For what I write, I never start a project without knowing the ending. And, not just any ending, one that could possibly stand out to a reader as being good. To me, no matter how good what has come before is, if the ending is lukewarm, then it deflates the previous experience. So, since I love trick endings and reversals, like O. Henry's and J. K. Rowling's, I have to know the internal workings of the plot and the ending, because my work is of the kind that does 360 degrees on the turn of a single word.
For a sampling of my style, think of Aesop, intelligent fairy tales like Snow White, Little Red Riding Hood, Edgar Allen Poe and influences like Sherlock Holmes. On this forum, I've been discouraged from writing trick endings, but, I think that I was misunderstood, for my work is logical fare, not cheap parlor tricks.
Has anyone ever read any version of, The Story of the Biter Bit?
My current project is book number two of a projected ten book fantasy series. I have shared here before and gotten varied responses. Many suggested that I publish book number one first and then wait to see if I should continue with the series.
Oh, so wrong!
I know that ten books will be written to complete the series.
I got a little buzz last weekend, when, I plotted the concluding book of the series. I achieved what I set out to achieve, which is a complete story arc of characters and a world that is alien and immersive with multiple cultures showcasing different personalities. I shared on this board before how I really wanted to complete the entire series responsibly, and I have succeeded in plotting the whole series to the very end.
I could never have winged it! Impossible! Impossible! Impossible!
My story model was to have every succeeding book end with a reversal. And, each succeeding book end with a raising of the stakes over the previous entry. So specific and intricate are the elements and their interweavings that the mind boggles at the possibility of the lack of an outline.
In book number ten, despite all valiant efforts, things go badly for the side of right, yet there is, at the very last second, a possible light at the end of the tunnel, because of a reference in book one.
I had to know who all of the traitors are in each book, some time before. There are many double agents who are constantly working their evil, so I had to know their identities and what deeds taken to be accidents and coincidences were actually attributable to them. There are spies that keep changing sides according to who pays most, moles which are deeply embedded which I needed to know, and, Secret Societies, whose members I needed to be familiar with.
Am I tied down to this outline?
Not at all!
Things can go any where, but, the all important ending of epic scope is clearly within sight, and can be readjusted in any number of ways, yet, holding to its place as the powerful termination of a maturing throughline over ten books.
I have to say this, I couldn't write two hundred words a day sometimes, because I continually sat back studying the ceiling trying to find out where to go next. Now, I have reached up to 7000 words in one day, and it climbs if I never edit.
This thing has freed me up to commit to the narrative more words daily. I sincerely believe that I can finish a first draft of each in two months.
