Famous Last Words

The Washington Post has an article on “The 23 most unforgettable last sentences in fiction.” Many critics and readers focus on the first sentence, but the last sentence is the one that leaves the final impression. Here are a few of my favorites.

“I got to light out for the territory ahead of the rest, because Aunt Sally she’s going to adopt me and sivilize me, and I can’t stand it. I been there before.”
Adventures of Huckleberry Finn by Mark Twain

“It’s funny. Don’t ever tell anybody anything. If you do, you start missing everybody.”
The Catcher in the Rye by J.D. Salinger

“He was soon borne away by the waves, and lost in darkness and distance.”
Frankenstein by Mary Shelley

“After all, tomorrow is another day.”
Gone With the Wind by Margaret Mitchell

“He loved Big Brother.”
Nineteen Eighty-Four by George Orwell

I can't resist. Here are a couple of my favorites from my own books.

“I kept my head and Chestnut facing east.”
The Shopkeeper by James D. Best
(I didn’t want my hero to ride off into the sunset.)

“And then he was gone.”
Tempest at Dawn by James D. Best
(James Madison, an old man had left the room, but he soon after left the stage as our last remaining Founding Father.)

In truth, neither the first nor last sentence can make a good story. The entire narrative has to pull the reader forward until they read the last sentence. A story told properly will cause the reader to seek out another book by the same author.

A Writing Cheat Sheet

Many seem to believe if they just got a proper set of instructions, they could be a good writer. Many famous writers like Mark Twain, George Orwell, and Elmore Leonard have even provided aspiring writers a list of rules.  Here is a Writing Tips PDF that collects rules from George Orwell, Edward Tufte, Strunk and White’s, and Robert Heinlein. I especially enjoyed Evil Metaphors and Phrases. These clichés are definitely cringe worthy, if I can be allowed to use yet another cliché.

(Here is my collection of writing advice.)

There's a problem with all of these lists. If hard rules were all that was necessary to become a great writer, then we’d be awash in breathtaking literature.  We have writing tips, rules, and guidelines aplenty, yet they don’t seem to convey the masters’ magic. What gives? All of the rules are good writing advice, but first there must be compelling content.

I used to golf until I realized I pretended to enjoy the game. Prior to making this discovery, I took a lesson with two friends from a teaching pro. We spent about two hours on the range and putting green. Lots and lots of tips and advice. My head was swimming. I couldn’t get my grip right for fear my backswing was too fast. 

The all-day lesson included a round of golf with the teaching pro. We presumed he would critique our play as we went along. No way. On the first tee, he told us he wouldn’t comment on our play until we were ensconced in the clubhouse for refreshments. He said we should forget everything he had told us. Forget it all. His advice was meant for the driving range and putting green. He reiterated that as we played this round, we were not to worry about grip, swing, or stance. We should concentrate on one thing and one thing only—keep our eye on the ball. Simple. Keep focused on the primary basic of all the basics. It was a fun round of golf with one of my lowest scores.

My point is that when you write a first draft, forget the rules. Focus solely on the story. Telling a great story is the real magic the masters have mastered. Don’t pull out the rules until you start the second draft, then use them ruthlessly on the third and fourth draft. Hone and polish your manuscript until it’s as bright and shiny as a new penny.  (Sorry, I couldn’t resist closing with an “Evil Metaphor.”)