In November 2022, I delved into mid-series book endings in regard to their length. Today, I’ll be looking at the topic in relation to the plot.

A recent read brought me to this topic – while the story flows well, the way individual books end isn’t optimal. Thus, I’m pondering the content and situations that are (and aren’t) good for mid-series book endings.

An end should feel like one

Even if it’s one book of many, seeing “the end” should make the reader feel like at least something was brought to… you guessed it, an end. It might not be a major or flashy end, but it should be one. If that’s not the case, the worst scenario is that the reader will think a book was split into many just to get more money from the reader, especially if the individual books are short.

Hero’s Journey

The Hero’s Journey story structure has several varied forms – I’ve seen it mentioned as a three-act and four-act structure with each act having further divisions, and it leaves space for individual interpretation and execution as individual divisions can be skipped, expanded, or merged. Even with that, a story naturally has some major plot points that are of greater significance.

The structure can also have several layers (by using subplots) and thus there can be more than 3 or 4 “breaking points” that are fitting moments to end one book in a series. But ending them outside of those points can be jarring. In stories where combat and confrontation are major aspects (applies to my dominant genres – Sci-Fi and fantasy), those are often likely just after a major confrontation (which can range from a duel to a clash of armies numbering in tens of thousands or more).

First confrontation

The first confrontation is a good point to end the first book in longer series. It often features the main character(s) facing off a major antagonist the first time and gives a hint of the power level as, at this stage, the MC is typically far from where they need to be to prevail. This situation can end up being a labored victory, (often of only temporary character) or a major defeat of the protagonist(s) that forces them to regroup, gather their strength, and prepare better for the future.

A midterm reward

Many stories feature the hero going through various tests to grow their power. And, often, those are beset by dangers and minor confrontations with either primary or secondary antagonists. This stage (usually the middle act) culminates the hero’s growth in power and will likely feature some major obstacles that could be worth a temporary closure. However, if this approach is used, it needs to be done well to avoid the pitfall I mentioned at the beginning – the test must be something that feels like an end (for now) that closes a plot thread, even if temporarily.

Secondary antagonists

In stories with several subplots where each has its own antagonist (these can be related but don’t have to be), fully wrapping up one subplot is the most-efficient end of a book as it tends to fully close a plot thread and thus the end doesn’t just feel like one, but actually is one (even if for just one part of the story). This has the advantage that it can be a grand end with both sides going all in and a major test of skill rather than just one step on the ladder.

Major minions

Most groups in reality and in fiction alike have some structure and chain of power. The “big bad” as the leader of the antagonist rarely appears out in the open in the early parts of the story and merely delegates sub-groups (loyalists, armies, collaborators, saboteurs) who are led by their chosen subjects – and those tend to wield significant power. They’ll be often sent to stop the hero before the leader even makes a “public” appearance (typically the above-mentioned first confrontation scenario) but even as the story progresses, there will be major minions to be faced.

These situations often end up in losses on both sides and, as the story progresses, these shift to favor the protagonists and thus serve to draw the antagonist towards a direct action rather than just overseeing and delegating their forces. However, this scenario shouldn’t be overdone within one series and each such end should clearly push the story towards its finale with a noticeable shift in the balance of power.

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All the abovementioned elements can be combined, but overuse of one is a problem. While a growth in power is necessary, repeated ends of the same type – such as the hero being always on the run until they, in a very short time, turn things around – can be disruptive to reader enjoyment. Variety is the key – make the reader wonder what comes next.

Of course, I’ll welcome your opinions and experiences, both from readers and writers. Share what works (or doesn’t) for you.