Reaching that point where the protagonist has made the change, we, as writers feel differently.
We see the world of our novel from another level.
Ideally we come to hold those dimensions of personality regarding our central character(s) come in greater clarity and understanding.
And yet this is also a place where we can get to know ourselves better as individuals, not simply as persons who write.
The knowledge we gain about our characters when nearing or reaching the apex of our novel or story is much like turning a chair upside down, or a video camera upon its head and seeing a room from ground zero or that much like, if possible, when hovering overhead from the ceiling.
Changing our position, or viewpoint during the process of crafting a story, or novel allows us to view the scenery in ways we have not imagined it.
It applies additional, or different colors, or strips away those colors distorting our perception of our characters’ various actions and motives.
In gaining the answers to questions held at the outset of the story, we find new ones have arisen, about our characters and concerning ourselves.
Again we turn to ourselves as guide and map for continuing the journey of change and transformation.
Should the setting of a story remain the same, the protagonist trod her or his journey of change within familiar surroundings then the transformation becomes one of adaptation through acceptance of what is and has always been.
What have I, the writer missed seeing throughout the writing, and possibly planning or sketching of this novel, that when drawing near the climax, I begin to recognize?
Why is this story so important to me?
Or why has my experience in writing of this novel taken a recent turn towards melancholy, joy, sadness, elation, or unexplained epiphany?
Why am I suddenly now confused, when two chapter earlier I saw clearly the inner weaving of my plot?
Why am I now more astounded at my protagonist’s strength and will to survive?
Or why am I suddenly losing interest in my character and her or his story now it is certain she or he will survive?
Though arising well before climax, these questions speak of denouement and resolution.
And yet they echo the concern of crisis, the last stage of a development in a story or novel, the point where the central character must choose between the lesser of great evils or the greater of two lesser positives.
Writers always meet some aspect of our doubt and fears when taking those last steps, and writing those scenes that lead to the summit of the ultimate battle.
Each time that we write those scenes of greatest tension and peak conflict we land our protagonist on the other side of the war they have waged towards survival and triumph.
We also chip away at the nagging question that dogs us not simply as a writer, but also as a person, who just happens to write and craft stories.
What is your greatest fear in writing?
What lie that you have come to believe about yourself, and usually to your detriment, does the act of completing a story destroy each time you reach the end of a work? What truth arises?
The realization of which brings you greatest instability?