Must thriller novels end on a happily-ever-after note? Or can authors follow a darker path? Along with several other authors, I considered those questions in an online roundtable hosted by International Thriller Writers.
Here’s my take on how novels should end:
Ernest Hemingway’s novel For Whom the Bell Tolls has stuck with me since I was a teenager, in large part because of its very un-Hollywood ending. The story concludes with Hemingway’s character Robert Jordan in a moment of relative quiet, weapon at the ready. You know he’s about to fire that weapon. You also know he’s toast. But Hemingway doesn’t need to tell you that explicitly. So much of his strength as a writer derives from what he leaves unsaid. The strength of the English language lies in understatement, and nobody understood that better than Hemingway.



