As a strange god once said, writing is hard. It feels like there are near limitless aspects to consider during the writing process. With any luck, you should find answers to questions and learn new things in this collection of discussions.
Feel free...
There is a misconception, usually in film writing, that the end must directly follow the climax. Generally, the advice is that the closer the end is to the climax, the better it is overall. In essence, that nearly means that the climax is the ending. In films made as films, this decision makes sense for the sake of screen time and viewer attention. Why? Because there are no longer stakes involved, and stakes are generally what holds interest, right?
Well, in writing this is simply not true. A film series that is often referenced as having too long of an ending is Lord of the Rings. The reason could be that it was originally a book series ending and wasn't written with screenplay conventions in mind. Consider the reasoning like this. Reading is a more laborious process, so the readers earn a complete and satisfactory ending. Watching a film is much less of a commitment, so the film must earn the viewers attention at all times, including the ending. The labor of consuming the work is flipped, so the rules are flipped. Readers are driven and determined to read, but viewers can simply change the channel or go home. The readers of Lord of the Rings earned the conclusion of those characters and the satisfactory scenes shown, and most of the viewers did too (they were very long films). Those few viewers use to screenplay conventions, however, it as a formality and found it rather dull.
In writing, you are free to tie things up in the moments after the climax. You could also continue on and consider the effects on the characters, the effects on the world, tie up subplots, give closure in regards to the deceased, or set up for another story to name some ideas. This shouldn't take up half of a book and shouldn't make up a whole new subplot, but you needn't feel like every additional word is somehow docking points or something else.
Elements of Ending
A fair payoff. All of the set-up and rising stakes should lead up to a satisfactory moment. This can contain a twist, but it must be fair to the readers and properly foreshadowed. Give the readers a climax worth their time and effort put into reading and give them a cathartic ending. This generally means the goal of the main character (or an ally if the main character is unable) is reached. If the goal of the main character is never reached, it could mean subplot endings that might offer that necessary catharsis.
The main character's role. In most stories, the main character defeats the antagonist or achieves their goal, whatever it may be. Even if the main character doesn't reach their goal, which they generally should, they need to play a role in the ending. Otherwise, why are they the main character?
In the Percy Jackson series, Luke is the one that kills Khronos with the special knife. Percy wasn't the one who reached his goal, but he was present and played an active role in making sure the goal was reached.
Tying up loose ends & offer closure. Every story should resolve the plot and subplot, character development and relationships. Offer a definite conclusion for each aspect. Don't change the direction of a resolution to make it satisfying or so "the ships can sail," stick by the story and characters.
Most readers weren't satisfied with the end of the Inheritance Cycle. Why? The plot, subplots, and character development lines were all closed, right? Well, not the romantic subplot. The character just didn't end up together and that's it. Not that there was ever chemistry. It does bear to question why a writer might include a romantic subplot if it never amounts to anything. Arya rejects him time and time again but the story element is never properly concluded. Eragon needed to come to terms with the fact that he was not getting the girl and he made a damn fool of himself by not respecting her rejection. Failed romance is a great choice and I love that choice, but the writer never concluding the message that not every princess needs a prince, knight, or neckbeard to save/harass them.
Tried & True Endings
Resolved Ending. This is simply considered a correct form and it is generally what readers expect and want. This is the reasoning for the long ending of Lord of the Rings as mentioned above. In this ending, all plotlines and that was foreshadowed is allowed closure. This does not necessarily mean a happy ending, though it often does. It does need to fit in the theme at least a little.
Unresolved Ending. Usually series with following installments will leave a book on a cliffhanger or with an unresolved ending. This drives the desire (and the sales) for the next book. Usually, this means there's more to the over-arching plot, though the plot of the book is resolved. It could also be more episodic in nature, in which the whole story is resolved then another adventure is hinted at in the last sentences.
Implied / Ambiguous Ending. This ending leaves one string untied, one storyline unresolved. Leaving more than one string is a catastrophic mistake because it distracts from the impact that one string may have had. Generally, this means the villain is still out there or the lovers never really admit to being in love, something along those lines. This is not the same as abandoning a plotline, it is simply leaving it to the last and not telling the reader what the resolution is.
Example: The Legend of Korra, which ended with a shot of two girls holding hands. It allowed fans to decide what they might from it, and it really didn't matter as much as the impact and intimacy of the moment.
Example: The Fault in Our Stars by John Green, which ended abruptly. It may have even been mid-sentence, I don't recall. There are many unanswered questions there, but really, it offers the answers required. She died. The readers knew it. The writer knew it. It was very well executed.
Plot Twist / Unexpected Ending. Know that not every story needs a plot twist, and know that a poorly done one can ruin a book. A really good twist is foreshadowed but unexpected. It must still offer a conclusion to the other plotlines and little things, otherwise, it is just a poor ending.
Epilogue. These can be a little much for a single novel and don't usually have a place in series until the last book. In long series, these can offer a last, lingering moment with the characters. These can be sweet or impactful, really whatever. Some readers don't like them, but some readers love them. Epilogues are generally a resolved sort of ending that show the character in the "future".
Return. This is an element of the Hero's Journey, but it works for many other stories as well. End the story where it started to emphasize the impact of the story on the character. Generally, a more character-driven story benefits from this type of ending, for clear reasons. This choice is likely to result in a resolved ending, but it doesn't have to in order to work.
Sadly, a culture has sprung up stating that originality is king. Know that these endings aren't something to turn your nose up at because they're commonly used. These are simply methods with which an original piece can flourish all the way to the end. Design a new method if you choose, but know that the elements are what matters. If your ending offers a fair payoff, a role for the main character, and plot closure (with or without one tied off), then it should work nicely. Know that inventing the wheel isn't something to cry over if it isn't working. There's always this list of perfectly good wheels that you can adjust and manipulate to be perfectly original enough, splinter-free.
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Video Resources: https://www.youtube.com/watch?v=DtYrpJZoAA0 & https://www.youtube.com/watch?v=OrAT0cD4pvA
