How to Write Compelling Plot Twists - a writer’s guide to writing plot twists, including the three most important elements to consider (misdirection, clues, and structure).
What is a Plot Twist? ►► bit.ly/pp-pt
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Chapters:
00:00 - Intro - What is a Plot Twist?
01:03 - Plot Twist Types and Definition
02:30 - Technique 1: Misdirection
09:23 - Technique 2: Breadcrumbs
14:25 - Technique 3: Story Structure
18:44 - Final Takeaways
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HOW TO WRITE PLOT TWISTS
When executed well, plot twists in movies can be shocking and thrilling at the same time. The best pilot twist movies figured out how to deliver these reversals to the audience so they don’t feel cheated. Anyone can be revealed as the killer in the end, but writing plot twists that work requires thoughtful consideration, misdirection, and clues. In this video, we’ll look at some of the most compelling plot twists in movies and the three elements that every writer should consider when learning how to write the perfect plot twist.
WRITING PLOT TWISTS REQUIRES MISDIRECTION
A plot twist is when the storyteller flips reality on its head, presenting an unexpected truth that changes everything. Misdirection is a key element in how this is done - focusing the audience’s attention in one area while the truth is hidden in another. But there are unspoken rules when it comes to writing plot twists, the primary of which is that the big reveal needs to make logical sense. And to lay the groundwork for the plot twist to not feel like a cheat, the writer needs to incorporate clues, which we like to call breadcrumbs.
COMPELLING PLOT TWISTS HAVE CLUES
For a truly satisfying reversal, as we can see in the best plot twist movies, the writer and director should leave clues that are only apparent on a second viewing. Those tiny details that flew under the radar now appear to be so obvious in hindsight. This is easier said than done - since even the most casual movie-goer knows everything we see or hear is important. The trick is learning how to drop those breadcrumbs in such a way that the viewer can easily disregard them.
WHEN TO REVEAL THE PLOT TWIST
A final consideration is to decide when and where the big plot twist is revealed. Naturally, every story is different, so there is no “one size fits all” approach to structuring compelling plot twists. Some of the best plot twist movies flip the script at the midpoint when the last thing you expect is for the story to take a completely different direction. In many cases, the best plot twists are unveiled as a break into Act 3, propelling the story toward its climax. Some filmmakers save their shocking reveal for the very end, leaving the audience slack-jawed as the credits roll.
The art of a plot twist is a delicate balance between the amount of misdirection, the dispensing of clues, and where in the story the plot twist will have the greatest impact.
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"The Imperial March (Darth Vader's Theme)" - John Williams
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"Last But Not Least (Instrumental)" - Chelsea McGough
"In Love with Emi" - Fabien Fustinoni
"Going Undercover" - Borrtex
"Verbal Kint" - John Ottman
"Memento (Main Theme)" - David Julyan
"The Cue From Hell" - Marco Beltrami
"Schoolyard 2"
"A Battle in the East" - Rhythm Scott
"Still Need Syndrome" - Yarin Primak
"Malcolm's Story / Cole's Secret" - James Newton Howard, Pete Anthony
"Malcolm Is Dead"
"Passacaglia - Allegro moderato" - Polish National Radio Symphony Orchestra
"On the Nature of Daylight" - Max Richter
"Glass" - Claudio Laucci
"1986" - Angel Salazar
"The Murder" - Bernard Herrmann
"Prologue" - Michael Abels
"Hypnosis"
"Lost" - Generation Lost
"Noah Visits" - James Newton Howard
"The Shed Not To Be Used"
"State Lines (Instrumental)" - Aaron Kellim
"Twist and Shout" - The Beatles
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