I had some thoughts about endings while I was driving home from work last night. To warn you now, I was listening to Metallica’s ‘King Nothing’ as I pondered.
In my 0-draft I had an semi-decent idea for a climax, but the setting was nondescript and it lacked the drama that I was seeking. It came to me that if this was a movie, if I was really shooting for a visual effect, what I should do is to set it in a place where the characters have been before instead of just another tunnel in the city. And instead of the main character ‘knowing’ that what he does is going to break the villain later down the road (and out of sight of the camera, which is perhaps a little more realistic) I ought to move elements around so that all parts of the confrontation happen at once.
The applicable part of all this is that I should reconsider the imagery of the scenery and manipulate it to include more interesting elements, not exactly the ‘logical’ elements. I’m used to sculpture, but novels are so movable, so fluid, that it seems strangely rigid to confine fantasy to a perfectly realistic straight-lines style when you can give important scenes more meaning by tweaking the lines just a bit. Perhaps this is an argument why making maps isn’t always helpful, because once you create them you feel bound to what you’ve filled in.