mallam went out.”

— Ama Ata Aidoo, “A Gift from Somewhere”

The Epiphany

The epiphany ending is the classic story ending. After everything the character has gone through, what have they learned?

This is the chance to show that the journey has not been in vain, that your characters have changed and learned and grown because of this journey. 

Epiphanies are particularly useful for short stories, rather than novels, because short stories have less runway for plot. So you can’t have a huge murder or birth or world catastrophe solved at the end of a short story (the way most novels do), but you can show the character realizing something about themselves, others, or the world. 

“He closed the door carefully, not slamming it. Clea and I waited an appropriate interval, then turned and clung to each other in a kind of rapture. Understanding, abruptly and at last, just what it takes to be a King. How much, in the end it actually costs.”

— Jonathan Lethem, “The King of Sentences”

“He was shot five or six times, but being such a big man and such a strong man, he lived long enough to recognize the crack of the guns and know that he was dead.”

— Nathan Englander, “The Twenty-Seventh Man”

“Years later, as an adult, I realized that what my little sister had confided to me in a quiet voice in the wind cave was indeed true. Alice really does exist in the world. The March hare, the Mad Hatter, the Cheshire Cat— they all really exist.”

— Haruki Murakami, “The Wind Cave”

“— How d’you like my lion? Isn’t he beautiful? He’s made by a Zimbabwean artist, I think the name’s Dube.

— But the foolish interruption becomes revelation. Dumile, in his gaze — distant, lingering, speechless this time — reveals what has overwhelmed them. In this room. The space, the expensive antique chandelier, the consciously simple choice of reed blinds, the carved lion: all are on the same level of impact phenomena undifferentiated, undecipherable. Only the food that fed their hunger was real.”

— Nadine Gordimer, “Comrades”

“Sarah looked at him with an intent, halted expression, as though she were listening to a dialogue no one present was engaged in. Finally she said, “There are robbers. Everything has changed.”

— Joy Williams, “The Farm”

“And that was it. Somehow it didn’t really matter, finding out. Two years earlier, it would have changed my life. But on that day, I suppose the only thing I felt was some small measure of contentment for her: that he had, indeed, come back for her, just like she always said he would. They were different after all, destined to be together. I thanked Allen for bringing her things, watched him ride away on his motorcycle, and went inside to have dinner with my father.”

— Jess Walter, “Mr. Voice”

“And then, as if he had forgotten that she had already moved on to other things, as if we were still sitting across from each other, deep in one of our conversations without beginning, middle, or end, Room wrote that the last thing that had surprised her was that when Ershadi is lying in the grave he’s dug and his eyes finally drift closed and the screen goes black, it isn’t really black at all. If you look closely, you can see the rain falling.”

— Nicole Krauss, “Seeing Ershadi”

“‘No problem,’ the waitress sang, ‘no problem at all,’ replacing the girl’s fork, bending to snatch the soiled one off the floor. Smiling hard but not making eye contact with anyone. When she retreated leaving Richard alone with his son and the crying girl, it occurred to him, with the delayed logic of a dream, that the waitress must have thought he was the bad guy in all this.”

– Emma Cline, “Northeast Regional”

“But I remember you. I remember when we were so close that people couldn’t tell us apart. I remember your parents’ phone number, your neatly folded cutoffs and your constant fear of not being special. I remember when you started claiming that fictive characters are way better than friends, since they are less annoying, more interesting and never die. You stopped returning my calls. When I needed you the most you were nowhere to be found and when I died you started seeing me everywhere. On sidewalks, in shop windows, on balconies. So you decided to write my story. You dress me in cutoffs. You force extreme amounts of apple juice into me. You retell the most painful week of my life as it were a never-ending bachelor party. And it is not until the end. About. Here. That you realize what you’ve done. I’m not bitter, Miro. I’m just dead.”

— Jonas Hassen Khemiri, “As You Would Have Told It to Me (Sort Of) If We Had Known Each other Before You Died”

“It took some time for me to understand that Elida’s body had not been satiated on mine, that she wasn’t purring because she swallowed my heart.”

— Louise Erdrich, “The Big Cat”

“I used to think that all my emotions belonged in the past, to history, but I know that I yearn for the future just like everyone else. Even as life draws to close, I realize that I have never understood myself completely.

But now it certainly is too late to do more, to be more, in this lifetime.”

— Zhang Jie, “An Unfinished Record”

I am born at noon the next day. My mother tells me this is the first thing she did: she checked the clock. I am still attached to her when she looks. We are not yet two when she begins to keep track of me, the seconds I have been alive and then, after she cuts through the cord herself, cleaving my body from hers with a kitchen knife, the seconds I have been on my own.

This is what women do, she says.

By which she means she understands that one day I will leave her too. Lift off the ground, think myself beyond gravity.

—Aria Beth Sloss, “North”

The Unhappy Ending

The ending is one of your last chances to make the reader feel something. And while the happy ending is always a classic crowd-pleasing, I find that it’s often easier to make the reader feel sorrow.

Happiness is a tough sell, particularly when writing short stories. I think if you were going to survey 1000 short stories, a lot more would end sad than would end happy. Novels are probably the opposite — many more end happy than sad. 

It’s mainly because of the length. When you’re writing short, you don’t have the time to acheive happiness without it feeling cheesy. While in the space of a novel, the happy ending feels earned. 

“Now they were both dead, and the city was dirty and crumbling, and the man I was traveling with was sero-positive, and so was I. Mexico’s hopes seemed as dashed as mine, and all the goofy innocence of that first thrilling trip abroad had died, my boyhood hopes for love and romance faded, just as the blue in Kay’s lapis had lost its intensity year after year until it ended up as white and small as a blind eye. ”

— Edmund White, “Cinnamon Skin”

“Things are as they have always been. Whoever seeks a fixed point in the current of time and the seasons would do well to listen to the sounds of the night that never change. They come to us from out there.

— Amos Oz, “Where the Jackals Howl”

“She would be invisible, of course. No one would hear her. And nothing has happened, really that hasn’t happened before.”

— Margaret Atwood, “Wilderness Tips”

“There were women around Jesus when He died, the two Marys. They couldn’t do anything for Him. But neither could the men, who had all run away.”

— Robert Olen Butler, “Mr. Green”

“I think of the chimp, the one with the talking hands.

In the course of the experiment, that chimp had a baby. Imagine how her trainers must have thrilled when the mother, without prompting, began to sign to her newborn.

Baby, drink milk.

Baby, play ball.

And when the baby died, the mother stood over the body, her wrinkled hands moving with animal grace, forming again and again the words: Baby, come hug, Baby, come hug, fluent now in the language of grief.”

— Amy Hempel, In the Cemetery Where Al Jolson is Buried

“It was not a happy life, but it was all that was left to them, and they took it up without complaint, for they knew they were powerless against some Will infinitely stronger than their own.”

— Paul Laurence Dunbar, The Sport of the Gods

“What would burst forth? A monkey’s paw? A lady? A tiger?

But there was nothing at all.”

— Lorrie Monroe, “Referential”

The Waiting Ending

What does it mean when you have a character waiting at the end of a story? Well, they are expecting the future. But the reader can’t go to the future with them.

It signals a small break in the storyline: this current story has ended, but the future one has not begun. It’s like the character is about to step into narrative limbo.

A “waiting” ending is definitely a quiet ending. It takes advantage in a lull in the storyline to bow out and conclude. 

If you write a waiting ending, pay careful attention to subtext:

• Perhaps this character will be waiting a long time. 
• Perhaps they are the waiting type of character — a passive character. 
• Perhaps waiting signals a sad ending — what they wanted most didn’t arrive by the end

“I measured the passing of time by the progress of the fires in the distant north. My old man gave me daily updates, and I pretended to listen. Five hundred, a thousand, two thousand fires. After a month they had burned out, and I was still waiting.”

— Daniel Alarcón, “The Idiot President”

“He looked toward the eastern sky. It seemed he’d been running a week’s worth of nights, but he saw the stars hadn’t begun to pale. The first pink smudges on the far Ridgeline were a while away, perhaps hours. The night would linger long enough for what would come or not come. He waited.”

— Ron Rash, “Into the Gorge”

“The ice plant was watery-looking and fat, and at the edge of my vision I could see the tips of my father’s shoes. I was sixteen years old and waiting for the next thing he would tell me.”

— Ethan Canin, “The Year of Getting to Know Us”

“Wait here, wait here!” he cried and jumped up and began to run for help toward a cluster of light she saw in the distance ahead of him. “Help! Help!” he shouted, but his voice was thin, scarcely a thread of sound. The lights drifted farther away the faster he ran and his feet moved numbly as if they carried him nowhere. The tide of darkness seemed to sweep him back to her, postponing from moment to moment his entry into the world of guilt and sorrow.”

— Flannery O’Connor, “Everything that Rises Must Converge”

“Walking to the end of the hallway by the kitchen, he seated himself against the wall. He sat there quietly, waiting for Case to emerge.”

— Bradford Tice, “Missionaries”

“Joshua wondered what they would do now. The need he felt was like when he stepped on the sliver of glass, and his mother pulled at the skin with her tweezers, and pushed them inside, until she found the glass. It was like when she told him to get ready, to squeeze his father’s hand. Clenching his teeth, closing his eyes, waiting.”

— Mike Meginnis, “Navigators”

Figurative Language & Poetic Devices

Aristotle said that comparison of two unlike things was the essence of genius. If so, the writers below are all geniuses. 

Beauty has its own charm. The examples below use extended metaphors, multiple similes, and other examples of literary devices to cast a spell of beauty over the reader. 

And these comparisons are often symbolic of the characters and the events of the story (for instance, the birds in the Ann Beattie story).

“She pulled in her horizon like a great fish-net. Pulled it from around the waist of the world and draped it over her shoulder. So much of life in its meshes! She called in her soul to come and see.”

— Zora Neale Hurston, Their Eyes Were Watching God

“Nettie lay there beside him, her breath blowing on his shoulder as they studied the stars far above the field — little pinpoint holes punched through the night sky like the needle holes around the tiny stitches in the quilting. Nettie. Nettie Slade. Her dress had self-covered buttons, hard like seed corn.”

— Bobbie Ann Mason, “Wish”

“Angela was remembering all this, and feeling such a strong surge of sorrowful loss, and at the same time she was studying with interest the miraculous rescue of St. Placidus from drowning, painted on the wall in the sacristy in San Miniato. St. Placidus was rolling fatalistically amid the blue waves of his pond while one of his comrades, endowed with special powers by St. Benedict, came walking across the water to save him. In the picture it looked like such a harmless little point, carved into the earth as neatly as a circle of stamped-out pastry, or a hole cut into the ice for fishing.”

— Tessa Hadley, “Cecilia Awakened”

“He looked at his wife, whom he loved, whom he looked forward to convincing, and felt as though he were diving headfirst into happiness. It was a circus act, a perilous one. Happiness was a narrow take. You had to make sure you cleared the lip.”

— Elizabeth McCracken, “Thunderstruck”

“In the flood of flame-colored light their flesh turned coral.”

— Helen Simpson, “Heavy Weather”

“Louisa sat, prayerfully numbering her days, like an uncloistered nun.”

— Mary E. Wilkins Freeman, “A New England Nun”

“When she turned back into the empty room she looked as though youth had touched her on the lips.”

— Edith Wharton, “The Angel at the Grave”

“In time, his breathing changed, and hers did. Calm sleep was now a missed breath — a small sound. They might have been two of the birds she so often thought of, flying separately between cliffs— birds whose movement, which might seem erratic, was always private, and so took them where they wanted to go.”

— Ann Beattie, “In Amalfi”

Brene Brown’s TED talk about vulnerability is one of the most watched TED talks of all time. Her thesis is simple: people respond to vulnerability.

It holds true in real life just as it does in fiction.

When a character keeps a secret, reveals a secret, or makes a confession, the reader feels closer to them. Even if we disagree with them, we feel like we know them. 

“The secret died with him, for Pavageau’s lips were ever sealed.”

— Alice Dunbar-Nelson, “The Stones of the Village”

“Very often I sold my blood to buy wine. Because I’d shared dirty needles with low companions, my blood was diseased. I can’t estimate how many people must have died from it. When I die myself, B.D. And Dundun, the angels of God I sneered at, will come to tally up my victims and tell me how many people I killed with my blood.”

— Denis Johnson, “Strangler Bob”

Powerful Dialogue

Here’s some advice on how to write a good dialogue ending:

• Pay attention to subtext . If any place in your story needs dialogue with a double meaning, it’s the ending. It should have a plain interpretation, but also resonate with some deeper issues of plot.
• Make sure it’s the protagonist who gets the final word . In almost all cases, it’s the protagonist or one of the main characters who speak last. A minor character wouldn’t make sense.

“Please come back inside mom! Please get out of the street!”

— Antonya Nelson, “Chapter Two”

“Darling, the angels have themselves a lifetime to come to us.”

— Edwidge Danticat, “Night Women”

“Nemecia held a wineglass up to the window and turned it. “See how clear?” Shards of light moved across her face.”

— Kirstin Valdez Quade, “Nemecia”

“But I had my eyes closed. I thought I’d keep them that way for a little longer. I thought it was something I ought to do.

‘Well?’ He said, ‘Are you looking?’

My eyes are still closed. I was in my house. I knew that. But I didn’t feel like I was inside anything.

‘It’s really something,’ I said.”

— Raymond Carver, “Cathedral”

“My dear,” replied Valentine, “has not the Count just told us that all human wisdom is contained in the words ‘Wait and hope!”

— Alexandre Dumas, The Count of Monte Cristo

“There were lots of old people going around then with ideas in their heads that didn’t add up — though I suppose Old Annie had more than most. I recall her telling me another time that girl in the Home had a baby out of a big boil that burst on her stomach, and it was the size of a rat and had no life in it, but they put it in the oven and it puffed up the right size and baked to a good color and started to kick its legs (Ask an old woman to reminisce and you get the whole ragbag, is what you might be thinking by now.)

I told her that wasn’t possible, it must have been a dream.

‘Maybe so’ she said, agreeing with me for once. ‘I did used to have the terriblest dreams.’”

— Alice Munro, “A Wilderness Station”

A Character in Denial

The reader gets a sick sense of delight when final lines reveal something a character refuses to acknowledge.

“Maybe it wasn’t such a terrible idea. Maybe it could make them happy. He found a mark on Miriam’s shimmering pale dress and followed it through the trees.”

— Sarah Kokernot, “M & L”

“His gut told him that his mother-in-law knew what had happened that day in the car. Come to think of it, she had never once mentioned the day of the accident to him. She had never even asked about it. His mother-in-law turned her cold gaze back to the plant. To put his crazy thoughts to rest, Oghi told himself that he just really liked plants. He could not think why that might be.”

— Hye-young Pyun, “Caring for Plants”

The Unknown

These final lines endear readers as characters reveal what remains mysterious:

“But as I write this it occurs to me that I don’t know where I ever got that idea. In fact, I have no memory of whether the desk arrived to me with the drawer locked. It’s possible that I unknowingly pushed in the cylindrical lock years ago, and that whatever is in there belongs to me.”

— Nicole Krauss, “From the Desk of Daniel Varsky”

“’Listen to me,’ he said, expelling all his breath with the words. Two ragged breaths later he tried again, but Jill moved her hand from his forehead to his mouth. ‘Help me,’ he said into her fingers. But the words were whispered, and she mistook them for a kiss and smiled.”

— Angela Pneuman, “Occupational Hazard”

“He knew he was at the beginning of something, though just then he couldn’t say exactly what.”

— Bret Anthony Johnston, “Encounters with Unexpected Animals”

“I do not know where this voyage I have begun will end. I do not know which direction I will take. I dropped the package on a park bench and started walking.”

— Bharati Mukherjee, “The Management of Grief”

If anywhere it’s time to tell the truth, it’s the ending.

Have your characters spill their guts and reveal everything at the end. Or have the narrator offer wisdom or the naked truth. 

“It’s the kind of impossible story that holds a family together. You tell it over and over again; and with the passage of time, the tale becomes more unbelievable and at the same time increasingly difficult to disprove, a myth about the life you carry.”

– Greg Hrbek, “Sagittarius”

“As the manual often states, it’s my future. And it’s the only one I get.”

— Diane Cook, “Moving On”

“I’ve begun to appreciate just how much work parents invest in their children, and wives in their husbands; it’s only fair for the investor to become the beneficiary.”

— Katie Chase, “Man and Wife”

“…I survive. It’s only one thing. But it’s also everything.

Pick yourself up.

Start over again.”

— Megan Miranda, All the Missing Girls

“She was knickerless. She was victorious. She was a truly modern female.”

— Nicola Barker, “G-string”

“I can stay. I can lie down. Let the snow fall on my face. Let its hands be tender.

Or I can walk, try to find my way in darkness.

I’m a grown woman, an orphan, I have these choices.”

— Melanie Rae Thon, “The Snow Thief”

Related posts:

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

One thought on “ 100 Ways to End a Story (with examples) ”

Excellent collection of endings, types… and quite clear and efficient comments. Thank you.

Every writer NEEDS this book.

It’s a guide to writing the pivotal moments of your novel.

Whether writing your book or revising it, this will be the most helpful book you’ll ever buy.

The Grand Old Man of Chestertonia

In January, Father Ian Boyd, founder of the Chesterton Review , died at the ripe old age of eighty-eight. In 1974, as a young priest, he had founded the Chesterton Review on the centenary of Chesterton’s birth. He could not have expected that the Review would prove such an influential vehicle for the Chesterton revival during the following decades, nor could he have expected or imagined that the Review would still be going strong fifty years later.

I met Father Boyd on a handful of occasions but cannot say that I knew him well. He was an affable acquaintance rather than a friend. By contrast, I am honoured to claim a long and lasting friendship with the other champion of Chesterton, Aidan Mackey, who died on May 4 at the even riper old age of 101. Such was Aidan’s self-effacing sense of humour that I can imagine him saying that he had not so much reached a ripe old age as an over-ripe old age. Indeed, way back in 2009, when interviewed by a journalist with the UK’s Catholic Herald , he had quipped that he was “87 and crumbling by the minute”. Destined to live for almost fifteen more years, we can all rejoice that this particular cookie took a very long time to crumble.

It’s hard to imagine that Aidan was born in 1922, only five years after the Russian Revolution and four years after the end of World War One. It was the year in which Mussolini’s fascist party marched on Rome, establishing the world’s first fascist state, and a full eleven years before Hitler would rise to power in Germany. It was the year in which T. S. Eliot’s The Waste Land was first published and, most significantly in the present context, the year in which G. K. Chesterton was received into the Catholic Church. It is truly hard to fathom how much change Aidan had witnessed and experienced in his long and lingering life; it is, however, much easier to see how the wisdom of G. K. Chesterton would have kept him anchored to the permanent things amidst the maelstrom of “progress”, the dust storm in the desert of modernity which Chesterton critiqued so incisively and which Eliot satirized so insightfully.

As for my own friendship with Aidan Mackey, I can say that it has been lifechanging.

Way back in my wayward youth, when I was animated by angst and anger and by the animus against my neighbour that such angst and anger engendered, I was saved, under grace, by getting to know the works of G. K. Chesterton. And it was Aidan Mackey who supplied me with my first two Chesterton books.

It was 1980. I was nineteen years old. I was not interested in religion and was hostile to the Catholic Church, having learned to be “anti-papist” at my father’s knee. Nobody would have persuaded me to read a book about religion, and I would most certainly not have been induced to read a book defending the Catholic Church. But, as the cliché reminds us, God moves in mysterious ways.

I was interested in politics and economics and was looking for alternatives to both globalist socialism and globalist capitalism. Someone suggested that I check out the distributist ideas of G. K. Chesterton, recommending that I read Chesterton’s book, The Outline of Sanity , and an essay entitled “Reflections on a Rotten Apple” in The Well and the Shallows , another book by Chesterton. They also suggested I contact Aidan Mackey who was almost the only person flying the Chestertonian flag in the UK at the time, as Father Boyd was almost the only person flying the Chestertonian flag in the USA. Specifically, Aidan specialized in selling used copies of the books of G. K. Chesterton and also those of Hilaire Belloc, Chesterton’s great friend and comrade in arms, whom I would also begin to read avidly.

I was very poor at the time and recall the considerable investment of all too rare funds on the two volumes. The Outline of Sanity cost £4 whereas The Well and the Shallows , which was in very fine condition and was still wearing its dustjacket, cost me the princely sum of £12. By way of comparison, a pint of ale at the time cost about 35 pence.

My reading of Chesterton and Belloc would lead me eventually to the embrace of Catholic Christianity and my reception into the Catholic Church in 1989. A year or so later, I began working on a biography of G. K. Chesterton as an act of thanksgiving for GKC’s role in my conversion. Once again, Adian Mackey would play a crucial role in my life. He was running the G. K. Chesterton Study Centre in his home in Bedford, north of London, and he invited me stay in his home so that I could trawl through the treasure trove of Chestertonia, especially the countless unpublished letters by Chesterton which Aidan had collected or copied over the years. My biography of Chesterton would have been so much the poorer had it not have been for Aidan’s priceless assistance.

My move to the United States in 2001 meant that I saw Aidan much less. I met him once or possibly twice when he attended the annual Chesterton conferences in the United States, and I visited him on my visits to Oxford, the city to which Aidan moved following the death of his beloved wife Dorene. I last saw him in March of last year. He had reached his centenary of years in this vale of tears. I was struck by how sprightly and alert he was mentally but how frail he was physically. As I said goodbye, I think we both knew that it would be the last time we’d ever meet on this side of the grave.

Before I left, he insisted on giving me a gift for my daughter Evangeline. It was a very handsome hardcover boxed Winnie the Pooh Gift Set . He inscribed it “To Evangeline, with greetings and love from Ancient Aidan.” Most of the best things and people are ancient. Being introduced to Aidan Mackey was one of best things that ever happened to me and he was without doubt one of the best people I’ve ever known.

He has left us but he is not dead. In the words of Hilaire Belloc: “He rides his loud October sky: He does not die. He does not die.” But he is much more alive than a mere ghost or a mere memory. He is alive in that deeper sense that he has departed the shadowlands into the place beyond shadows. Perhaps we might even hope that he is supping ambrosial ale or sipping a celestial vintage with Chesterton and Belloc in the heavenly inn of which Chesterton wrote: “ All roads point at last to an ultimate inn… and when we drink again it shall be from the great flagons in the tavern at the end of the world.”

With such a celebratory thought, I’ll conclude this celebration of Aidan Mackey, the Grand Old Man of Chestertonia, by raising a glass in his memory. Cheers, old friend. Cheerio!

The Imaginative Conservative  applies the principle of appreciation to the discussion of culture and politics—we approach dialogue with magnanimity rather than with mere civility. Will you help us remain a refreshing oasis in the increasingly contentious arena of modern discourse? Please consider  donating now . 

The featured image is a sketch of G.K. Chesterton by an unknown author made no later than 1920, and is in the public domain, courtesy of Wikimedia Commons .

All comments are moderated and must be civil, concise, and constructive to the conversation. Comments that are critical of an essay may be approved, but comments containing ad hominem criticism of the author will not be published. Also, comments containing web links or block quotations are unlikely to be approved. Keep in mind that essays represent the opinions of the authors and do not necessarily reflect the views of The Imaginative Conservative or its editor or publisher.

Share This Story, Choose Your Platform!

About the author: joseph pearce.

Related Posts

The Necessary Testimony of Hypocrites

Transcendence and the Practice of Music

Beauteous Truth: On Literature, Culture, & Faith

Who Was William Shakespeare & Does It Matter?

Great Works of the Catholic Revival

One comment.

Thank you, Joseph, for this lovely tribute to a genial and generous man who gave so much to the Chesterton community, and who, like Father Boyd, showed remarkable charity to all who crossed his path. Blessings on their memories.

Leave A Comment Cancel reply

Save my name, email, and website in this browser for the next time I comment.

Trump will face Michael Cohen in court as prosecution nears the end of its case

Stormy Daniels is finished testifying, but another popular target of former President Donald Trump is scheduled to take the witness stand in his criminal trial on Monday — his former lawyer Michael Cohen, multiple sources have told NBC News.

Both Daniels, an adult film actress, and Cohen, Trump's onetime fixer, are outspoken critics of the Republican presidential nominee and key witnesses in Manhattan District Attorney Alvin Bragg's falsifying business records case. The former president has labeled them both "sleaze bags."

The move to call Cohen comes as a prosecutor said at the end of court Friday that they could rest their case as soon as next week. Prosecutor Joshua Steinglass told the judge that the DA’s office has only two witnesses remaining. Cohen's testimony is expected to last multiple days.

Trump attorney Todd Blanche asked Judge Juan Merchan to bar Cohen from commenting publicly on the case since he’s about to take the stand. He noted that Cohen appeared on TikTok earlier this week wearing a T-shirt showing Trump behind bars wearing an orange jumpsuit. Blanche had previously complained about Cohen posting on social media and doing interviews criticizing Trump during the trial. Cohen had slowed his frequent commentary after Merchan said he may exclude him from the gag order barring Trump from attacking witnesses in the case because of his commentary.

Steinglass said the DA’s office had previously asked Cohen to stop speaking. The judge directed the DA to tell Cohen that the judge was asking him to stop.

Trump fumed about the lack of a gag order for Cohen after the day's proceedings wrapped. “Everybody can say whatever they want” but “I can’t say anything, “ he told a group of reporters in a courthouse hallway. “It’s a disgrace.”

Daniels testified on Tuesday and Thursday, sparring with Trump attorney Susan Necheles during cross-examination about her claim that she had a sexual encounter with Trump in 2006. Then-Trump lawyer Cohen paid Daniels $130,000 to keep quiet about the allegation during the 2016 presidential election. Trump later reimbursed Cohen in payments prosecutors charge were covered up with falsified business records. Trump has pleaded not guilty and denied Daniels’ claim.

Earlier in the day, jurors heard continued testimony from Madeleine Westerhout, who was Trump's executive assistant in the White House between 2017 and 2019.

Follow live updates on the Trump hush money trial

Westerhout had testified on Thursday about how thrilled she was to be working for Trump and broke down in tears when prosecutors asked her about her departure from the White House in August 2019. She said that working for Trump was “amazing” and that he was “a very good boss” who had a close and loving relationship with his wife, Melania Trump.

The portrayal was at odds with testimony from Daniels, who said Trump had told her not to worry about his wife while he was making passes at her in his hotel room after they met at a celebrity golf tournament in Lake Tahoe, Nevada, in 2006.

Westerhout also testified Thursday that Trump was attentive when she delivered him personal checks to sign and that on occasion he would call his company’s chief financial officer, Allen Weisselberg, if he had questions about any of them — information prosecutors are likely to use to argue Trump was well aware of what he was paying Cohen for.

On Friday, Trump attorney Susan Necheles got Westerhout to say that Trump wasn’t always paying attention when he was signing checks — and he would sometimes be on the phone or in meetings while he did. “He was a person who multitasked, right?” Necheles asked. “Yes,” Westerhout replied.

Necheles also pressed her on details about Trump's reaction when the payment to Daniels became public in 2018.

"He was very upset by it,” Westerhout said. “My understanding is that he knew it would be hurtful to his family. … The whole situation was very unpleasant.”

Westerhout said one of her duties was to act as an intermediary between Trump and the Trump Organization on issues that needed his or the company’s attention, like his travel schedule, mail or phone calls.

She asked Trump's assistant at the company, Rhona Graff, in 2017 for a list of Trump’s contacts, which Graff sent to her, according to an email shown to the jury. The list included information for Cohen and  David Pecker , the former National Enquirer publisher who testified he worked with Trump and Cohen to suppress scandalous stories about Trump during his 2016 campaign.

Westerhout was followed to the stand by Daniel Dixon, an analyst for AT&T who was brought in to authenticate "call detail records" relating to Cohen's cell phone.

Jennie Tomalin, an analyst from Verizon, was also called to authenticate phone records from Keith Davidson, Daniels' former lawyer, and former Trump Organization chief financial officer Allen Weisselberg.

She was followed by Georgia Longstreet, a paralegal for the DA's office, who was brought in to testify about some of then-President Trump's social media postings that prosecutors say were an effort to influence Cohen and other people he was concerned could cause him legal problems.

One of the posts praised Cohen as "a fine person with a wonderful family" before he began cooperating with federal investigators. After he pleaded guilty to charges that included ones related to the Daniels payment, Trump tweeted, “If anyone is looking for a good lawyer, I would strongly suggest that you don’t retain the services of Michael Cohen!”

Longstreet also read aloud texts between then-National Enquirer editor-in-chief Dylan Howard and Gina Rodriguez, who was Daniels' manager. The 2016 texts included Howard telling her he thought Pecker would pay for her story. Pecker said he did not do so because he'd already spent $180,000 to kill two other salacious Trump stories, and he feared doing business with a porn star could harm his paper. But, he said, he did encourage Cohen to pay the money.

Trump attorney Todd Blanche moved for a mistrial at the end of court Thursday, arguing Daniels' testimony — including her claim that Trump didn't use a condom when they had sex — was unfair and prejudicial. He called the condom allegation "a dog whistle for rape."

State Judge Juan Merchan agreed that Daniels shouldn't have been asked about the condom but noted that there was no objection to that line of questioning, which he said befuddled him.

"I don't understand," he said.  

He denied Blanche's mistrial demand, as well as a request that he loosen the gag order barring Trump from attacking witnesses to allow him to respond to Daniels' testimony.

Prosecutors have previously said they are hopeful they'll be able to wrap up their case by May 21.

It's unclear whether Trump will testify in his own defense. He is under no obligation to do so.

Adam Reiss is a reporter and producer for NBC and MSNBC.

Gary Grumbach produces and reports for NBC News, based in Washington, D.C.

Jillian Frankel is a 2024 NBC News campaign embed.

Dareh Gregorian is a politics reporter for NBC News.

Clark Street closures for outdoor dining were great during the pandemic. Now? Not so much

Businesses and neighborhood associations in river north and nearby want the city to end the dining program because of traffic congestion, delays to first responders and other headaches caused by closing off a major street artery, a local restaurant executive writes..

Street closures and outdoor dining in River North helped restaurants get through the pandemic. Now, some businesses and neighborhood groups say the closures cause traffic congestion and other problems.

Tyler Pasciak LaRiviere/Sun-Times

My family is the proud owner of multiple establishments here in this great city, including Moe’s Cantina in River North. This community has long been known as a vibrant and exciting hospitality destination filled with local, independently owned restaurants and bars, hotels and attractions that line our beautiful Chicago River to the north and serve as an artery to the heart of downtown across five bridges.

So when COVID-19 hit, River North took a punch to the gut.

Steps taken by federal and local governments to help soften the blow and get us through the pandemic were welcome and necessary.

One of those programs included the city’s street dining program in 2020, which included three blocks along Clark Street in River North. Our family and many other businesses welcomed this program, even though most of us did not benefit from it directly, as our community of restaurants needed all the creativity we could get at the height of COVID-19 to generate revenue and stay afloat.

When the program returned in 2021, we welcomed it once more.

In 2022, the program came around once again. But this time, it came with challenges.

Unlike 2020 and 2021, the traffic that had all but disappeared during the pandemic returned. When Clark Street closed once more for street dining, the gridlock came back with a vengeance.

The unintended consequence of this traffic gridlock wreaked havoc on neighboring restaurants, bars, hotels, places of entertainment and above all, residences. Many customers grew fed up with traffic and ditched coming to many venues surrounding the Clark Street closure, choosing other options situated in areas that didn’t force them to sit in a car for 10 minutes at a time to make it down one city block.

River North residents, particularly those residing at The Sterling, situated at the base of the Clark Street dining program, spoke about the difficulty of getting deliveries to their residences and getting picked up by taxis and ride share cars at their door. More importantly, if someone had a health or safety emergency at The Sterling, or any of the surrounding businesses, precious minutes would be lost by police, paramedics and other safety personnel trying to get to that location and help.

A broken promise

Dozens of businesses, as well as resident representatives and neighborhood associations — from The Magnificent Mile Association and River North Residents Association to the Illinois Hotel and Lodging Association and Gold Coast Neighbors Association — went on the record with the city asking that the dining program in River North come to an end.

In response to these concerns, city and local businesses that benefited from the street dining program pushed to continue it, and as good neighbors, we agreed to its return for one last time in 2023 — despite the many challenges that came hand-in-hand with Clark Street’s closure. Our alderperson promised in a public report that 2023 would be the program’s last year, and we trusted and relied on that information and the information from the city that 2023 would indeed be the last year.

But here we are in 2024, and one of the few business owners to benefit from the Clark Street dining program has filed for a permit to once again close the street for months on end. If the permit is granted, the long-standing River North community will continue to be crushed by the program’s impact on traffic congestion and safety. Businesses in this community will continue to shutter, and residents will be forced to rethink the cost of living in this area.

The closure hasn’t just hurt River North. It is choking off a major artery to the Loop — which is in desperate need of visitors — while clogging traffic as far north as Old Town and Streeterville.

And when you factor in the impact on traffic that the Democratic National Convention will have on our city this August, the closure of Clark Street will only make a bad situation for drivers, businesses and residents that much worse.

COVID-19 is in our rearview mirror. It’s time for pandemic-era programs like the Clark Street dining program to also come to an end. The well-being of residents from Old Town to the Loop, and the financial well-being of dozens of businesses here in River North, should not be put at risk again for the benefit of a mere handful of entities.

Korina Sanchez is vice president and general counsel of Third Coast Hospitality.

• Chicago’s outdoor dining program kicks off, while Clark Street closure awaits approval

Would Limitlessness Make Us Better Writers?

AI embodies hypotheticals I can only imagine for myself. But I believe human impediments are what lead us to create meaningful art.

Updated at 11:45 a.m. ET on April 25, 2024.

The scrolls lay inside glass cases. On one, the writing was jagged; on others, swirling or steady. I was at the National Palace Museum in Taiwan, admiring centuries-old Chinese calligraphy that, the wall text told me, was meant to contain the life force— qi— of the calligrapher expressed through each brushstroke. Though I couldn’t read the language, I was moved to see the work of writers who lived hundreds of years ago, whose marks still seemed to say something about the creators long after they’d passed.

I’m using my fingers to type this now, but every letter is perfectly legible and well spaced. Today, the human body behind the written word is less apparent. When I’m composing an email, Gmail makes suggestions I can deploy in one click: “Awesome!” “Sounds great!” “Yes, I can do that.” Artificial intelligence can produce instantaneous sentences. That a person is responsible for text is no longer a given.

Last year, Alex Reisner reported in The Atlantic that more than 191,000 books had been absorbed into a data set called Books3, which was then used to train generative-AI large language models that may someday threaten to take the place of human writers. Among the books in question was my debut novel, Goodbye, Vitamin , which took me five years to complete. My new novel, Real Americans , took even longer: I began working on it in December 2016, and it’s being released at the end of April, seven years and four months later. Those numbers don’t even account for the years of reading, practice, and education (both formal and self-directed) that preceded the writing itself. Now ChatGPT and other LLMs, trained on a wide store of human-generated literature, stand on the cusp of writing novels in no time at all.

Read: What ChatGPT can’t teach my writing students

This seems, initially, discouraging. Here is an entity that can seemingly do what I do, but faster. At present, it “hallucinates” and gets basic facts wrong, but it may soon be able to generate text that can seamlessly imitate people. Unlike me, it won’t need sleep, or bathroom breaks, or patience, or life experience; it won’t get the flu. In fact, AI embodies hypotheticals I can just imagine for myself: If only I could write all day and night. If only I were smarter and more talented. If only I had endless knowledge. If only I could read whole libraries. What could I create if I had no needs? What might this development mean for writing?

Considering limitlessness has led me to believe that the impediments of human writers are what lead us to create meaningful art. And they are various: limits of our body, limits of our perspectives, limits of our skills. But the constraints of an artist’s process are, in the language of software, a feature, not a bug.

Writing is “a blood-and-guts business,” as the musician Nick Cave has said , literally as well as figuratively. As I type with my hands, my lungs oxygenate the blood that my heart pumps; my brain sends and receives signals. Each of these functions results in the words on this page. In the Middle Ages, monks in the scriptoria wrote: “Two fingers hold the pen, but the whole body toils.” Typing this now, my upper back hurts. I am governed by pesky physical needs: I have to drink water and eat; my mind can’t focus indefinitely. My hands are too cold, and because I haven’t moved it, one foot is going numb. On other occasions, illnesses or injuries have affected my ability to write.

The sensitivities of our fragile human bodies require that our labor takes time. Nothing is more discouraging when I am trying to complete a draft. But this exchange—my finite hours for this creative endeavor—imports meaning: It benefits the work, and makes it richer. Over weeks, months, and years, characters emerge and plots take surprising turns. A thought can be considered day after day and deepened.

While revising my forthcoming book, one of my thighs erupted into a mysterious rash. Sparing gruesome details, let’s just say it disturbed and distracted me. But it also led me to a realization: I’d been approaching the creation of my novel as though it could be perfectible. In reducing my entire self to my cognition alone, akin to a computer, I’d forgotten the truth that I am inseparable from my imperfect body, with its afflictions and ailments. My books emerge from this body.

In his book How to Write One Song , the musician Jeff Tweedy writes: “I aspire to make trees instead of tables.” He was talking about songs, but the concept was revelatory to me as a novelist. Unlike a table, the point of a novel isn’t to be useful or stable or uniform. Instead, it is as singular and particular as its creator, shaped by numerous forces and conditions. In spite of its limits and because of them, a tree is an exuberant organic expression. Though costumed in typeset words, a novel is an exuberant organic expression too.

Read: My books were used to train meta’s generative AI. Good.

AI is creating tables out of our trees. Its infinite iterations are pure veneer: bloodless and gutless, serviceable furniture made of the deforested expanse of human experience. A large language model doesn’t require experience, because it has consumed ours. It appears limitless in its perspective because it writes from an extensive data set of our own. Though writing comes out of these experiences and perspectives, it does not follow that unlimited quantities of each beget maximally substantial work. I believe that the opposite is true.

Compared with AI, we might seem like pitiful creatures. Our lives will end; our memory is faulty; we can’t absorb 191,000 books; our frames of reference are circumscribed. One day, I will die. I foreclose on certain opportunities by pursuing others. Typing this now means I cannot fold my laundry or have lunch with a friend. Yet I believe writing is worth doing, and this sacrifice of time makes it consequential. When we write, we are picking and choosing—consciously or otherwise—what is most substantial to us. Behind human writing is a human being calling for attention and saying, Here is what is important to me . I’m able to move through only my one life, from my narrow point of view; this outlook creates and yet constrains my work. Good writing is born of mortality: the limits of our body and perspectives—the limits of our very lives.

I can imagine a future in which ChatGPT works more convincingly than it does now. Would I exchange the hours that I spent working on each of my two books for finished documents spat out by ChatGPT? That would have saved me years of attempts and failures. But all of that frustration, difficult as it was in the moment, changed me. It wasn’t a job I clocked in and out of, contained within a tidy sum of hours. I carried the story with me while I showered, drove—even dreamed. My mind was changed by the writing, and the writing changed by my mind.

Read: Prepare for the textpocalypse

Working on a novel, I strain against my limits as a bounded, single body by imagining characters outside of myself. I test the limits of my skill when I wonder, Can I pull this off? And though it feels grandiose to say, writing is an attempt to use my short supply of hours to create a work that outlasts me. These exertions in the face of my constraints strike me as moving, and worthy, and beautiful.

Writing itself is a technology, and it will shift with the introduction of new tools, as it always has. I’m not worried that AI novelists will replace human novelists. But I am afraid that we’ll lose sight of what makes human writing worthwhile: its efforts, its inquiries, its bids for connection—all bounded and shaped by its imperfections—and its attempts to say, This is what it’s like for me. Is it like this for you? If we forget what makes our human work valuable, we might forget what makes our human lives valuable too. Novels are one of the best means we have for really seeing one another, because behind each effort is a mortal person, expressing and transmuting their realities to the best of their ability. Reading and writing are vital means by which we bridge our separate consciousnesses. In understanding these limits, we can understand one another’s lives. At least, we can try.

• Share full article

Advertisement

Supported by

Guest Essay

Art Isn’t Supposed to Make You Comfortable

By Jen Silverman

Mx. Silverman is a playwright and the author, most recently, of the novel “There’s Going to Be Trouble.”

When I was in college, I came across “The Sea and Poison,” a 1950s novel by Shusaku Endo. It tells the story of a doctor in postwar Japan who, as an intern years earlier, participated in a vivisection experiment on an American prisoner. Endo’s lens on the story is not the easiest one, ethically speaking; he doesn’t dwell on the suffering of the victim. Instead, he chooses to explore a more unsettling element: the humanity of the perpetrators.

When I say “humanity” I mean their confusion, self-justifications and willingness to lie to themselves. Atrocity doesn’t just come out of evil, Endo was saying, it emerges from self-interest, timidity, apathy and the desire for status. His novel showed me how, in the right crucible of social pressures, I, too, might delude myself into making a choice from which an atrocity results. Perhaps this is why the book has haunted me for nearly two decades, such that I’ve read it multiple times.

I was reminded of that novel at 2 o’clock in the morning recently as I scrolled through a social media account dedicated to collecting angry reader reviews. My attention was caught by someone named Nathan, whose take on “Paradise Lost” was: “Milton was a fascist turd.” But it was another reader, Ryan, who reeled me in with his response to John Updike’s “Rabbit, Run”: “This book made me oppose free speech.” From there, I hit the bank of “Lolita” reviews: Readers were appalled, frustrated, infuriated. What a disgusting man! How could Vladimir Nabokov have been permitted to write this book? Who let authors write such immoral, perverse characters anyway?

I was cackling as I scrolled but soon a realization struck me. Here on my screen was the distillation of a peculiar American illness: namely, that we have a profound and dangerous inclination to confuse art with moral instruction, and vice versa.

As someone who was born in the States but partially raised in a series of other countries, I’ve always found the sheer uncompromising force of American morality to be mesmerizing and terrifying. Despite our plurality of influences and beliefs, our national character seems inescapably informed by an Old Testament relationship to the notions of good and evil. This powerful construct infuses everything from our advertising campaigns to our political ones — and has now filtered into, and shifted, the function of our artistic works.

Maybe it’s because our political discourse swings between deranged and abhorrent on a daily basis and we would like to combat our feelings of powerlessness by insisting on moral simplicity in the stories we tell and receive. Or maybe it’s because many of the transgressions that flew under the radar in previous generations — acts of misogyny, racism and homophobia; abuses of power both macro and micro — are now being called out directly. We’re so intoxicated by openly naming these ills that we have begun operating under the misconception that to acknowledge each other’s complexity, in our communities as well as in our art, is to condone each other’s cruelties.

When I work with younger writers, I am frequently amazed by how quickly peer feedback sessions turn into a process of identifying which characters did or said insensitive things. Sometimes the writers rush to defend the character, but often they apologize shamefacedly for their own blind spot, and the discussion swerves into how to fix the morals of the piece. The suggestion that the values of a character can be neither the values of the writer, nor the entire point of the piece, seems more and more surprising — and apt to trigger discomfort.

While I typically share the progressive political views of my students, I’m troubled by their concern for righteousness over complexity. They do not want to be seen representing any values they do not personally hold. The result is that, in a moment in which our world has never felt so fast-changing and bewildering, our stories are getting simpler, less nuanced and less able to engage with the realities through which we’re living.

I can’t blame younger writers for believing that it is their job to convey a strenuously correct public morality. This same expectation filters into all the modes in which I work: novels, theater, TV and film. The demands of Internet Nathan and Internet Ryan — and the anxieties of my mentees — are not so different from those of the industry gatekeepers who work in the no-man’s land between art and money and whose job it is to strip stories of anything that could be ethically murky.

I have worked in TV writers’ rooms where “likability notes” came from on high as soon as a complex character was on the page — particularly when the character was female. Concern about her likability was most often a concern about her morals: Could she be perceived as promiscuous? Selfish? Aggressive? Was she a bad girlfriend or a bad wife? How quickly could she be rehabilitated into a model citizen for the viewers?

TV is not alone in this. A director I’m working with recently pitched our screenplay to a studio. When the executives passed, they told our team it was because the characters were too morally ambiguous and they’d been tasked with seeking material wherein the lesson was clear, so as not to unsettle their customer base. What they did not say, but did not need to, is that in the absence of adequate federal arts funding, American art is tied to the marketplace. Money is tight, and many corporations do not want to pay for stories that viewers might object to if they can buy something that plays blandly in the background of our lives.

But what art offers us is crucial precisely because it is not a bland backdrop or a platform for simple directives. Our books, plays, films and TV shows can do the most for us when they don’t serve as moral instruction manuals, but rather allow us to glimpse our own hidden capacities, the slippery social contracts inside which we function, and the contradictions we all contain.

We need more narratives that tell us the truth about how complex our world is. We need stories that help us name and accept paradoxes, not ones that erase or ignore them. After all, our experience of living in communities with one another is often much more fluid and changeable than it is rigidly black and white. We have the audiences that we cultivate, and the more we cultivate audiences who believe that the job of art is to instruct instead of investigate, to judge instead of question, to seek easy clarity instead of holding multiple uncertainties, the more we will find ourselves inside a culture defined by rigidity, knee-jerk judgments and incuriosity.

In our hair-trigger world of condemnation, division and isolation, art — not moralizing — has never been more crucial.

Jen Silverman is a playwright and the author of the novels “We Play Ourselves” and “There’s Going to Be Trouble.”

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

Follow the New York Times Opinion section on Facebook , Instagram , TikTok , WhatsApp , X and Threads .

10 Most Satisfying Movie Endings of All Time, According to Reddit

"Baby, you are gonna miss that plane."

While a captivating opening to a movie makes for a key element throughout its runtime, playing a huge role in keeping audiences invested and intrigued, a well-crafted finale is just as important. Endings do not have to be grand to be memorable. However, they should be thoroughly considered and offer proper closure, as a bad landing can easily undo a good film.

Because the final moments in films are so defining – or redefining – and help shape a good story, we look back at some of the best ever provided to cinephiles according to Reddit, where many movie enthusiasts users share their favorite final moments, from Before Sunset to The Truman Show .

10 'Before Sunset' (2004)

The second installment to a beautifully-written trilogy, Before Sunset follows Julie Delpy and Ethan Hawke 's characters as they reunite nine years after having an affair. The two share a stroll in Paris, walking over the city and catching up on each other's lives in this Richard Linklater film.

From the heartfelt conversations to the beautiful landscapes it features, there are many great things about the Before trilogy. On Reddit, users agree that the ending to the second entry is one of them: When a user quoted the characters' final lines on the platform, a now-deleted Reddit account highlighted how "good" the film is.

9 'The Shawshank Redemption' (1994)

Starring Morgan Freeman and Tim Robbins , Frank Darabont 's 1994 emotional film The Shawshank Redemption tells the story of the tight bond between two convicts as they find solace and consolation in each other, as well as redemption and friendship.

Spidey10 reveals that, although they know that the book's ending is ambiguous, they're very happy that the movie went on another path and "showed us that Andy and Red reunited on the beach." On top of that, they also highlight how incredible Thomas Newman 's score is.

8 'The Good, the Bad, and the Ugly' (1966)

This iconic 1966 Spaghetti Western by Sergio Leone stars Clint Westwood in one of his most memorable roles and centers on a race to uncover a fortune in gold buried in a rural cemetery, illustrating the beginning of an uneasy partnership between three men and against a fourth.

In addition to an unforgettable storyline and amazing performances, the landing of The Good, the Bad and the Ugly is also what makes it stand out, according to Redditors. " The Good, the Bad, and the Ugly . The grave yard to credits is goated," allthereeses said.

7 'Arrival' (2016)

Set in the aftermath of a bizarre alien invasion in 12 different locations on Earth, Arrival follows linguistic professor Louise Banks ( Amy Adams ), who is recruited by the military and works with an elite team of investigators in order to communicate with otherworldly beings.

"Hard to say, maybe Arrival ," santichrist replied with Denis Villeneuve 's mind-bending sci-fi movie when asked which is the best movie ending they have ever watched. "The way the true meaning of the movie and the way the ending is folded and weaved in throughout the story leading up to the ending is really well done and impactful."

6 'The Usual Suspects' (1995)

The twisting The Usual Suspects invites viewers to embark on a wild journey as it depicts a sole survivor describing the sequence of events that started when five criminals rounded up at a seemingly arbitrary police lineup and led to a brutal gun battle on a boat.

" The Usual Suspects . When Virgil walks out of police station," togocann49 remarks, and many people seem to agree that the film's final moments stand out among the rest. "It's tainted by Kevin Spacey now, but that ending was a completely unexpected twist . Talk about an unreliable narrator," BigLan2 added.

5 'Whiplash' (2014)

One of Damien Chazelle 's finest features (arguably the best), Whiplash stars Miles Teller in the lead role and follows an ambitious, talented young drummer as he enrolls in a competitive music conservatory and is guided by a demanding teacher who will go to great lengths to help his pupils reach their true potential.

A really intense watch throughout, this 2014 feature is guaranteed to keep viewers on the edge of their seats. On top of that, it also counts on a grand finale. "Ending blows me away every time," Unhappy_Grocery_351 said. "The closeup on JK's eyes when he finally smiles is phenomenal," malleable replied.

4 'Heat' (1995)

Starring Robert De Niro , Al Pacino , and Val Kilmer , Heat is a high-regarded action crime movie that centers on a crew of high-end professional thieves who start to feel the pressure from the LAPD when they unintentionally leave a clue at their most recent theft.

Throughout the years, Michael Mann 's gritty movie managed to capture many's attention, and KyubiCarpe is one of the many cinephiles that could not remain indifferent to its simple but touching finale. "The final shot of Heat with Pacino and De Niro holding hands is absolute perfection," the user said.

3 'Memento' (2000)

A former insurance investigator (played by Guy Pearce ) who is unable to form new memories attempts to find his wife's killer in this Christopher Nolan film that features a non-linear narrative. While one storyline moves forward in time, the other unveils backward.

There is no doubt that Memento makes for a truly mind-blowing experience, and its twisted ending obviously adds to that. As ramriot puts it, the movie also counts with a "good 1st scene." Another Redditor added, " Memento should be taught in every film editing class."

2 'There Will Be Blood' (2007)

Loosely based on the 1927 novel "Oil!" by Upton Sinclair , Paul Thomas Anderson 's dramatic masterpiece There Will Be Blood endures as one of the best movies of all time. It centers on an ambitious silver miner turned oilman on a ruthless quest for riches.

Excellent acting from everyone involved, including, of course, powerhouse Daniel Day Lewis , isn't the only strong aspect of the movie. As Redditors argue, " There Will Be Blood , bowling alley scene, just wow," Rob_Reason noted. "The cut to the score in There Will Be Blood after plainview saying “I’m finished” is so great," road2five added.

1 'The Truman Show' (1998)

A very thought-provoking sci-fi drama, the Peter Weir movie ​ invites viewers to take a look inside the life of Truman Burbank ( Jim Carrey ), the star of a reality television program filmed 24/7 through thousands of hidden cameras and broadcast worldwide who has no idea that everything around him is a set and everyone he connects with are actors.​​​​​​

For users on the platform, The Truman Show 's ending is surely among the most pleasant. "Can't say it's the best I've ever watched, but the end of The Truman Show was pretty satisfying," positivecynik said in a comment with which many agreed. "The absolute warmth and sincerity Carey puts into that is amazing," another Reddit user replied in a different Redditor 's comment quoting Carrey's character's last lines.

NEXT: The Most Disappointing Series Finales, According to Reddit