There’s a moment in How the Grinch Stole Christmas that hits differently when you’ve seen it…let’s say…nine hundred and seventy-four times in one week. (Official count: Original, nine hundred and thirty-three times. Benedict Cumberbatch version, 41 times. We don’t mess with the Jim Carrey version in the Welch household.)
Let’s look at the climax and calling action in this classic Christmas story:
From the top of Mount Crumpit, the Grinch strains to hear the glorious sound he’s been dreaming of: All the Whos down in Whoville shouting, “Boo, hoo, hoo!”
But instead, he hears them singing. And while once their joy have made him furious, everything changes in this moment. His heart grows three sizes, and he has that famous, heart-swelling realization:
“Maybe Christmas doesn't come from a store. Maybe Christmas, perhaps, means a little bit more."
Most of us learn to talk about story endings in binaries.
There are two options for a protagonist:
Achieve their objective
Fail to achieve it
Success or failure. Win or lose. Triumph or tragedy.
But there’s a third option that I find myself returning to again and again in my work with writer. It’s harder to name and harder to teach, but often far more emotionally resonant:
The protagonist realizes they were chasing the wrong objective the whole time.
The Grinch Doesn’t Fail. He’s Redirected.
Let’s look at what actually happens in The Grinch.
For most of the story, the Grinch has a very clear goal:
Steal Christmas.
He plots, he plans, he prepares.
He executes flawlessly, thinking on his feet when his plans go awry.
From a purely logistical standpoint, the Grinch succeeds. There is no sign of Christmas in Whoville by the time he’s done.
And yet...
The Whos sing anyway, and the Grinch realizes something crucial:
Not only has he failed to steal Christmas, but actually, Christmas was never about the thing he thought he was fighting against.
This isn’t a failure or a last-minute obstacle to overcome.
It’s a revelation.
The Grinch’s objective collapses because his understanding shifts.
This kind of ending lands because it mirrors real emotional growth.
So often, what we think we want—
approval
success
safety
control
being “right”
—turns out to be a proxy for something deeper:
belonging
love
self-trust
connection
In stories like The Grinch, the climax isn’t about getting (or losing) the thing.
It’s about realizing the objective was never the point.
That’s why the heart-growing image is so iconic. The Grinch doesn’t “lose.” He outgrows the objective that once defined him.
What This Might Have to Do with Your Story
When writers struggle with endings—especially in revisions—it’s often because they’re forcing a story into a false binary.
They’re asking, “Does my character succeed or fail?”
When the more interesting question might be very different:
“What does my character realize they’ve misunderstood?”
“What belief does my character let go of at the very end?”
“If they got exactly what they thought they wanted, would it actually solve the problem?”
This third ending asks us to think less in terms of mechanics and more in terms of meaning.
It’s not about whether the goal is achieved; it’s about whether the goal still matters.
If you’re stuck on an ending right now, try this:
Write down your protagonist’s stated objective, then ask yourself, “What if this isn’t the right one? And what would it take for your protagonist to understand that?”
Sometimes the most satisfying endings aren’t about winning or losing, but about recognition.
And sometimes your toddler’s favorite holiday special is the best craft lecture you’ll get all month.