As romance readers we like happy endings. I still remember the book that pushed me firmly away from historical fiction into the romance camp. The heroine was a New England ship captain’s wife. It started out with a romantic meeting and courtship, and ended with plummeting fortunes and marital discord. I closed the book and tried to think why I had wanted to read it in the first place, or why anyone would want to read it. If I’m reading for pleasure, I want it to end happily. But I have to wonder whether ending happily means it also has to end neatly.
Because we also complain about hackneyed epilogues. You know what I mean. It’s a year later, and the heroine has just given birth to the adorable heir (because I swear it is usually a boy). Our hero and heroine look at each other with gooey eyes and perfect happiness. There’s no hint that the baby in question might get sick, or their financial fortunes will undergo an abrupt reversal, or even that the beloved family dog will pee on the priceless Aubusson carpet. In other words, there’s no inkling that the hero and heroine are about to experience life as we know it. If there’s any hint of discord in an epilogue, it tends to be in the form of angst for the couple’s friend/relative/old school chum who will be featured in the next sequel.
What got me thinking about this in the first place? I read two with slipshod endings, both of which read as if the author got sick of writing and just ended the book with little thought or planning. One I have reviewed (and panned) already – Dusk with a Dangerous Duke. In this gem, the story ends with the hero and heroine professing their love as a house burns down around them (after bickering the book away), after which someone (no one ever says who) breaks down the door and presumably puts the fire out. The happy couple walks pout the door to live happily ever after (one assumes) without helping put the fire out, thanking the rescuer, or appearing in a happy epilogue with a dimpled baby in tow.
The second book is one I’m about to review (better than the first, but not by much), which leaves an ending with plot holes big enough to drive a semi through. My personal favorite was the way the hero’s brother had been grazed by a bullet and thought he was Russian. He stills thinks he’s Russian at the end of the book. Or was it the heroine’s brother, who was apparently kidnapped by Indians and renowned for his fiery red hair? Everyone knew about him (except the heroine apparently - she’d been trying to find him for five years). I’m pretty sure these loose ends will be addressed in the next book – which I will definitely not be sticking around to read.
Is there a happy medium somewhere? A non-gooey epilogue? A sunny – bot not completely unrealistic - ending? One where loose ends are tied up satisfactorily but not too neatly? One I can think of recently the struck all the right notes was Cecelia Grant’s A Gentleman Undone. The hero and heroine are happy, but their life is a modest one. Their immediate, pressing issues are resolved, but they aren’t exactly living in fabulous wealth - or bouncing a baby on both arms.
What kind of ending strikes the right note for you? Do you like the ooey-gooey love and babies? Do you need everything tied up in a bow?
– Blythe Barnhill
I started reviewing for AAR when I was pretty young – 18 years old, and still fairly new to the genre. My tastes have changed and evolved quite a bit in that time. Looking at my reviewer profile, which hasn’t been updated since I started, I am rather skeptical of my “favorites,” some of which I don’t even remember anymore. I couldn’t tell you a damn thing about Hidden Fires by Sandra Brown, except that 6 years ago it was apparently one of my favorites.
