A good magic trick happens in plain sight. The magician shows you the coin, closes his hand, waves the other one, and the coin is gone. Watch the video slowed down and it’s all there. He palmed it while you were looking at the hand that moved.
Plot twists work the same way. The clues are on the page the whole time. The reader is watching the other hand.
I love twisty, turning plots. Most of my fiction has plot twists in it, and some books have several. Collision With Andromeda has some big ones. The Sphere has one that changes the history of the universe. The Eternal War has several, and so does The Woman Who Walked Through Walls. Shield of Ashes and Peacekeeper are super complex, with a lot happening that nobody would anticipate.
No spoilers here.
What is a plot twist?
A plot twist is a development that turns the story in a direction the reader didn’t expect, and changes what the reader thought they knew. It can reveal who someone really is, whose side they’re on, what’s been going on behind the scenes, or what the whole story has been about.
The surprise alone isn’t enough. A meteor that kills the villain in chapter thirty is a surprise. It’s also a cheat, because nothing set it up and it doesn’t change the meaning of anything that came before.
A real twist reaches backward. It makes the reader rethink earlier scenes.
Watch: Let's Talk About Twists—Brandon Sanderson, Brandon Sanderson
What makes a plot twist work?
Every good plot twist has small hints leading up to it. In retrospect you can see it. You don’t see it coming.
That’s the test I use, and it’s harder than it sounds, because the two halves pull against each other. Too few hints and the twist feels like the author pulled a rabbit out of nowhere. Too many and the reader solves it by chapter five and spends the rest of the book waiting for the characters to catch up. I’d rather a reader be a step behind me the whole way and arrive at the reveal half a second before the characters do.
The best twists also feel inevitable once they land. Suddenly the flinch at a name and the dates that never lined up make sense. The pleasure is in that click. A reader who feels the click forgives being fooled, and most of them go back to find the clues they missed.
The Sixth Sense is the classic example, and if you somehow haven’t seen it, skip this paragraph. The film tells you the truth about Bruce Willis’s character over and over. Nobody but the boy talks to him. His wife won’t look at him. He never moves anything in a room where anyone can see. You watch it the first time and see a grieving marriage and a quiet psychologist. You watch it the second time and can’t believe you missed it.
How do you foreshadow a plot twist without giving it away?
Give every clue a second job. A hint that exists only to be a hint stands out, because readers can feel when a detail doesn’t belong. A hint that also builds character, sets the mood or moves the scene along slides right past them. The wife who won’t look at her husband reads as a marriage in trouble. That’s the coin in the other hand.
Plant clues early and plant them small. A detail in chapter two, mentioned in passing in the middle of something more exciting, gets filed and forgotten. The same detail in chapter twenty-eight, right before the reveal, gets noticed.
Bury the real clue among ordinary details. Readers can’t weigh every object in a room equally, so they don’t try. Put the one that matters third in a list of four and let the scene move on.
Give the reader a better explanation to believe. Misdirection works best when the reader has a plausible theory that fits the same clues. A red herring is a second answer that’s easier to see than the real one. I wrote more about planting hints in foreshadowing in books and movies.
And don’t lie to the reader. You can let a character lie, let the reader assume, and leave things out. If the narration itself states something false with no tell, the twist is a trick played on the reader, and readers resent it.
A good plot twist is a magic trick done in plain sight. Every clue is on the page. The reader was watching the other hand. – Richard LoweShare on X
Why do plot twists fail?
The most common failure is the twist with no setup. The author decides in the last act that the mentor was the traitor all along, and nothing earlier supports it.
Readers can tell the difference between a surprise and an afterthought.
Overcorrecting fails too. The author is so worried about fairness that the clues glow. The mysterious stranger keeps glancing at the locket, the narration lingers on the scar, and the reader spots the reveal a hundred pages early.
Then there’s the twist that breaks the story, and “it was all a dream” is the famous version. The reveal erases everything the reader cared about, and the reader feels cheated out of the book they just read.
A good twist adds meaning to what came before. A bad one deletes it.
A twist can also make a character act out of character. If the loyal friend betrays the hero, the reader needs to see, looking back, the pressure that made it possible. A betrayal with no reason behind it is just the author moving a piece.
Worst of all is the twist for its own sake. Some writers stack reversals because they’ve heard twists keep readers hooked.
If the twist doesn’t change the stakes, the characters or the meaning of the story, cut it.
| Failure | What goes wrong | Fix |
|---|---|---|
| No setup | The twist arrives in the last act with nothing earlier to support it | Plant small hints early, each doing a second job |
| Glowing clues | Hints are so obvious the reader spots the reveal a hundred pages early | Cut a clue or two, or bury the real one among ordinary details |
| It breaks the story | The reveal erases what the reader cared about, as in “it was all a dream” | Make the twist add meaning to what came before |
| Out of character | A loyal friend betrays the hero for no visible reason | Let the reader see, looking back, the pressure that made it possible |
| Twist for its own sake | Reversals stacked because twists supposedly keep readers hooked | If it doesn’t change stakes, characters or meaning, cut it |
How many plot twists can a novel have?
As many as the story can carry and the reader can follow. Several of my books have a lot of them. The complex plots I love have many threads running at once, and twists come out of the places where those threads cross.
The most common failure is the twist with no setup.
Three things keep a twisty book from turning into a mess. Each twist needs its own setup, so a book with five twists needs five sets of planted hints. The twists should grow, so the big one comes late and the small ones come early and teach the reader that this book will surprise them. And the reader needs solid ground between them. If everything is a reversal, nothing is, and the reader stops caring because nothing they believe lasts more than a chapter.
Twists also come in sizes. A small one changes what the reader knows about a character, a hidden motive or a secret relationship. A big one changes what the whole story is about. And once in a while, one changes the history of the universe the story is set in. Those take the most setup of all, because the reader has to be able to look back across the whole book and see it was always there.
How do you test whether a plot twist works?
Ask your beta readers two questions after they finish. When did you guess it? And did it feel fair?
If most of them guessed early, you’ve planted too heavily. Cut a clue or two, or give the remaining ones a stronger second job. If none of them guessed and several felt cheated, you planted too little, or your clues were too well hidden to count. Add a hint or make an existing one a shade more visible. When a few readers guessed and most didn’t, and the ones who guessed still enjoyed getting there, you’re close.
The answer you want is “I never saw it coming, and then I went back and found it everywhere.”
That’s the reader who tells their friends about your book.
You can test it yourself too. Reread the manuscript as if you already know the twist, and mark every place it shows. If you can’t find at least three or four, the setup is too thin. If every other page has one, it’s too thick. Count the clues that do only one job, too, because those are the ones a sharp reader catches. I covered the bigger structural picture in how to write a novel.
My take
Hide the clues after you write the twist. A twist with no setup cheats the reader, and one with a neon sign gives itself away. Every hint should do a second job in its scene so nobody stops to look at it. Test it on beta readers with two questions, when they guessed and whether it felt fair. If you can’t find three or four hints on a reread, plant more. If they’re on every other page, cut some.
Write the twist, then go back and hide the coin
Many writers don’t know the twist until they reach it. That’s fine. Write the book, find the twist, then revise from the beginning with the twist in mind. Plant the small hints, give each one a second job, and make sure the reader has a better explanation to believe until the moment you want them to stop believing it.
Find the twist first, then go back and hide it in plain sight, one small hint with a second job at a time.
The writing hub has more on plot, structure and revision. If you’d like a second set of eyes on a twist that isn’t landing, my book coaching covers that. Do the trick in plain sight. Then let the reader watch the other hand.
Frequently Asked Questions
- The Sixth Sense, Encyclopaedia Britannica
