[Workshop]: What Makes a Good Twist + Creating Suspense

Plot twits come in a variety of forms, but all of them share in one fundamental principle: they twist the plot a different (often unexpected) direction. I should mention that surprises and twists aren't necessarily the same thing.

Before you jump for a plot twist, ask yourself what the implications are. Is it even necessary? Does it have some direct plot baring, or does it serve as little more than a distraction from a weak narrative? If the latter, you should probably seek to fix the other problems first. Plot twists can hurt as much as harm. Be careful!

There is also more than 1 type of twist.

We'll be using characters [A], [B] and [C] as examples again today.


In this scenario, the audience is damn well aware something is going on. They know exactly what is about to happen and are laughing right along with characters A and C.

Note: Ballon's aren't balloons. Don't confuse then. Disguising things as other things is a great tool for plot construction. The water balloon can be anything. A magic sword to kill demons, an ambush in the space station, etc. It doesn't have to be funny when the twist hits.

• This is called subverting expectations.

Here are some examples of "audience knows something is about to go down and thinks they know what...but then don't"

• Anakin chops Sam L. Jackson's arm off and kills him. It's not immediately expected, but it's also not a total shock.

• Batman saves Harvey Dent over Rachel. Assuming the Joker didn't purposely tell him the wrong addresses (reversed them), this is actually a huge twist. It's a shock, but it's not beyond belief.
• Scar tosses Mufasa into some wildebeest orgy. To kids, this is actually a huge shock and really hits home. A family member that betrays a father figure? Outrageous! 

These types of twists do NOT blindside the audience. They may blindside the characters, or just some of them, but the audience doesn't stand up in the theater and shout bullshit and the reader won't toss the book at their cat in a fit of rage. If used improperly, not enough suspense is built and the audience will feel (rightfully) betrayed or gimmicked (M. Nightshamallamadingdong shit). Don't be M. Knightshamaladouchedongbitch.

Here is another more subtle example: 
The line points to a void. There is something up here, but neither the reader nor the characters know what it is.

In this scenario, the reader only knows as much as the characters, maybe slightly more. This is how you build suspense. This type of scenario can blindside, but only if the reader isn't paying attention. The audience could have figured it out. Some even might have. Most even. The only difference here is that all three, A , B , C are totally unaware of the twist. When it does hit, it's unexpected but not totally unfair.

PART II: Setting it up [Plot arcs!]

So how do you go about setting up the twist if everything you write is either obvious or stupid? Well, timing is everything. You'll notice the first thing in this article was the set up. The lava. I left the clue right in plain sight. Dropping hints early, especially before your reader knows they're hints, is a great way to spring a twist without it being a gimmick.

Second, subverting expectations. It has to make plausible sense, but it can't be what the reader assumed it would be. It also can't just be random bullshit or shock value nonsense. Don't jerk your characters or readers around more than necessary. Don't taunt them or try to mislead them in unfair ways. There is a plot device called a red herring, where you do taunt them a bit, but you can't force it. Dangle the bait. Don't jump in the river and literally shove it down the fish's throat.

It's important to keep detailed notes of events and important to know exactly where the hints are being dropped. These are fundamental parts of your story. This is where things can go right or wrong. Get feedback. The earlier the better. Don't be afraid to share the twists with your beta readers if needed.

Here is what I recommend. Literally draw a picture.

Part III: Springing the trap!

So you've finally set up a plot twist and you're certain it's going to fit in your plot. How do you execute it? Well, you start by dropping the bomb.



An old writers axiom is to "Kill your darlings". This means what it says. Don't be afraid to kill characters. The opening scene of Star Trek: Generations is one of the best twists in cinematic history. [spoilers]: James T. Kirk dies pretty non-dramatically and very unexpectedly.Perhaps I shouldn't have used this example, as I despise prologues where characters die.

The trap should demolish the walls between the layers I mentioned. The roofs collapse. Things explode. People die. Things happen. These can either be expected or not. Maybe you can twist another direction. Remember the original skeleton already floating in the lava? Maybe the readers only mistook character [C] for [C] and it's in fact just the old skeleton. Another twist would be to bring character [C] "back to life". It wouldn't be cheating!

What I mean to show is that you can be a bit wild with your twists as long as you're fair with your audience. Plausible twists are the best types, all the way until the shock waves dissipate 30 or 50 pages later.

The best twists are the ones where the audience knows to expect something, but doesn't particularly know what. Better yet, they think they know what to expect, but don't. 

When shit pops off, IT MATTERS!

That's about all I've got today. Be sure to check out other writing work shops here. If you're looking for a freelance editor, kick me a 500 word sample on reddit or GlitchHippy@gmail.com and we'll talk shop. Thanks for reading.