We often hear that a strong plot twist can elevate a story, but sometimes it risks feeling forced or gimmicky. As writers, we’re constantly balancing surprise with coherence, making sure the audience stays engaged without losing trust in the narrative.
Screenwriters, I’d love to hear your thoughts:
How do you decide if a plot twist truly serves your story?
Do you prefer subtle reveals or big, shocking turns?
What’s the most effective plot twist you’ve ever written or seen on screen?
And if you’ve explored resources, what Stage 32 blog posts on screenwriting have inspired you?
For inspiration, here’s the Stage 32 blog collection: https://www.stage32.com/blog/tags/screenwriting-25
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A twist is good if it can offer a new perspective on the story that has preceeded it.
A favorite end of Act 1 twist: Robocop (1987), the hero dies… but is then transformed.
My fave midpoint twists: the shower scene in Psycho (1960), it shifts the persective to another character. In Predator (1987) the commandos realize there's something inhuman aften them. In Goldeneye (1995) a character who died in the cold open is actually alive.
A fave going into Act 3 twist, Mission Impossible: Fallout (2018), the villain is not who we thought and he acquires a nuke. Here, it affects the story going forward more than what preceeded it. Still, that finale is killer.
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I use a plot twist if it helps the story, Sandra Isabel Correia. I don't force plot twists.
I prefer writing and watching big, shocking twists.
I wrote a really shocking, effective plot twist for a script, but it was a ghostwriting job, so I can't say what the twist is.
The most effective plot twist I've seen is in The Usual Suspects.
One of the Stage 32 blogs that inspired me is "My Stage 32 Story: Persistence, Healing, & Creative Breakthroughs in Year 3." www.stage32.com/blog/my-stage-32-story-persistence-healing-creative-brea...
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I’m not a fan of frequent twists. I prefer one or two major turns that truly shift the audience’s entire perspective or outsmart their expectations. In my opinion, a strong, well-placed twist is more powerful than multiple small ones scattered throughout the story.
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I appreciate you sharing this. Thanks a plot.
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Love your breakdown, Michael Dzurak! You’ve mapped out how twists can function at different stages of a story so clearly. I agree; a fantastic twist doesn’t just shock; it reframes everything that came before and propels the narrative forward.
I especially like your Robocop example such a bold Act 1 move that instantly changes the stakes. And yes, Psycho’s shower scene is still one of the most radical midpoint shifts in cinema history. It’s fascinating how each of the twists you mentioned either changes perspective (Psycho), reveals hidden truths (Goldeneye), or escalates the threat (Fallout).
For me, the most satisfying twists are the ones that feel inevitable in hindsight, where the clues were there all along, but the reveal still lands with impact. Thanks for sharing.
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Thanks for sharing that, Maurice Vaughan! I really like how you frame plot twists as something that should serve the story rather than being forced; it makes them so much more powerful when they land. Big, shocking twists can be unforgettable, and The Usual Suspects is such a classic example of one that completely redefines everything we thought we knew. I’m intrigued that you crafted a really effective twist in a ghostwriting job; even if you can’t share the details, I am curious about it! And thank you for pointing to that Stage 32 blog; persistence and creative breakthroughs are precisely what keep us going as writers.
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I hear you, Fuad Shawn, that’s a really strong point. A single, well‑placed twist can feel seismic, reshaping the audience’s entire understanding of the story. When it’s earned and timed just right, it has far more impact than scattering smaller surprises that risk diluting the effect. I think the art lies in balance: knowing when the narrative needs that jolt to reframe perspective and when restraint makes the eventual twist even more powerful. It’s almost like saving your best card for the exact moment the audience least expects it. Thanks for sharing.
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And I appreciate you, Wyman Brent :))
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Thanks, Sandra Isabel Correia. "I really like how you frame plot twists as something that should serve the story rather than being forced; it makes them so much more powerful when they land" You're right. And readers and audiences can spot a forced plot twist or a forced anything.
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Exactly, Maurice! Audiences are sharp; they can sense when a twist is organic versus when it’s shoehorned in. The best ones feel inevitable in hindsight, like the story was always leading us there, even if we didn’t see it coming. That’s what makes them so satisfying: they surprise us and feel earned ;)
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I really enjoy the plot twists that suddenly make you see the film's world from a completely different perspective. There's of course the famous plot twist in The Sixth Sense (and I love Nate Bargatze's joke about it, that we all thought it was more plausible that the Bruce Willis' character's wife hadn't spoken to him for a year than that he was dead.)
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The psychology is important and determines what does and doesn't work.
The human brain loves figuring out puzzles. It's part of our survival mechanism. That makes us pattern finding animals that can predict the future based on previous events.
If you were to study a couple watching a thriller, you'll hear:
He didn't actually kill her.
She's still alive.
He changed his identity.
She's actually imaging this.
We love working things out and there's two satisfying results:
1) We predict exactly what turns out to be the case.
2) We are jolted by something we failed to predict, but is actually logical on reflection.
The twist in The Sixth Sense works because it was there all along. Same with Planet of the Apes. Flight Club's twist rationalises a surreal story. The twist in the finale of Se7en is the most logical ending.
Twists that are ironic work too, because they speak true of life. Butch pulling up the lights just as Marsellus Wallace is crossing feels like how life really goes. It's amusing and life affirming.
Twists that don't work tend to feel unearned and implausible. The audience feels cheated because there's no way they could have seen it coming or it just feels logically impossible. That's a great way to insult the viewer. The classic example is the "it was all just a dream" twist. Another is the character who knows exactly what's going to happen and has a secret plan-behind-the-plan which shocks everyone. Now You See Me was one of the worst offenders of that.
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Yes, I have a plot twist in my story The De-Evolution Game. It’s the moment when Daro the AI — and the future audience — finally understand that all the parallel universes are actually predictions, not hallucinations.
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Glad you mentioned the "it was all just a dream" twist, CJ Walley. I stay away from them in my scripts.
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Sandra Isabel Correia I feel like the plot twist also depends on the genre and tone you want to convey through the actions and non-actions of the characters, what is said is as important, or less than sometimes, as what is not said, and in those "what is not said moments", the twists are born… Thrillers are my favorite land for these, but all genres can really stretch their legs and have fun, so I think the key: depending on the genre, is it adding to the world, the story you are sharing?
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I rarely use plot twists because they're powerful tools that can be misused. I personally prefer subtler twists that make me go "oh okay, nice" happening more often than huge twists since the former can keep you engaged while the latter is risky. My favourite twists to do are name reveals, which I often do in Petal, since names are deeply significant in its overall universe and can affect your entire personality, and that, of course, affects the plot.The most significant reveals are of course first names.
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Sandra Isabel Correia I really enjoy coming up with twists that turn the story on its head. From what I’ve seen in recent films, a good practice is to have 2-3 twists in a script.
It’s much easier to write when you have an impactful twist — the story instantly gets a new momentum.
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Imagine the audience, Excited/Deeply moved/Shocked/, shouting at the screen because of what you just did to them, then eager to see how it turns out: My brother reads my scripts and often uses our expression: "There won't be a dry pair of pants in the house" -- i e. the movie house and panties/shorts. We laugh a lot about this as we develop stories together sometimes.
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A lot of Blogs are very informative - Contracts; Directing; Producing; Markets etc. Many blogs for newbies are essential, like structure or whatever. Some are unintentionally hilarious - usually the ones that explain their very own newly invented script enhancing terminology and cat-saving process in great detail. Comedy gold.
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I prefer plot twists a “profound” game changer & totally unexpected, not just another bead along story string. A Holy Cow moment, over the story chain simply evolved.
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I’m a very unique writer. I don’t really have a plan, but if I do it’s very loose. I just start winging it scene by scene working towards the end and whatever happens happens. So if I throw a plot twist in, it’s by spur of the moment decision. I’m just as excited to see what happens next as I write it because I don’t even know lol
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I love this question because it goes straight to the heart of a script which, to me, is character growth Sandra Isabel Correia. If it serves the growth of the protagonist, I include it - even more so if it throws the audience for a loop!
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That’s such a great example, Eric! The Sixth Sense is one of my favorites too, the way that twist completely reframes the entire story is just brilliant. And I love that Nate Bargatze joke, it captures exactly how audiences were processing it at the time. It’s amazing how a single reveal can shift our whole perspective on the film’s world. Thanks for sharing.
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Really well said, CJ Walley ! I love how you break down the psychology behind twists, earned surprises feel powerful, while unearned ones feel like a cheat. The Sixth Sense and Se7en are perfect examples of twists that stick because they’re both logical and inevitable in hindsight. Thanks for sharing :)
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That’s a fantastic twist, Meriem Bouziani ! I love how it reframes the entire experience, what seemed like hallucinations suddenly becoming predictions adds such a powerful layer of meaning. It’s the kind of reveal that not only surprises the audience but also deepens their understanding of the story’s world. Really clever way to merge psychology, perception, and sci‑fi logic.
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Beautifully put, Juliana Philippi ! I love how you highlight the power of silence and subtext; those “what is not said” moments often carry the weight of the twist. You’re right, genre and tone shape how twists land: in thrillers they can feel like seismic shocks, while in other genres they might unfold more playfully or poetically. At the end of the day, the real test is whether the twist enriches the world and deepens the story being told.
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I really like that approach, Banafsheh Esmailzadeh . Subtler twists can keep the audience engaged without pulling them out of the story, and name reveals sound like such a clever device, especially in a universe where names carry deep meaning and shape personality. It’s a great reminder that twists don’t always have to be huge shocks; sometimes the quiet reveals are the ones that resonate most.
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Kseniia Zhuravleva, I love that, and you’re right! An impactful twist can instantly recharge the story’s momentum. Two or three well‑placed turns feel like the sweet spot: enough to keep the audience leaning forward, but not so many that the narrative loses focus. It’s amazing how a single reveal can flip the whole world of the script on its head and open new pathways for the characters.
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That’s brilliant, David Taylor. I love that expression: "There won't be a dry pair of pants in the house" it perfectly captures the audience reaction we’re all chasing! It’s wonderful that you and your brother can laugh together while developing stories, that kind of creative camaraderie is priceless. And yes, some of those blogs are absolute gems whether they’re genuinely informative or unintentionally hilarious with their “newly invented” script‑saving formulas. Comedy gold indeed!
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I love how you describe it, Debbie Croysdale, a true plot twist should feel like a “Holy Cow” moment that completely changes the game, not just another bead on the string. Those profound shifts are the ones that stay with audiences long after the credits roll.
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Haha, I love that, Matthew Thompson, plot twists by happy accident! It’s like you’re your own first audience, discovering the story in real time. That “I don’t even know lol” energy keeps the writing alive and unpredictable like riding a rollercoaster you built yourself.
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Absolutely, Leonardo Ramirez 2, when a twist fuels the protagonist’s growth, it’s like a double win: the character levels up and the audience gets flipped upside down. Best kind of loop‑the‑loop storytelling ride! :))
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Thank you very much for your encouragement Sandra Isabel Correia
it's most crazy idea I had so far
I was so excited to start with it but I found I need more expertise to can manage it's structure so I go for silent pfc war first
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Sandra Isabel Correia Thank you!This has actually been a really helpful chat to follow, since twists also, more often than not, want to happen as we write, but often times I, for one, may push my original agenda/outline, when the story is already taking me on a plot twist, and it feels fun, and ingenious, and it's always when I least expect it.
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Matthew Thompson That's sort of happening to me, after I have my baseline/outline/agenda, lol, I am learning to let it breath and go, and it does find the real, beautiful things , it leads me, I just have to follow it. Like Sherlock Holmes, get the scent…and go…
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Sandra Isabel Correia Thanks yeah :D especially since in Petal it's very common for my characters to have more than one persona, it stands to reason many of them would have more than one name, whether it's an alias or a title or a past or future, even alternate self. Being a kanji nerd I also love playing around with different meanings if my characters are Japanese (which a good chunk of them are in Petal). I can't do it like an actual Japanese writer can, but I sure love trying lol
That being said I can of course pull off big twists with careful planning. Finding Elpis has a few bigger plot twists and also red herrings, which is exciting because I hadn't done those before. Even then, though, I like to keep my twists pretty subtle so they're not jarring (unless they have to be).
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Meriem Bouziani, you are welcome! I love that you’re chasing the “crazy” ideas, that’s where the magic often starts. It’s wise to pivot when a project needs more structure, and moving forward with the silent PFC war first shows real focus. You’re keeping the spark alive while building the skills to tackle the bigger vision later.
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Juliana Philippi, you are welcome! I love how you put that. Twists really do have a way of sneaking in when we least expect them. Sometimes the most ingenious turns come from following the story’s own momentum rather than forcing it back to the outline. It’s that dance between structure and surprise that keeps the writing alive and fun.
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Banafsheh Esmailzadeh, I love how you’re layering personas, names, and kanji meanings. It adds such richness to your world. Subtle twists and red herrings sound like the perfect match for that complexity, keeping readers intrigued without breaking immersion. Finding Elpis must feel like a real milestone with those bigger twists woven in.
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Thank you very much for your encouragement Sandra Isabel Correia
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I've mentioned before that I am currently watching and enjoying the decade-old series Revenge and the plot twists in that are breathtaking - several per episode - in the context of the series (the first 2 seasons at least; I'm saving the remaining seasons till the New Year while I catch up on a few contemporary shows) it hardly matters that they feel somewhat forced because that's part of the point - I'm just as happy watching a slow European feature with a straight and narrow plot line as long as it's well written and acted
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Thank you Sandra Isabel Correia, yes, Finding Elpis is a real milestone indeed, and I had to fight like hell for it to be its own universe because it wanted very badly to be cannibalised by Petal xD (I compromised by echoing some of Petal's strengths like existentialism, the significance of names, duality, its grandness, and just a little bit of its surrealism). One other thing I liked putting in Finding Elpis that I started in Petal was text clues that look like typos but they're not, and it was very tricky finding a way to do it in a screenplay (like "the light" and "The Light" are two completely different things). One more twist I like that I'm not sure I did right in the beginning of BoFS in particular is "one dialogue, two conversations." Those are lots of fun and can lead the audience to go "wait a second, WHAT?" if done well.
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You are welcome, Meriem Bouziani :))
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Michael Thorn, I love how you frame that; sometimes the joy is in the excess, like Revenge with its relentless twists, and other times it’s in the restraint of a slow European feature that lets the writing and acting breathe. Both approaches have their own kind of satisfaction, and it’s fun to move between them depending on mood. Saving the later seasons for the New Year sounds like the perfect way to savor the ride.
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Banafsheh Esmailzadeh, I love how fiercely you protected Finding Elpis as its own universe; that determination shows in the way you’ve echoed Petal’s strengths while still carving out something distinct. The text‑clue device is brilliant; those subtle shifts like “the light” vs. “The Light” can carry so much meaning, and I admire how you’ve found a way to translate that into screenplay form. And “one dialogue, two conversations” is such a clever twist; it’s the kind of technique that makes audiences lean in and question everything. You’re really pushing form in exciting ways.