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A plot twist is a literary technique that introduces a radical change in the direction or expected outcome of the plot in a work of fiction.[1] When it happens near the end of a story, it is known as a twist or surprise ending.[2] It may change the audience's perception of the preceding events, or introduce a new conflict that places it in a different context. A plot twist may be foreshadowed, to prepare the audience to accept it, but it usually comes with some element of surprise. There are various methods used to execute a plot twist, such as withholding information from the audience, or misleading them with ambiguous or false information. Not every plot has a twist, but some have multiple lesser ones, and some are defined by a single major twist.

An early example of the romance genre[4] with multiple twists[5] was the Arabian Nights tale "The Three Apples". It begins with a fisherman discovering a locked chest. The first twist occurs when the chest is broken open and a corpse is found inside. The initial search for the murderer fails, and a twist occurs when two men appear, separately claiming to be the murderer. A complex chain of events finally reveals the murderer to be the investigator's own slave.

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Anagnorisis, or discovery, is the protagonist's sudden recognition of his or her own or another character's true identity or nature.[6] Through this technique, previously unforeseen character information is revealed. A notable example of anagnorisis occurs in Oedipus Rex: Oedipus kills his father and marries his mother in ignorance, learning the truth only toward the climax of the play.[7] The earliest use of this device as a twist ending in a murder mystery was in "The Three Apples", a medieval Arabian Nights tale, where the protagonist Ja'far ibn Yahya discovers by chance a key item towards the end of the story that reveals the culprit behind the murder to have been his own slave all along.[8][9]

A cliffhanger or cliffhanger ending, is a plot device in fiction which features a main character in a precarious or difficult dilemma or confronted with a shocking revelation at the end of an episode of serialized fiction. A cliffhanger is hoped to incentivize the audience to return to see how the characters resolve the dilemma. A notable example is in the 1980 Star Wars film The Empire Strikes Back where protagonist Luke Skywalker who initially believed that the antagonist Darth Vader had killed his father, Anakin after Obi-Wan Kenobi told it to him in A New Hope is shocked and horrified when the latter tells him that he himself is his father Anakin, with the revelation eventually being fully dealt with and resolved in Return of the Jedi (1983).

An unreliable narrator twists the ending by revealing, almost always at the end of the narrative, that the narrator has manipulated or fabricated the preceding story, thus forcing the reader to question his or her prior assumptions about the text.[11] This motif is often used within noir fiction and films, notably in the film The Usual Suspects. An unreliable narrator motif was employed by Agatha Christie in The Murder of Roger Ackroyd, a novel that generated much controversy due to critics' contention that it was unfair to trick the reader in such a manipulative manner.[12] Another example of unreliable narration is a character who has been revealed to be insane and thus causes the audience to question the previous narrative; notable examples of this are in the Terry Gilliam film Brazil, Chuck Palahniuk's Fight Club (and David Fincher's film adaptation), Gene Wolfe's novel Book of the New Sun, the second episode of Alfred Hitchcock Presents, Premonition, the 1920 German silent horror film The Cabinet of Dr. Caligari, Iain Pears's An Instance of the Fingerpost, Shutter Island and Kim Newman's Life's Lottery. The term "unreliable narrator" is sometimes applied to films (such as the aforementioned Brazil and Shutter Island) which do not feature any voice-over narration in a conventional sense, but whose protagonists are still considered "narrators" in the sense that the film is presented from their perspective and the audience mainly encounters the narrative and diegesis through that character's point of view.[13]

Peripeteia is a sudden reversal of the protagonist's fortune, whether for good or ill, that emerges naturally from the character's circumstances.[14] Unlike the deus ex machina device, peripeteia must be logical within the frame of the story. An example of a reversal for ill would be Agamemnon's sudden murder at the hands of his wife Clytemnestra in Aeschylus' The Oresteia or the inescapable situation Kate Hudson's character finds herself in at the end of The Skeleton Key. This type of ending was a common twist ending utilised by The Twilight Zone, most effectively in the episode "Time Enough at Last" where Burgess Meredith's character is robbed of all his hope by a simple but devastating accident with his eyeglasses. A positive reversal of fortune would be Nicholas Van Orton's suicide attempt after mistakenly believing himself to have accidentally killed his brother, only to land safely in the midst of his own birthday party, in the film The Game.

A non-linear narrative works by revealing plot and character in non-chronological order.[18] This technique requires the reader to attempt to piece together the timeline in order to fully understand the story. A twist ending can occur as the result of information that is held until the climax and which places characters or events in a different perspective. Some of the earliest known uses of non-linear story telling occur in The Odyssey, a work that is largely told in flashback via the narrator Odysseus. The Aeneid, another epic poem, uses a similar approach; it begins with the main protagonist, Aeneas, telling stories about the end of the Trojan War and the first half of his journey to Dido, queen of Carthage. The nonlinear approach has been used in works such as the films Mulholland Drive, Sin City, Premonition, Arrival, Pulp Fiction, Memento, Babel, the television shows Lost, How to Get Away with Murder, How I Met Your Mother (especially in many episodes in the later seasons), Heroes, Westworld, the book Catch-22, and WandaVision.[19][20]

Reverse chronology works by revealing the plot in reverse order, i.e., from final event to initial event.[21] Unlike chronological storylines, which progress through causes before reaching a final effect, reverse chronological storylines reveal the final effect before tracing the causes leading up to it; therefore, the initial cause represents a "twist ending". Examples employing this technique include the films Irrversible, Memento, Happy End and 5x2, the play Betrayal by Harold Pinter, and Martin Amis' Time's Arrow. Stephen Sondheim and George Furth's Merrily We Roll Along and the 1934 Kaufman and Hart play that inspired it both tell the story of the main characters in reverse order.

But, again, as for what Barbara said, this is why a writer should really do their homework on the agents they are sending queries to. I like that Mary is okay with some of the plot being revealed. This takes out a lot of guess work, at least for me, and gives me a clear direction when writing the synopsis.

Is there anything better than a great plot twist? Twists, turns, big reveals, and surprise endings are some of the most coveted aspects of a great story, whether they are found within movies, TV shows, or novels. Plot twists break the monotony of conventional plots and stories, which is why script readers, audiences, and publishers love them.

But writing the right plot twist can be a challenge. A great plot twist can impact your audience with an emotional gut-punch they'll never forget. While the wrong kind of plot twist will leave readers feeling cheated or even let down. That being said, you can't rely solely on plot twists to make your script engaging. You still need strong storytelling and characterization.

In this plot twist, we learn that Talia was the child that made the impossible climb from the pit. Batman had assumed it was his stronger, more sinister foe Bane, when in truth it was a woman he cared for and never suspected.

As the author, you know where the story is going. You probably have your ending before you start. I believe the key to developing a good twist is all the small hints that lead up to that final moment.

Plot twists in a movie are great. There are few greater joys in a film than that moment when you are truly, satisfyingly surprised by a twist you never saw coming, but in retrospect realize was inevitable.

Not only do you need to know what type of plot twist ideas exist, but you also need to know which to steer clear of. If not for the sake of your readers, but for the agents and publishers who will reject poorly executed books with clich, gimmicky twists.

For the example, we had to go with where this plot twist idea originated. When all may seem lost at the end of The Hobbit, Beorn arrives with the eagles to help the elves, dwarves, and men turn the tide against the goblins and come out victorious.

We Were Liars by E. Lockhart used this plot twist idea well as it left evidence of what happened to the characters during a fatal summer vacation. Some readers managed to figure out the plot twist but still felt the impact of the powerful ending.

If the main plot is drying up, try spicing it up with an action-packed subplot that changes the perspective of the story or distracts from the main plot twist idea enough to catch your characters, and readers, off guard.

In real life and throughout the creative process, there are plot twists. Newfound tools and technologies change the trajectory of our career. Supply chain issues lead us to discover a better way of doing things. A door closing opens a window to a more aligned opportunity. The world around us is constantly changing, from tech to the social landscape, and it gives us the chance to determine the role we want to play and how we want to evolve the narrative moving forward. e24fc04721