Welcome to the tenth and final installment of 
“Becoming a Better Writer.” An investigation 
into the art of creativity – in ten easy lessons!

There are further courses planned and under construction 
but I may take a break for a while. I’m a little behind 
on some things and I want to clear the decks so I have 
more time to write.

And of course, there’s also that great 21st century 
novel about the human condition I wanted to get on to!

Hang in here for about a month and I’ll be tackling 2 
new 5-part courses:

1.	“Inspiration – Which Rock is That Under?” and 

2.	“Writing for Money, the Only Logical Choice!”

As always, you can contact me for advice, guidance or 
just my opinion - anytime at:
Rob@easywaytowrite.com

Lesson Ten

The Surprise Ending

Actually, this lesson is not just about endings, it’s 
about how to make your readers love your fiction by 
messing with their expectations.

You pick up a book by an unknown author. From the cover 
you have some vague idea it’s a thriller of some sort. 
You start reading.

Two sisters, Pat and Jo, are on their way back to their 
mother’s house. They’re arguing, unhappy they shared 
the same boyfriend but have now both lost him.

(You’re thinking, maybe this story’s about love, loss 
and forgiveness.)

When they arrive at the house, the mother’s not there. 

(Maybe it’s murder mystery.)

They call the police but they won’t act on a missing 
person for 24 hours at least. The phone’s suddenly cut 
off and they hear scuffling outside. It’s dark now, 
and the sisters are terrified. 

(Gasp! Maybe it’s a psycho!) 

The window upstairs smashes. Timidly, they go to 
investigate. In the main bedroom, the wind is howling 
through the broken window. In a mirror, they catch a 
glimpse of a shadow darting down the corridor. Jo 
follows but discovers nothing.

(Oh no, what if it’s a ghost story.)

Pat decides to leave but Jo won’t let her. The door 
slams in Pat’s face as she tries to leave. They fight 
but Jo restrains her sister. Books fly around the 
room and furniture overturns.

(This is some kind of weird telekinetic thing going 
on right?)

The sisters talk. Maybe there’s nothing sinister going 
on. It’s just like when they were kids and their mother 
thought they had a poltergeist that one time.

(Phew!)

Then, the door is broken down by a hooded figure with 
an axe.

(Oh no – it IS a psycho!)

They’re chased around the house until the figure is 
pushed off the balcony. When they get down to the rain 
soaked mud outside, it’s their mother. 

(A twist? Okay, it’s a strange story but there were 
clues, weren’t there?) 

“Where the cloak?” Jo looks up and there’s someone 
else there. The psycho’s still alive! They run back 
into the house, bolt the doors. Oddly, everything’s 
quiet.

The phone rings. Wasn’t it cut off? They answer it. 
To their relief, it’s the ex-boyfriend. But then he 
says, ‘Won’t you let me in? I’m just outside.’

They look out of the window and sure enough, there 
he is, grinning, hooded, with the axe in his hand…

END

Okay, this example is a little crass and melodramatic 
but the same ‘shock and twist’ style of storytelling 
can be used in any genre... and frequently is nowadays.

The trick is to make intervening steps between actions 
as credible as possible. Don’t give out too many clues 
and use internal monologue to focus on what’s happening 
in the present rather than helping the reader to second
-guess the plot.

There are two ways of doing this.

1.	Make it up as you go along. 

The trouble with doing it this way is that you’ll end up 
with all kinds of inconsistencies. Okay, some authors do 
it. They deliberately put their characters in situations 
they can’t possibly resolve and then, through skill or 
luck create events to get them out of them. 

However, with this approach, you’ll likely spend much of 
your time repairing mistakes in your text – after you’ve 
finished your first draft.

A much better way is:

2.	Planning.

Right from the start, do a rough template in note form 
of where the plot goes, where the twists are and how 
you will end the story, especially if you’re going to 
have one final twist that throws the whole story into 
another, more profound light. 

You must know the twist before you start! 

It’s the only effective way of diverting attention away 
from it all the way through the story.

It’s a great technique – and it’s not only popular with 
readers, it’s a surefire hit with agents, publishers 
and, of course, movie producers!

The double twist is even better - a real favorite. 

Use it and you’ll be successful before you know it. 

Best of luck.

©robparnell 2004

This is the last of ten short lessons on “Becoming 
a Better Writer.” Other lessons follow shortly.

You may unsubscribe from this valiant act of 
selflessness on my part at any time – but of 
course, I’d much prefer if you didn’t!

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writers and colleagues who might find it interesting, 
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please!

Best regards and keep writing.

Don’t forget, you can contact me for any reason at
rob@easywaytowrite.com

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