Storytellers have thought of many ways to create a circular feeling of completion or closure, basically by addressing the dramatic questions raised in Act One. However once in awhile a few loose ends are desirable. Some storytellers prefer an open-ended Return. In the open-ended point of view, the story-telling goes on after the story is over; it continues in the minds and hearts of the audience, in the conversations and even arguments people have in coffee shops after seeing a movie or reading a book.
Writers of the open-ended persuasion prefer to leave moral conclusions for the reader or viewer. Some questions have no answers, some have many. Some stories end, not by answering questions or solving riddles but by posing new questions that resonate in the audience long after the story is over.
Hollywood films are often criticized for pat, fairy tale endings in which all problems are solved and the cultural assumptions of the audience are left undisturbed. By contrast the open-ended approach views the world as an ambiguous, imperfect place. For more sophisticated stories with hard or realistic edges, the open-ended form may be more appropriate.
– from The Writer’s Journey by Christopher Vogler
Michael Connelly On Tidy Endings
In an interview at The Bestseller Experiment podcast, bestselling crime writer Michael Connelly says that he doesn’t tidy everything up in his novels. Connelly has a background as a crime journalist, and in his real world earlier career many, many crimes were never tidied up. When he left to become a full time novelist he left many files open-ended. This was a reminder to him that real life is vastly different from fiction. He tidies his book endings up a lot more than is done in real life, but refuses to tidy absolutely everything.
A Brief History Of Open Endings
A number of significant changes took place as a result of the Industrial Revolution in the way we tell stories – endings are just as likely now to consist of an ‘open ending’, partly to add an air of uncertainty and partly because in a godless universe death doesn’t mean what it once did. As Shakespearean scholar Jan Kott noted before him, ‘Ancient Tragedy is loss of life, modern Tragedy is loss of purpose’. Characters nowadays are just as likely to drift into meaningless oblivion as to die.
— Into The Woods by John Yorke