Chapter Cliffhangers

[Incanus]

As I understand it, cliffhanger chapter endings are generally considered a good thing. I’m wondering, however, if this might be one of those things that qualify as ‘too much of a good thing’.

In my novel WIP, I’m writing pretty short chapters, I’d estimate that there could be around 60 when it’s all done, for a medium-short length novel. I keep finding myself ending chapters at a dramatic point, in the middle of scenes, or in the middle of action. I’ve ended every single chapter this way so far.

So I’m wondering what you folks think. Am I overdoing it? Would you be annoyed by this? Or is this actually a decent way of encouraging ‘page-turning’? Would it start becoming predictable (not the story itself, or the different instances of the cliffhangers, but merely the pattern)?

 

[FifthView]

In most cases, I'd say that's too much; but if your novel is a very fast-paced, high energy story, then perhaps not. Different types of cliffhangers exist, also, so with regard to pattern predictability, I'd have to know what kind of cliffhangers you are using and where you are using them.

I also wonder whether all your breaks are truly cliffhangers. "I keep finding myself ending chapters at a dramatic point, in the middle of scenes, or in the middle of action." Not all of those may be real cliffhangers, even if many are. A fast-paced, high energy story might not have many spaces for calm breathing and taking a step back from the action, in the first place, or significant leaps in time between chapters. (As a metaphor, consider the television show 24, in which a whole season, 24 episodes, covers 24 hours.)

IF that type of fast-paced novel is not what you are doing, then you probably need to reduce the number of breaks mid-action/scene. I think there are certain rhythms created by switching up chapter types and chapter endings/beginnings—and, when you leave the possibilities open for the reader, then true cliffhangers when they happen will have more impact.

I would also say, generally speaking, that many methods exist for keeping the reader engaged and turning pages. You do not need to rely on abundant cliffhangers for that.

 

[T.Allen.Smith]

It depends on what you consider a cliff-hanger. If you're talking about a highly dramatic, tense moment, then yes, ending every chapter that way might become predictable. Predictable is boring.

However, I tend to look at chapter endings as an opportunity to:

1. Pique curiosity

2. Make the reader ask a question

3. Reveal something that makes the reader continue.

If that's what you mean by cliff-hanger, then you're fine. I always look for a way to end EVERY chapter in a way that urges the reader to read just one more page. That's not easy, but it's important.

 

[Incanus]

Yeah, I figured the definition for what constitutes a cliffhanger might get raised.

Most of the time, the way I'm ending these chapters does some or all the things TAS listed. What's bothering me is that in almost every case, I've being doing it mid-scene. A conversation beginning in the middle of chapter 6, say, is stopped at a significant moment, and then the conversation is concluded in chapter 7.

At least the fix for this shouldn't be too terribly difficult--mostly just changing where the chapters start and end.

The novel is intended to be more on the fast-paced end of the spectrum, though it emphasizes 'adventure' over 'action'.

 

[FifthView]

I haven't thought much about the specifics of cliffhangers vs similar approaches, with respect to scenes and chapter endings, so this topic interests me as an opportunity to clarify things for myself.

I think that, generally speaking, TAS's breakdown describes the effect of a cliffhanger; but at the same time, those effects are very broadly stated and may not define a cliffhanger. At least, I can off-the-cuff think of other types of breaks that would also lead to the same effects. I also think that different types of cliffhanger are possible. So...

Let's imagine a scenario. A group of protagonists/heroes—let's say, about ten people of varying proficiency—have been engaged in combat with a larger group that works for the novel's main antagonist, and the combat has been touch and go. Although our heroes knew going in that they were at a dangerous disadvantage, they have managed to reach a point where, for the first time, there are clear signs that they are turning the tide. Then, imagine that the leader of this group, without whom they will almost certainly lose the battle after all, is too busy fighting a particularly tough foe to notice that an enemy leader is approaching him from behind. The enemy leader is a powerful mage, but our leader happens to have the ability to repulse magic—if he sees it coming. Let's call our leader Repulsor (h/t to BWF). All this is occurring at some distance from the main combat, so our other heroes don't have a chance to intervene in time, although our main POV character happens to glance at Repulsor and sees what is happening.

We could end the chapter in multiple places:

1. POV character glances up, sees Repulsor fighting his tough foe. Then, The Mage appears behind Repulsor. [End Chapter.]
   
   
2. POV character glances up, sees Repulsor fighting his tough foe. The Mage appears behind Repulsor. The Mage lifts his wand, aimed squarely at the back of Repulsor. [End Chapter.]
   
   
   
3. POV character glances up, sees Repulsor fighting his tough foe. The Mage appears behind Repulsor. The Mage lifts his wand, aimed squarely at the back of Repulsor. The wand pulses with light, then a ball of fire forms at its tip—and flies forward. [End Chapter.]
   
   
   
4. ....The wand pulses with light, then a ball of fire forms at its tip—and flies forward. It strikes Repulsor in the back, explodes, engulfing both Repulsor and his current foe in an inferno. [End Chapter.]
   
   
   
5. ....The wand pulses with light, then a ball of fire forms at its tip—and flies forward. It strikes Repulsor in the back, explodes, engulfing both Repulsor and his current foe in an inferno. A moment later, only smoke fills that area; it begins to clear. Our POV character sees Repulsor on the ground next to his foe, unmoving, tendrils of smoke still rising from both. Our POV character glances up. The Mage is looking straight at him, his lip curled in a smile. [End Chapter.]
   
   
   
6. ....Our POV character sees Repulsor on the ground next to his foe, unmoving, tendrils of smoke still rising from both. Our POV character glances up. The Mage is looking straight at him, his lip curled in a smile. The Mage steps toward him. Then steps again, raising his wand. [End Chapter.]
   
   
7. ....Our POV character sees Repulsor on the ground next to his foe, unmoving, tendrils of smoke still rising from both. Our POV character glances up. The Mage is looking straight at him, his lip curled in a smile. The Mage steps toward him. Then steps again, raising his wand. Our POV character is frozen in fear. The Mage steps forward again; his wand begins to glow—Repulsor appears behind him. [End Chapter.]
   
   
8. ....The Mage steps toward him. Then steps again, raising his wand. Our POV character is frozen in fear. The Mage steps forward again; his wand begins to glow—Repulsor appears behind him. The Mage senses Repulsor, turns, and launches a fireball. Repulsor repulses it and lunges forward. He strikes the Mage in the neck with his dagger, sinking it deep. The Mage falls as Repulsor jerks his dagger free. Repulsor looks around, a snarl on his face. Then his face goes slack. He seems to be looking toward our POV character for a moment. Then he tumbles face-forward into the bloody mud, unmoving. [End Chapter.]
   

Let's suppose that this is the actual series events. What happens in each of these possibilities is largely unknown to the reader if you break the chapter at the earlier break.

For 1-3, there's a chance Repulsor will notice The Mage and kill him (thrown dagger/sword/whatever) before he can be hit by the magic. With #3, he might repulse the fireball first.

For #4, there's a chance that, though the fireball explodes, Repulsor might have been able to repulse the effects of that explosion. He could appear in the start of the next chapter standing there, snarling at the mage, when the fire and smoke clear.

#'s 1-4 are cliffhangers. We don't know what's going to happen.

#5 is not, to my mind, a cliffhanger. It's the end of a scene. When the next chapter starts up from that point, we are in another scene or perhaps a sequel. I think it's important to note that, just because action happens in the same geographical location with little or no leap in time, that doesn't mean what happens is not a new scene. I.e., "scene" doesn't mean, "same place and time." #5 in this case has resolved a series of events, as far as the reader knows, and a new series is going to happen in the next chapter. The reader doesn't know what the next chapter holds or how the battle will resolve itself; but this effect is common for pretty much every chapter of every novel ever written. What comes next? is not exactly the same thing as What's going to happen here and now, with this? But in either case, the reader still has questions, still wants to keep reading to find out what comes next/what's going to happen.

A special note on sequels: They are not necessarily the second half of a cliffhanger, although they might be. Something happens in a scene, and a sequel may be written after it to show the characters coming to terms with whatever happened in the scene. Adjusting plans, making new plans, conceptualizing the effects of the events that happened in the previous scene, etc. A sequel is somewhat reactionary. So in this example, #5 might end a series of events, and the next chapter could be about what happens as a consequence of Repulsor's being taken out by The Mage. (We don't know yet that Repulsor is going to rise and take out The Mage.)

Breaking a chapter after the conclusion of an important series of events can leave a reader not asking so much What's going to happen here and now? (cliffhanger) as What's the significance of what's just happened? I.e., desiring a sequel. BUT, if the thing that's "just happened" is a particularly surprising, potentially momentous event, a sequel can be what follows the revelation and still be the second half of a cliffhanger. To borrow from Brandon Sanderson on Writing Excuses: POV character hears a knock at the door, opens the door, and on the other side is [someone unexpected, whose appearance will be a major twist on the plot as it currently looks to the reader], then, end chapter. What follows may be a sequel, i.e. the character coming to grips with the appearance of that person behind the door, and the second half of the cliffhanger (the appearance of that person.)

#'s 6-7 are cliffhangers—although, to my mind, #6 is ambiguous, because it could just be the conclusion of a scene. The context has changed for the POV character; but what is the immediate existential threat of The Mage raising his wand? The fight between Repulsor and his opponent was at some distance; and, the wand hasn't begun to glow. So is #6 a cliffhanger or merely the conclusion to one series of events?

#8 isn't a cliffhanger. Note though that the reader, knowing the stakes of the battle and the importance of Repulsor's continuing ability to fight in the battle, will probably want to keep reading to see what happens next.

Ok. Sorry for the long post, but it's a fascinating topic. Hope this helps.

 

[KC Trae Becker]

I was just researching this topic moments before I found this question posted here. I love this site.

You are probably well aware of this, but the whole question of whether to cliffhang or not seems to be answered by: too much can seem contrived and turn off readers, only use it when it comes organically from the story.

My follow up question is : should volumes in a series end in cliffhangers or not? Is that too cruel to do to that readers?

 

[K.S. Crooks]

For me it would depend on whether the next chapter begins in a new location or perspective or something a great significance happens. Ex. a group of marines are in a gun fight against a group of mercenaries. If the marines set off a smoke bomb and exit the room and the chapter ends, I would be fine; if the next chapter begins with them still in the middle of the fight and no perspective has changed I would wonder why the need for a new chapter.
I tend to only start a new chapter when there has been a major location change (which depending on your story could be going to another room), change in perspective, or the addition/removal of a major character to a situation. Using the marines example again if the second in command of the unit is killed I may start a new chapter.

 

[MineOwnKing]

My follow up question is : should volumes in a series end in cliffhangers or not? Is that too cruel to do to that readers?


Some reviewers gripe about cliffhangers in a series, yet from my research it seems that there are equally as many readers that don't mind it. Those that are okay with it don't make as much noise about it.

It doesn't appear to hurt sales so I guess it really just comes down to how quickly an author is churning out novels.

If you're publishing two novels a year I would say you're golden.

If it takes you two years between novels then it might be an issue, but that would depend on how many fans you have.

If you are an unknown, you could probably gamble on a long pause between publishing after producing a cliffhanger.

If you can afford to wait to publish the cliffhanger novel until the following novel is ready then I would just sit on it and publish them at the same time.

Offer the first one for free and sell them as a package deal.

 

[Kobun]

As I understand it, cliffhanger chapter endings are generally considered a good thing. I’m wondering, however, if this might be one of those things that qualify as ‘too much of a good thing’.

In my novel WIP, I’m writing pretty short chapters, I’d estimate that there could be around 60 when it’s all done, for a medium-short length novel. I keep finding myself ending chapters at a dramatic point, in the middle of scenes, or in the middle of action. I’ve ended every single chapter this way so far.

So I’m wondering what you folks think. Am I overdoing it? Would you be annoyed by this? Or is this actually a decent way of encouraging ‘page-turning’? Would it start becoming predictable (not the story itself, or the different instances of the cliffhangers, but merely the pattern)?

I couldn't say without looking at the manuscript, but from the sound of it you may be right about having too many. I remember reading a William Johnstone book awhile back and every. single. chapter. ended. with. an. earth. shaking. revelation. By chapter four I was rolling my eyes. If the book wasn't so short I'd have quit.

Honestly, chapter breaks can be used to control the pacing of the book. Where it's important to have a major revelation or cliffhanger then go ahead and put it in there. Basically, do you want the book to read more quickly? Use dramatic chapter breaks. Do you want to slow your roll and calm the reader down? Maybe move the chapter break down a few paragraphs post the resolution of the cliffhanger.

 

[Zadocfish]

Remember, a chapter end can also be used as an excellent scene transition.

 

[BWFoster78]

I still don't think that the term cliffhanger has been adequately defined. In my mind, a "cliffhanger" means that you're ending the chapter without resolving the conflict in the scene. If that is actually what you're doing, I think you probably should limit yourself to only doing it occasionally.

Example: Your intrepid hero is in a frying pan. The conflict in the scene is based on him figuring out how to get out of the frying pan. A cliffhanger, in my mind, would be the scene ending with him in the middle of an attempt to escape.

IMO, a better construction is to have him escape the frying pan and end the scene as he lands in the fire. Thus, you're still propelling the reader forward (will he survive the fire?????) without annoying them by ending the action mid scene. (NOTE: I would not consider this construction a "cliffhanger." You have not left the POV character hanging on the cliff. Instead, his fingers have slipped and he's falling, creating a whole new conflict.)

Does that clarify anything?

EDIT: Further clarification -

Under my narrow definition, leaving the guy in the frying pan for multiple scenes/chapters does not constitute a cliffhanger. Perhaps you leave him there while he's dealing with other issues - a friend being hurt, mortal combat, internal struggle, etc. Or you show him trying to escape and failing. It only, imo, becomes a cliffhanger when you base the conflict in the scene on his escape attempt and then cut to a new chapter before resolving the conflict.

 

[FifthView]

What's bothering me is that in almost every case, I've being doing it mid-scene. A conversation beginning in the middle of chapter 6, say, is stopped at a significant moment, and then the conversation is concluded in chapter 7.

Ending a chapter mid-conversation is not an ineffective strategy, depending on how it's done. I've realized that my example above and others are founded upon action, but, at heart, conversations are another type of activity. So the same sort of things would apply to conversations as to other forms of activity.

Example #1:

In a gothic romantic adventure novel, our POV character meets another character early in the novel, and they form a romantic relationship—while also dealing, together, with some magical foe. Midway through the book, they have an argument about what they should do next, given whatever has recently happened, and the chapter concludes with this conversation. After much debate, our POV heroine, Grace, concludes on some brilliant point, crosses her arms to signal that the debate is over, with a triumphant glare at her counterpart, Nicholas. After a silence, her partner looks at her with dead eyes from across the room and says,

"You know, this is why I don't love you." [End Chapter]​

1. If Grace has already come to the conclusion that he doesn't love her, or has strongly suspected this for multiple chapters already, that's not a cliffhanger.
   
   
2. IF, however, Grace had no clue and we readers had no clue about Nicholas' true nature/feelings, then it's a cliffhanger.

The next chapter can continue the conversation. If #1 is the case, the reader's going to want to know exactly how she's going to respond to finally having this understanding revealed or in the open. If #2 is the case, the reader's going to want to know how this momentous revelation will change everything they've been expecting about the plot and resolution to the novel.

[First lines next chapter. #1: "That's irrelevant. We'll go with my plan." #2: "You bastard!"]

Example #2:

Our group of heroes has made arrangements to meet up at an unused warehouse two days after arriving at a new city, from there to head out to their next destination. They plan to leave midmorning on the appointed day. The day arrives and four of them have arrived early but the fifth, a somewhat undependable but necessary burglar of their group—we'll call him The Kid—is late. They are debating some matters related to their mission, the debate is growing heated, and just as one member of the party is saying something, they hear whistling from the doorway as The Kid walks in tossing and catching a large pouch of coins, his face lit with a smile and his eyes showing extreme self-satisfaction. He says,

"I just sold our horses. I got a great deal." [End Chapter]​

1. If their next destination is a 5-day ride to the next city, this is a cliffhanger.
   
   
2. If, however, their debate prior to The Kid's arrival was about whether to ride to their next destination or buy passage on a ship and head up the coast, it's not a cliffhanger.

[First lines next chapter. #1: "You what?" #2: "Well then, it's settled."]

 

[Incanus]

I was just researching this topic moments before I found this question posted here. I love this site.

Cool. A nice synchronicity.

Thanks to everyone for responding. Great replies.

I did a different kind of chapter end/transition with a recent chapter I completed. Seeing that it worked well (or so I think), I realized that what I need to do is use a variety of chapter endings. I know that the next revision will be pretty substantive, and I'll have a chance to change those first dozen chapter endings--I may combine some chapters, or cut them off at different places. Of course, I'll keep a few of the best ones that I already have.

Despite these little issues and a myriad other problems, my novel is generally going well. Very happy about that.

 

[spectre]

It works well for cartoons and manga. That should say something given their success. I think timing your thrills and your questions, your tragedy and your answers is going to be important to writing in that style.