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This page summarizes a c1997 Nancy Kress article. If you've never read Writer's Digest magazine, I do recommend that you go to your library and look at whatever back issues they have.
Kress tells us in this article that authors should use various devices to end scenes. She says that if you use the same device over and over, your story might develope a monotonous or episodic feel. An "ending" to a scene can vary in length, depending on the requirements of the device itself and the length of the scene; it might take a few paragraphs or as little as a sentence. These same devices can be used to end a chapter.
She's identified seven devices:
1) Increase the stakes.
E.g. Your protagonist knew he was on the brink of financial ruin, but now he finds out he's risking public humiliation and criminal prosecution as well.
2) Reverse perceptions.
The reader (and possibly the protagonist as well) suddenly discovers something that makes the entire scene take on a different light: A pleasant dinner party chat is revealed to have concealed a serious mindfuck. A character that seemed to hate the protagonist is revealed to have been acting in what s/he thinks is in the protagonist's best interests.
3) Foreshadow a new development.
Kress recommends that the foreshadowing be done in the last few sentences of the scene.
4) Contrasting moods.
End a scene that was full of domesticity with something extraordinary. End a violent scene with something homey.
5) Emote wildly.
Something dramatic has happened, so the protagonist reacts dramatically. Then cut down the melodrama with a sentence or two of returning calm, and perhaps show the protagonist shifting back into action.
6) Heighten the prose (relatively speaking).
For this one, you have to have some control over your prose style.
First, identify the style you used in the paragraphs leading to the end of the scene. How figurative and rich was your diction? What rhetorical devices did you use-- e.g. paired abstracts ("curious and lovely"), parallel structures, metaphors, length and intricacy of sentences, paradox and contrast, extended use of an image?
Now, as you close off the scene, gradually increase your use of these stylistic devices.
7) Just stop.