: How can I get in the Habit of Writing with Twists? I've always felt that my writing is very sequential. It's a chain of events. This happens, then this happens, then this happens, and so

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I would describe it as a pendulum.

Don't focus on the twist, so much as the build ; if something has to happen, hint at the opposite direction.

Right before a major event, write as though your characters were entering a peaceful routine.
If the resolution is coming, give every signal that everything is screwed.
Underline bonds, friendship and complicity on the eve of betrayal.

The key in the twist is contrast. There's little else you need to master.

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For me, the key to a plot twist is whether it makes "emotional sense." If people feel like your character has earned their success, then plot twists will seem extraneous. If they feel like your character needs to do more work to gain their ending, then the plot twist works.

Consider the Wizard of Oz --the ending has what seems like a very odd series of plot twists. After overcoming some huge obstacles, Dorothy first discovers that the super-powerful wizard handing out her happy ending is a fraud, and then unexpectedly misses out even on his more mundane solution to her problem. But then it turns out she can get home under her own power, and could have done so all along. Logically, it's kind of a mess, and in theory, the magic shoes should read as a deus ex machina. But emotionally, we feel both that she's bought and paid for her happy ending, and also that the last thing she needed to learn was to rely on herself. So the ending works.

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If you think about it, the majority of stories ever have twists for the characters, they're just not always the ones that the story is about. In a classic hero's journey, the villain usually has grand plans to take over the world or some such, and everything is going smoothly, and suddenly some upstart shows up at the end to finish them and ruin their plans.

To the villain, this is a massive twist. They were fully planning on being successful in their evil scheme, expecting that their minions would sort out anyone who tried to prevent that, but at the last second they discover there is a chosen one or a magical artifact that can actually stop them.

When a twist happens to the protagonist of a story, it's usually an antagonist simply doing this same thing to them: they had expectations of how their story was going to end, but someone else had other ideas. But, as they're the protagonist, they live to fight another day and come back to fight the villain again, and this time win.

So in order to write a twist for a protagonist, you need something else that is going to derail their story. This will usually be a side character's normal straightforward storyline where nothing goes wrong, they just cause problems from the point of view of the protagonist. This side character can be the antagonist, or someone who provides some information, or even an inanimate object like a statue or a note, but whilst their story is straightforward, it causes problems for the story the reader is experiencing.

So rather than practice what twists you can put in for your character, think about how they may have somehow suddenly affected the personal story of other characters, and the twists that they might be experiencing. This should help to think about how other side characters can affect the story that you are writing in order to create a twist that the protagonist, and the reader, didn't see coming.

Being a plotter is very useful for this, because it allows you to plot the entire storyline for a potentially minor character, see where it intersects with the main narrative, and see the effects that it has to the twist the story from its original linear plot.

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I will assume you know how to generate twists. But I want to offer a particular technique so I can refer to it later.

Wilhelm’s Law: Throw away your first three ideas.

This comes from SF/mystery writer and editor Kate Wilhelm. The thinking behind Wilhelm’s Law is this: Your first idea will be obvious to most readers. Your second will be less obvious, but many readers will anticipate it. A few readers will anticipate your third idea. Your fourth idea will be one that very few people expect.

Now, I don’t know if 4 is always the magic number. But the more readily you think of an idea, the more readily a reader will think of it too. So throw out ideas until you get to one that surprises you. And maybe throw that one out ;-)

Ways to Practice

Outline a short story in the usual way. Write the story. Throw out the climax. Given what you’ve learned about the characters and the story while writing, create a new twist to replace the climax you wrote.
Outline a short story in your usual way. Write the story, but stop just before the climax. Given what you’ve learned about the characters and the story while writing, create a new twist to replace the climax you outlined.
Outline a short story in the usual way. Before you begin writing, throw out the climax. Create a new twist to replace the one you outlined.
Begin a short story without outlining it. Put a character in a setting. Give the character a problem. Write the next sentence, then the next, then the next. Focus on how the character attempts to solve the problem, how each attempt leaves things worse than before, and how the character reacts as things get worse. Just before you write each attempt, each “things get worse,” and each reaction, apply Wilhelm’s Law. Repeat until you are satisfied with the twist(s) in the story, or until the story is done.
Write a story in your usual way. At any moment, apply Wilhelm's Law to decide what happens next.
For any of these practice methods, allow yourself the freedom to add, delete, or change anything earlier in the story, to support the twist you've written. (This one is hard for me. I tend to get committed to what I've written.)

Focus on learning. Some of these practice stories will be pretty good. Some will be too twisty. But you will get better at twisting. Focus on learning where and how to twist things. Then apply what you’ve learned.

With practice, you will begin to recognize when you're at a point where a twist might help, and you'll know how to create twists more quickly.

Then you can practice something else.

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As above, but with the addition of an exercise I often perform.

I see the basic, linear story as a piece of string, then as I edit, I look for opportunities to introduce misdirection, diversion or distraction. If there is a situation where a misunderstanding or miscommunication can occur, then I weave in an additional sub-story around the main story, re-asserting itself at regular intervals. Once the main plot string has been woven into a rope, the twists occur naturally as the readers attention jumps from one string to another.

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