How can I get in the Habit of Writing with Twists?

For me, the key to a plot twist is whether it makes "emotional sense." If people feel like your character has earned their success, then plot twists will seem extraneous. If they feel like your character needs to do more work to gain their ending, then the plot twist works.

Consider the Wizard of Oz --the ending has what seems like a very odd series of plot twists. After overcoming some huge obstacles, Dorothy first discovers that the super-powerful wizard handing out her happy ending is a fraud, and then unexpectedly misses out even on his more mundane solution to her problem. But then it turns out she can get home under her own power, and could have done so all along. Logically, it's kind of a mess, and in theory, the magic shoes should read as a deus ex machina. But emotionally, we feel both that she's bought and paid for her happy ending, and also that the last thing she needed to learn was to rely on herself. So the ending works.

posted almost 8 years ago

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Chris Sunami‭

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I'll first refer you to my answer to this question: https://writers.stackexchange.com/questions/24551/how-to-determine-whether-or-not-a-plot-twist-is-needed.

Now I will point out an implication of that answer: a plot twist is a twist back to the story arc. In its essence, a plot twist occurs when a story that seemed to be going in one direction is suddenly revealed to be going in another direction. But that other direction is the direction the story was really going all along. A plot twist is not a story veering off course, but a story veering back on course; a story that seemed to be going wrong suddenly turning and going right.

So the question with a plot twist is not how to turn off the story line, but how to drift off it so that you are then in a position to turn back onto it. For this to seem genuine and satisfying both storylines have to seem plausible, but the true storyline has to be the one that is finally the more satisfying. (By no means does this mean happier.)

To deliberately concoct a plot twist, therefore, (and I by no means believe that they are necessary to make a story interesting) you have to dream up two storylines both of which are plausible extensions of the the same set of events. This implies that (for a plotter, at least) they are planned from the very beginning. When the plot twist comes, it should seem to the reader like a better, more satisfying interpretation of the events that have come before.

In short, if a plot is the instantiation of a story arc, what you need for a plot twist is a single plot that is apparently instantiating one story arc but is later, by some "twist" of events, revealed to be instantiating another story arc.

In this sense, it is not really the plot that has twisted at all. The plot is still a sequence of events, which is all a plot can ever be. It is that readers interpret the events of a plot as instantiating a story arc and expect that story arc to continue. The twist occurs when an event occurs that is incompatible with the story arc the reader has intuited and forces them to intuit a new story arc. The twist is not in the events, but in the reader's interpretation of the events.

Of course, the twist does not occur unless the reader intuits the false story arc rather than the true one. So you need a series of events that very clearly point in the direction of the false story arc, which still making perfect sense as part of the true story arc once the event that forces the change of interpretation occurs.

If you have ever said of some event in a story, "Well, I saw that coming," you have witnessed a case where you as the reader were not deceived by the false story arc the writer was setting up, but saw all along what the real arc was going to be, and were therefore not surprised at all by the "twist" that put the story back on course. If the selling of the false story line fails, the "twist" goes from being the least predictable event of the story to the most predictable. Like everything else in storytelling, it is all in the setup.

From a plotter's point of view, then, it would seem that you need to plan your plots with these two interpretations in mind, making sure that the false is the easier interpretation, but that the true is the more satisfying interpretation of the whole once the clarifying event has occurred.

posted almost 8 years ago

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Mark Baker‭

4371 reputation 12 1104 744 58

As above, but with the addition of an exercise I often perform.

I see the basic, linear story as a piece of string, then as I edit, I look for opportunities to introduce misdirection, diversion or distraction. If there is a situation where a misunderstanding or miscommunication can occur, then I weave in an additional sub-story around the main story, re-asserting itself at regular intervals. Once the main plot string has been woven into a rope, the twists occur naturally as the readers attention jumps from one string to another.

posted almost 8 years ago

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Bella Pines‭

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