Composing the Trilogy: Part 3
Welcome back to Composing the Trilogy. Today, we discuss the final piece of the puzzle- the last entry.
Coming to the End
The purpose of the final entry is to wrap up the story and solve the conflicts that plague the characters. That alone can make it difficult to write, since you have had two previous entries to build up the ending. It’s certainly not impossible, but it can be a daunting task. This is also where your previous planning can come into play. The more you know how things are ending, the better a picture you have of a complete, complex, and satisfying ending. Ending on a ‘blind note’ can have serious consequences, such as the case of Godfather Part III. This final entry was not originally planned, but written and filmed to fulfill studio desire and pay the debt of director Francis Ford Coppola’s previous film bomb One From the Heart. As such, it is widely regarded as the weakest of the three films, as even Coppola admitted the previous two films had said all he wanted to say.
So assuming you have planned out a full trilogy from the beginning, you are prepared to avoid this problem. However, you still need to bring a proper close to your story. Some stories, usually fantasy, end with a final, climatic battle between the established rival forces. Star Wars does this well, as we see Darth Vader and Luke Skywalker clash for the final time. But it also brings in other elements that can be used for a finale, the end of growth and redemption. Luke completes his training, resists the temptation of the dark side, and become a full Jedi. Vader, who has hinted at being torn between his son and evil master, redeems his character by saving his son and killing his master. To add more to the finale, Vader dies soon after, adding more poignancy to his redemption, and officially making Luke the last living Jedi. As for further battle example, look no further then Return of the King, which treats audiences the last battles of a war that will either end our characters or make them heroes, as well as determine the kingship of Aragorn.
At the same time, things can be added to the final entry to give it more heft. However, these additions must be made carefully, or they may distract from the film. Many jokes have been made about the teddy-bear Ewoks of Return of the Jedi, largely about their readiness for toys. And Return of the King suffers from a multitude of false endings that turn excitement in a desire for the film to be over. Besides, readers are more likely to want to see resolution of characters and themes, not a multude of new things. So when making additions, keep it simple and short.
And now we’ve reached the end. How do you end it? That part is up to you. It can be as simple as Sam coming home, or as joyous as a galaxy wide celebration. It can be as poignant as a peaceful death, or as empty as a man dying alone, having nothing left to care about. But above the ending must be true to what’s come before, and it must be something that you know is right. Because if you don’t know that at the end, then you’ve wasted three books.