We've been discussing endings, and most recently, the unexpected ending. Plot twists are an integral element of surprise endings, and often necessary for character development as well.
So, why should you be concerned with incorporating plot twists into your own work? Because when you write, you should always consider your audience, and more often than not, your audience will grow bored with your work if you don't mess around with the plot.
While creating plot twists, writers have to build their stories in such a way that allows for the shocker to be thrilling, yet not contrived or forced. Soap operas are notorious for flabby, over-the-top, easily conceived plot twists. Shall we?
Incest?
Lauren's Surprise
Oh, no he didn't!
A "hearty" meal
Now that we've seen some less than stellar "twists," let's look at a few strategies that might help you write a strong plot twist:
1. Plot twists should develop character- Whenever you take your story in an unpredictable direction, try to have a twist that resonates with your characters' personalities, or perhaps raises an issue that has haunted them in the past. For example, if you need characters to meet, don't arrange a random car accident. But let's say one of the characters is a poor driver. If this were the case, the accident wouldn't seem as contrived.
2. Create an incident that changes the way characters understand the world- What could be greater than completely reversing a character's worldview. What kind of occurrence might bring about such a drastic change in philosophy. Think Boo Radley in To Kill a Mockingbird. The story wouldn't be as effective if we knew all along that he wasn't monstrous, but a gentle caring individual.
3. Play fair- Surprise endings/twists are only fun if the reader can finish the story and think, "yeah, that makes sense." As a writer, you must decide which information you are going to withhold, and which information gets shared. Remember, the desired reaction from your reader should be "I should have known," not "Well, I feel cheated." People like to be surprised with the familiar. So, concluding a murder mystery by revealing the killer to be someone never mentioned in the plot is decidedly cheap and, simply put, not a whole lot of fun.
Listed below are some common types of plot twists- not necessarily bad, as long as they follow the guidelines above:
1. In Media Res- In Latin this means, "into the middle of things." It drops the audience into the action without any background knowledge or motivation. Then, of course, you must work backward from there.
2. Chekhov's gun- "One must not put a loaded rifle on stage if no one is thinking of firing it" In other words, don't be obvious, but without dwelling on certain details, you should hide your revelations in plain sight.
3. Unreliable Narrator- The point in the story when you realize the protagonist or narrator is delusional and the central conflict is actually nonexistent or the reality of the situation is completely contradictory to the way the narrator presented the story. Basically, Appearance versus Reality.
4. Anagnorisis- A startling discovery is made about the nature of a character or object. Darth Vader is Luke's son.
5. The least likely villain
6. Non-Linear Timeline- Your story is completely out of order. The movies Momento and Pulp Fiction are good examples of this. Similar to In Media Res.
7. Ambiguous Ending- It sure is a twist, but it's also very controversial. If you leave your audience hanging, be sure to have a better reason than mere laziness.
8. It's not over yet- When action seems to have settled down, throw your characters back into the same mess, or even a different mess.
9. Hero to Villain
10. Deus ex Machina- You should probably avoid this one. This that "out of the blue" strategy where a problem is solved miraculously by an unrealistic device or information that has been suspiciously withheld for 95% of the story. Probably not a good choice.
Now, go back to a story you have written, or write a new story, and add a plot twist!
So, why should you be concerned with incorporating plot twists into your own work? Because when you write, you should always consider your audience, and more often than not, your audience will grow bored with your work if you don't mess around with the plot.
While creating plot twists, writers have to build their stories in such a way that allows for the shocker to be thrilling, yet not contrived or forced. Soap operas are notorious for flabby, over-the-top, easily conceived plot twists. Shall we?
Incest?
Lauren's Surprise
Oh, no he didn't!
A "hearty" meal
Now that we've seen some less than stellar "twists," let's look at a few strategies that might help you write a strong plot twist:
1. Plot twists should develop character- Whenever you take your story in an unpredictable direction, try to have a twist that resonates with your characters' personalities, or perhaps raises an issue that has haunted them in the past. For example, if you need characters to meet, don't arrange a random car accident. But let's say one of the characters is a poor driver. If this were the case, the accident wouldn't seem as contrived.
2. Create an incident that changes the way characters understand the world- What could be greater than completely reversing a character's worldview. What kind of occurrence might bring about such a drastic change in philosophy. Think Boo Radley in To Kill a Mockingbird. The story wouldn't be as effective if we knew all along that he wasn't monstrous, but a gentle caring individual.
3. Play fair- Surprise endings/twists are only fun if the reader can finish the story and think, "yeah, that makes sense." As a writer, you must decide which information you are going to withhold, and which information gets shared. Remember, the desired reaction from your reader should be "I should have known," not "Well, I feel cheated." People like to be surprised with the familiar. So, concluding a murder mystery by revealing the killer to be someone never mentioned in the plot is decidedly cheap and, simply put, not a whole lot of fun.
Listed below are some common types of plot twists- not necessarily bad, as long as they follow the guidelines above:
1. In Media Res- In Latin this means, "into the middle of things." It drops the audience into the action without any background knowledge or motivation. Then, of course, you must work backward from there.
2. Chekhov's gun- "One must not put a loaded rifle on stage if no one is thinking of firing it" In other words, don't be obvious, but without dwelling on certain details, you should hide your revelations in plain sight.
3. Unreliable Narrator- The point in the story when you realize the protagonist or narrator is delusional and the central conflict is actually nonexistent or the reality of the situation is completely contradictory to the way the narrator presented the story. Basically, Appearance versus Reality.
4. Anagnorisis- A startling discovery is made about the nature of a character or object. Darth Vader is Luke's son.
5. The least likely villain
6. Non-Linear Timeline- Your story is completely out of order. The movies Momento and Pulp Fiction are good examples of this. Similar to In Media Res.
7. Ambiguous Ending- It sure is a twist, but it's also very controversial. If you leave your audience hanging, be sure to have a better reason than mere laziness.
8. It's not over yet- When action seems to have settled down, throw your characters back into the same mess, or even a different mess.
9. Hero to Villain
10. Deus ex Machina- You should probably avoid this one. This that "out of the blue" strategy where a problem is solved miraculously by an unrealistic device or information that has been suspiciously withheld for 95% of the story. Probably not a good choice.
Now, go back to a story you have written, or write a new story, and add a plot twist!
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