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How to Write a Conclusion for a Sad Story


Writing a conclusion for a sad story could encompass a world of possible endings, from a Shakespearean death scene to a tearful summer-romance farewell. But before you approach a sad ending, you should set the tone of sorrow and alienation by catching the mood.

Tears Are Necessary
Tears have to be there.

Some guides recommend that you surround yourself with tragedy -- see it on the news or visit terminal patients -- to remove your defenses and expose your emotions. However, it might be better for you to remember your own tragedies and relive them, no matter how painful the experience. If you're moved to tears, remember what Robert Frost said: "No tears in the writer, no tears in the reader."

Three Meaningful Endings
A sad ending has to be personal.

Once you have the right empathetic mood, you can move in one of three main directions with your protagonist's fate: the protagonist can die, separate forever from a loved one or stay in a bad situation. These possibilities are the most frequent sad endings found in literature, classic to contemporary. But the most important point to remember about any of these conclusions is that your ending must have a cathartic effect -- an emotional release -- for the reader.

Examples of Endings
Which catharsis is right for your story?

Both classic and modern writings offer abundant examples of cathartic endings. In Shakespeare's "Othello," the protagonist gives a splendid final speech, rendering his tragedy poetic. In Henry James' "Portrait of a Lady," Isabel Archer stays with her dull husband, making the best of her sad situation. And in Ian McEwan's "Atonement," the protagonist, a writer, takes away the tragic ends of her lovers by literally rewriting their lives.

Try Three Endings
Which ending brings the tears?

If you're in the right mood and you're aiming for catharsis for yourself and for those reading your work, your ending may suggest itself. If it does not, write three different endings, using the three classic possibilities -- kill the protagonist, leave the protagonist in a bad situation or separate the protagonist from a needed individual. Your own emotions will tell you which ending is most true; it will bring tears to your eyes and therefore to the reader's as well.

About the Author

Michael Stratford is a National Board-certified and Single Subject Credentialed teacher with a Master of Science in educational rehabilitation (University of Montana, 1995). He has taught English at the 6-12 level for more than 20 years. He has written extensively in literary criticism, student writing syllabi and numerous classroom educational paradigms.

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