Shocking "Novel" Endings

[Dawn M. Kravagna]

Hi. I was reading the back copy of a novel on CD. To paraphrase, it said "a thrilling adventure with a shocking ending." I read this type of hyped-up copy on quite a few novel jackets but can only think of one mystery novel (or novel, period) that had an ending that truly shocked me: Anne Perry's, "The Twisted Root," which elicted a loud "EWWWW" from me. Anyone else read a novel which had an ending which truly "shocked" you? A truly "novel" ending? Pun intended.

[I. J. Parker]

Haven't read Perry's book, but I think lately the emphasis has been on building toward a climactic scene. Too many of the old mysteries ended simply in a long chapter where the protagonist explains his brilliant deductions.
I make a conscious effort to a) avoid the explanation scene and b) end with dramatic action or surprise. Thrillers almost always build toward action. Many mysteries aim for the surprise twist (not always successfully). I don't know about "shocking." That doesn't sound terribly appealing. The end of a novel ought to leave the reader not only satisfied but impressed.

[Eric Christopherson]

I thought the twist ending to Dennis Lehane's Shutter Island was cool.

How about the reverse, when the ending doesn't shock you at all? When you figure out the twist ending or identify the killer on page 87 or so? I remember IDing the murderer in Russell Andrews' 500 page Icarus on like page 53. Hate when that happens.

[Jeff Ross]

Shutter Island felt entirely like a big trick. I liked it, don't get me wrong, but it feels like a slight rip-off of Fowles The Magus (which is brilliant). Nevertheless, you have to appreciate Lehane for going out on a bit of a limb with that novel moving away from his normal fare.

[Naomi Johnson]

While the last chapter of Earl Emerson's INTO THE INFERNO was not a "climactic" or big action scene (that was in the preceding chapters), it nevertheless contained a twist to the story the like of which I have not read in many, many years. I wouldn't call it "shocking" but it certainly put my head in a spin. I have a friend who loves the book just as much as I do and yet we completely disagree about what that last chapter meant.

[Johnny Ostentatious]

Dean Koontz's Mr. Murder had a nice little twist ending. And I liked the ending of Lawrence Block's Mona -- that one wasn't really a shock, but goddamn was it awesome!

[Naomi Johnson]

Ooh, how could I have forgotten the ending of Bruen's THE DRAMATIST! I swear, I got up and walked around the room swearing at that man! That ending sucked the heart right out of me.

[Jeff Ross]

I'm going to go ahead and try reading Bruen again. I started the Priest and found it really jumpy. anyone else?

[Naomi Johnson]

Jumpy is sort of a Bruen trademark, I think. He writes in quick, vivid strokes. If he were a painter I think he'd be a Kandinsky. Unlike say, Raymond Chandler who would be more of an Edward Hopper. Bruen's one of those authors, most folks either love or hate. Me, I love his work. I know a guy though, and he's bright enough in other ways, who is a big mystery buff, but doesn't at all like Bruen's work. Go figure. To each his own.

[L.J. Sellers]

Interesting. Are you implying that a person who doesn't like Bruen might not be all that bright? Just curious.

[Naomi Johnson]

Not at all. Just me being sarky - he's used to me being that way. I sometimes forget others might not care for it.

[Jeff Ross]

I'm reading the Dramatist now and it's pretty interesting. The 'mystery' is certainly secondary to the life and times of the protagonist. Which is fine by me. I don't find it AS jumpy but there's still sometimes I wish there was a little more written.

[Dana King]

Ditto SHUTTER ISLAND. And let's not forget the big shocker. It would probably seem tame today because so many have ripped off parts of it, but I, THE JURY held the "shocking ending" crown for a long time.