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Art • Books • Writing
On Cliffhangers
September 19, 2022
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So cliffhangers. WHY DO WE DO THEM. Some reasons.

No wait. First. Keep in mind this important Three Jaguars fact: a novel is not a story. A novel is a way of packaging a story of a certain length, in a certain way, with a certain kind of marketing fluff and with certain cultural and reader expectations. Okay? Okay. Onward!

MARKETING REASONS

Cliffhangers work.

Yeah, yeah, I know. People rage about them. I’ve raged about them. It doesn’t change that they keep people coming back. Often the angriest people are the ones who are first in line to find out What Happens Next (why not, right? They wouldn't be so upset if they weren't invested). There’s a reason television seasons often end on cliffhangers. We have an entire artform that revolves around cliffhangers (what?). No, really: what do you think the punchline of a joke is?

We’re wired to find the anticipation of a reward as pleasurable as its acquisition. It’s a survival thing: you have to motivate people to go looking for that honeycomb or bush of wild berries, and it’s not the reward that pulls us on, it’s the hope of the reward. And stories, no matter how abstract, can trigger that same thrill when we’re in pursuit of their endings.

The reason cliffhangers don’t die as a thing is because they keep people coming back.

Sad but true, I know. I have been one of those people who threw a book against a wall and wept bitter tears over an abrupt ending I knew wouldn’t be resolved for over a year because So Slow Author Why So Slow. >.> But even in my own work, I notice that the series that conclude in cliffhangers draw more sales to the end of the series than the ones that are more episodic in style.

This is not my reason for writing cliffhangers, though. Onward!

PACKAGING REASONS

Books, the physical things with pages, have points past which they become too large to be feasible. A very long story crammed into a physical object with pages needs either to have many, many pages (dictionary); to have a very large form factor (textbook); or have reeeeally tiny font and as little whitespace as you can get away with (most cheap mass market paperbacks). So that’s one problem.

The other problem is modern, and caused by databases. (Seriously.) In this case, it's the fact that the same story can be packaged in different ways: paper, audio, e-, serial, enacted with puppets, etc. But a reader always wants to know ‘wait, did I read this already?’ when they look at any given story. If the same story, as an e-book, is so long it needs to be split into many separate print books, then they aren’t linked together in the retailer database and readers are left wondering, ‘wait, is this part 2 of the book I read as a whole thing as an e-book’?

They get confused and don’t want to deal with it. I don’t blame them. I wouldn't either. So that’s problem two.

Given these issues, splitting stories into manageable pieces so that existing technology can handle them is a good thing. (The tool always shapes the art. This is a sobering thing to reflect on, and probably an entirely different post.)

This is one of the two reasons I write a lot of cliffhangers. Particularly since my print readers have asked me not to force them to squint at tiny fonts squeezed onto pages with almost no margins. I don’t think that’s legible or pretty either, so I’m all about making the book comfortable to read when you’re reading it. I produced one doorstopper print edition (Spots) and that was enough to convince me not to do that again.

ARTISTIC REASONS

Pauses are important.

Pauses give singers time to breathe, and make notes distinct from one another in music. Spaces between written words make their meaning clearer and the communication more seamless. Gaps in conversations allow people to evaluate one another’s needs and chase tangents. Space away from a crazy life, taken outside under a tree with your eyes on the changing shapes of clouds, lets you expand and make sense of everything.

Pauses are paramount.

I don’t call myself a lyrical or literary writer, and for the most part I’m not. But there are times when the lessons you learn from lyricism help you communicate more clearly. Poetry taught me that pauses give emphasis, let ideas sink into people’s heads. This is the same internal understanding that leads writers to create scene breaks and chapter stops.

If there’s anything literary about me, in a conscious way, it’s my love of pauses.

This is the reason why some of my books have no chapters: because you’re supposed to barrel through them like a roller coaster skidding over its highest point and down, down, down without time to even gasp. This is why some of them have dozens of tiny chapters, so that you have to stop between each, to evaluate what you’re feeling and thinking, to savor the taste in your mouth and sink into your puzzlement or your delight.

A novel—remember, not a story, but a specific way of packaging a story—can be another kind of chapter, and its ending is a very definitive pause. It forces the reader completely out of the story because we have expectations of novels, and one of them is that they have endings. If the ending is actually not an ending, but a hesitation, then you get all the roller coaster feeling but it lasts and lasts and lasts. The tension is multiplied many times over.

And in the silence where your expectations were, I can slip in and meet your eyes and say, “This is going to be worth it. I promise.

That’s the real reason I write cliffhanger endings. I am giving you time to relish the tension, to anticipate, to feel the unbearable vibration of it in your spirit, and then I’m asking you to trust me to make it worth it all. And I think, for the most part, I manage it, because once people get into my series they tend to buy to the end. I hope I manage it, anyway. I hold that trust very dear.

If you wonder why I linger so long in the denouement in most of my books, it's because of this. I'm bringing us down gently after the excitement. "Let's walk a while before we come out into the real world. Breathe."

Having said all this, I feel like leaving readers hanging too long is cruel. (I am alone in this—there’s evidence that people will wait for years if they care enough about the story despite their complaints, and that the waiting makes it even better even if the ending gets flubbed, because what felt good, what’s remembered, and what's forever after discussed was the anticipation, not the payoff). But cliffhangers… well. They're not always about a cynical money grab. They have a purpose. And if you love a writer, it's a heck of a lot of fun to grab their hands and take the plunge with them.

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I was in a fine mood that evening, when I followed the scent of roasted meat to the cheldzan, the only building large enough for both clans to congregate… and even then, a handful of people had spilled from its entrance onto the road, where a second stewpot was sending delectable scents toward the lavender sky. I stopped beside it to receive a bowl and a flatbread scoop and wandered among the Jokka, listening to various conversations. A good half of the people there were eperu, which surprised me; somehow I thought of the third sex as the least populous. If I asked Winoña, would I discover that she’d counted all the sexes in the clans she’d met? I smiled.

The Jokka of Clan Edla recognized me, and wanted to talk—about injuries and sickness, yes, but also about recoveries and births—so the sky had set out stars before I finally made my way to the back of the cheldzan, where I found Daridil, Seper, and Koish in consultation. The lore-knower of Clan Edla, a spindly eperu named Dlona, made up the fourth in their discussion, and Winoña was listening behind the counter, wiping bowls.

“We are blessed here,” Daridil said. “Game is plentiful… the forest gives both fish and beasts, and water is for the taking. I once questioned the wisdom of staying, but the gods have made their will clear.”

“There’s enough for your clan,” Koish allowed. “I fear what would happen if we overburdened the area. The stories say that when we linger, we use up the sap of the land.”

“That won’t happen here,” Seper said. “We will be good stewards.”

“Do you even know what that will entail?” Koish said. “If you have too many mouths to feed….”

“Then, we find another way,” Daridil said.

“Probably by selling our excess members to clans who are failing,” Seper said briskly. “You know as well as we do, ke Koish, that many clans are hurting for labor and breeders. Particularly breeders. The nomadic ways are hard on us.”

Behind Koish, Dlona murmured, “Ke Seper has this right.”

Joining them, I said, “Are you trying to talk them into staying?” I smiled at Koish. “You know they have to make their argument.”

“They’re eloquent,” Koish said. “And if it were up to the clan, I’d probably have to move into that empty building tomorrow. But I have to do what’s right for them, whether it’s popular or not. And I’m not convinced. Although, I’ve heard something about a shrine?”

Daridil’s ears pricked. “Yes. To honor the gods and thank them for the gift of this place.”

“You can’t buy the favor of the gods,” Dlona said.

“Of course not,” Daridil said. “One honors the gods, one does not bribe them.”

“I like the idea.” Koish leaned over the counter and plunked his clay cup on it. “Give me a refill, ke anadi, and then Daridil and I will go talk. About fate and food, among other things.”

Winoña chuckled and filled the cup from a leather bag. “And so much useful discussion will be had after your… third, I believe? Cup of this?”

Koish snorted. “I brew my own spirits, ke Winoña. Your mild-tempered spirits will have to work harder to cloud my thoughts.” Raising his new serving, he gestured toward the door. “Daridil?”

“With you, ke emodo.”

Dlona watched them go with a long face, ears twitched backward. Then it sighed. “Do you have a spare cup, ke anadi? I think I may need it.”

“Trouble?” I asked.

The eperu eyed me, dour. “Everything under the sun and stars is trouble. It’s just a matter of how it arrives.”

Seper chuckled. “I’ll enjoy having you among us for the haul, Dlona.”

I looked from one to the other and canted my head. “It didn’t sound like Koish had made a decision.”

“Koish will make the right choice for the breeders, as he should,” Dlona said. “And the right choice is finding out if they do better here than abroad. And we know how they do abroad, so all that’s left is to discover how they do in one place. But I won’t take our wagon apart. In the case that we might need it.”

“I wouldn’t suggest anything else,” Seper said. “Let me take you to the new eperu. You’ll want to meet them. Then we can discuss the buildings, and our plans for the granary.”

Dlona’s eyes sharpened. “A granary, is it? Is that what the bricks are for?”

“Yes,” Seper said.

The other eperu grinned, showing blunted teeth. “Is it round?”

Seper laughed. “Yes, like in the stories. As you could probably tell me.” It canted its head. “You can tell me, can’t you? Nudet lost its lore-knower before it could pass on all that it knew to me….”

“We should write those things down from now on,” Winoña interrupted, earning stares from all of us. “We can,” she said. “We don’t need to be limited to tallies on knots, which makes sense for roving clans that can’t store anything permanently. We have space here to keep records. We should keep records.”

“On what, though?” Dlona asked, frowning… but not objecting. Thinking, from its expression.

“Leaves?” Seper said. “Bark, maybe?”

“The stories speak of clay tablets….” Dlona plucked at its braided arm ruffs, as if counting knots on a tally blanket. "They also speak of paper, but not how it was made.”

“Clay we have in plenty,” Seper said.

“We should make clay tablets, then,” Winoña said. “So that what happened to Nudet doesn’t happen again.”

Seper’s grin had a challenging air. “And will you have us carve you out a new cavern to keep these clay tablets in?”

“Why not?” Her chin rose. “I already have to keep records to run a cheldzan and a storeroom. Or haven’t you noticed me using paint on the walls for it?”

“I haven’t,” I said, startled.

Seper chuckled. “Have her show you, Kediil. Dlona, if you like? We’ll make the way easy for ke Koish.”

“By all means, introduce me. You’ve hired some new eperu since Clan Edla came through last.”

They departed, leaving me with a spinning head. “That is what it looks like, isn’t it? Koish doesn’t think he’s made a decision, but he has.” I thought of his concerns. “Or maybe he’s just saying what we want to hear?”

“I doubt it.”

Did he even know he’d changed his mind? I rubbed my brow. “Do things always happen that quickly?”

“When they do,” Winoña said, “it’s usually because the conditions favorable to those changes were already developing, unseen.” She threaded her fingers together and rested her chin on them, smiling up at me. “You have that look again, like I’ve said something you didn’t expect and you admire me for it.”

“And if I said… yes… would you be disappointed?”

She giggled. “No! I want you to look at me like that all the time! Come here behind the counter, I’ll teach you to serve drinks.”

“Is that hard?”

“No, which means we’ll have plenty of time to enjoy one another’s company.” She glanced past me at the people crowding her hall. “Look at them, Kediil. How often have you seen so many Jokka in one place?”

“Rarely,” I said. “It’s noisy and hot.”

“But alive,” she said. “It’s so good to see so much life in one place.”

I’d expected her to laugh. But this comment, stated with such fervor, made me look again, and see, for just a moment, through her eyes. The eyes that counted and saw fewer people too often. The eyes that looked now and saw vitality and promise and hope of some different, better future.

I longed for the wind on my cheeks and the horizon before my eyes. But how much of that longing had been shaped by my desire to escape the captivity designed for me by fate, or the gods, or my family… all of them?

I stepped behind the counter and bumped her hip until she moved over. “Teach me how to pour things.”

“Is this an excuse to let me teach you something you already know?”

“Yes?”

She laughed. “Well, if you love the sound of my voice that much….”

 

***

 

I did not have to seek out Koish; he found me behind the Nudet building, settling my rikka for the night. I straightened, tucking my loosened hair back behind my shoulders, and waited.

“Derra’s caught a child.”

He didn’t need to say anything else. I knew Derra, a fragile, easily tired anadi who longed for children and had only been able to bear one so far. If Derra had conceived, Clan Edla would stay where the risks to her pregnancy could be minimized. Two anadi pregnant and another with a toddler would make traveling difficult… and, coincidentally, give Koish and Edla status in the new settlement. Fruitfulness was admired, no matter where on Ke Bakil you traveled, and clans rich in breeding anadi were granted a deference that no other Jokkad could claim.

“Will you stay?” he asked. When I hesitated, he said, “Or come back to check on Derra through her pregnancy?” I could hear his smile in the dark. “You’ll know exactly where to find us.”

“Ke emodo…” I sighed. “Yes. I’ll check on her. I won’t promise to live here, but I’ll come back from time to time.”

“Thank you. I knew you would, just as I know you understand why I’ve changed my mind.”

“We all serve the breeders,” I said, as if I had scooped the words out of Mardin’s mouth.

“Yes. Good night to you, ke anadi.”

Melon shuffled toward the end of his stall to bump my shoulder with his muzzle, and I petted it idly, watching Koish’s body until I could neither see nor hear him.

Yes, I understood. And I feared that I had my own reasons to change my mind, because I was not ready for the future. Are we ever?

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