Creating a climatic and final resolution to which all readers will be satisfied is an impossible task. But–as luck would have it–the series-writer needn’t truly worry of that until his or her last book. Even so, the reader must be gratified and thrilled for something that teases them for the next one. A cliffhanger is one way, and is how the first book in the Samurai of Hyuga series ended.

What does a good, mid-series book resolution look like?

It needs suspense

There are many ways to evoke an emotional response from a reader, but none will hold their attention for months at a time without a degree of suspense. As a writer you must make certain that there are unknowns, lingering concerns and a feeling of anxiousness–even dread at what comes next. Stress is a key asset that, when used effectively, will keep your audience captivated.

Spoiler for the end of Batman Begins (2005):

GORDON (CONT’D): Leaves a calling card.
Batman turns the card over. It is a JOKER.
BATMAN: I’ll look into it.
He steps up onto the balustrade. Gordon looks at him.
GORDON: I never said thank you.
Batman looks out at the lights of Gotham. Cloak billowing around him.
BATMAN: And you’ll never have to.
Batman DROPS from the rooftop, GLIDING on the night wind.
Gordon smiles. He can’t help it.
FADE OUT:
CREDITS. END.

It needs to be an event of magnitude

The reader has to be able to (figuratively at least) close the book and say “Wow, I can’t imagine how things will now change!”. Except they definitely can imagine it and many of them will–and that’s a terrific thing! Whether it’s a revelation or epic event, it has to be a happening of far-reaching consequence. Doesn’t have to change the world but it does have to force your readers to pause and speculate. How will things change?

Spoiler for the end of A Dance With Dragons:

“I am sorry.” Varys wrung his hands. “You are suffering, I know, yet here I stand going on like some silly old woman. Time to make an end to it.” The eunuch pursed his lips and gave a little whistle.

Ser Kevan was cold as ice, and every labored breath sent a fresh stab of pain through him. He glimpsed movement, heard the soft scuffling sound of slippered feet on stone. A child emerged from a pool of darkness, a pale boy in a ragged robe, no more than nine or ten. Another rose up behind the Grand Maester’s chair. The girl who had opened the door for him was there as well. They were all around him, half a dozen of them, white-faced children with dark eyes, boys and girls together.

And in their hands, the daggers.

It needs to be grand

Whether it’s an award ceremony from Princess Leia or Sam’s near-drowning attempt to reunite with Frodo–embellish it. If you’re not big on details, be big if only for this scene alone. Don’t bore your reader but make it feel as if they are there and that the event is signficant. Because it is significant. It’s the scene that will linger in the reader’s head for the months to come.

Spoiler for the end of The Dragon Reborn:

From outside, the cries still rose, unceasing. “The Dragon! Al’Thor! The Dragon! Al’Thor! The Dragon! Al’Thor! The Dragon!”

And it was written that no hand but his should wield the Sword held in the Stone, but he did draw it out, like fire in his hand, and his glory did burn the world. Thus did it begin. Thus do we sing his Rebirth. Thus do we sing the beginning.

Ending it on a choice is what this medium is designed for

Many times a dramatic choice made by the protagonist is enough to end a book amid a series. It’s a great way to get the reader pumped for the consequences of that profound decision. And since we’re in the realm of choose-your-adventure games, that decision is more personal than ever. This is even better because it gives you as a writer more time to think out the results of that choice. More time to figure out how it alters the plot ahead.

And time is the greatest asset there is!