Er, retroactive spoiler alert?
I've written in the past about the role of subverting expectations and how doing so requires the writer to know said expectations first. But when it comes to executing a plot twist, such a device has the power to make or break your entire story and how your audience comes away from it.
So here are some important reminders when doing your plot twist...
KNOW (AND ESTABLISH) THE EXPECTATIONS
What are the genre expectations of your script? Character expectations (through archetypes)? Cliches? Have expectations changed? Have they changed through other films? Other twists?
Do you want to subvert the expectation? Avert it entirely? Go in a new direction without alienating the viewer? Contrast is a good "cheat" here, whether it's to drive your script or your characters into a new, unique direction for the genre. Chances are, you know the expectations already and want to write your script to put your own spin on it.
In terms of establishing said expectations within the internal logic of your script, this doesn't have to be done bluntly or with force. Perhaps a character implies the expectations you plan to twist on, subtly "conditioning" your audience, or you could do it in a similar fashion through dialogue or visual associations and cinematic shorthand. Let the format of film be your friend.
DECIDE YOUR TWIST (AND HOW IT PLAYS INTO YOUR THEMES)
The first and best example of the ironically-used "sin of Envy".
Again, contrast is an easy way to brainstorm possibilities for your twist, to "turn things on their heads", as it will. Another "cheat" is through updating if you're writing an adaptation. Say you subtly "influence" your audience that a character is a more old-fashioned archetype, only for your twist to be that said character is actually more progressive or transgressive than the source material could ever conceive of.
What will your twist mean thematically? Does it serve as the "other side of the coin" to another theme or character? Is it an added contrast? A "monkey wrench" thrown into the rules of the genre? Will your twist serve to reinforce your story's message or show it in a unique way? There are, of course, a million ways to go about this, but you'll know when you've found your twist if it deepens even your understanding of what you want to write. Themes typically "just happen", after all, and similarly, like other great ideas, a good twist can sometimes just "click" into place.
GIVE AMPLE (BUT AMBIGUOUS) FORESHADOWING
Fantastic Beasts and Where to Find Them is a film that does a fine job in setting up what the audience thinks will happen. Throughout the first two acts, the abusive home and horrid treatment of Modesty Barebone by strangers, coupled with her reactions, body language, and closeness with her shy adoptive brother Credence, suggests that she is the source of the highly destructive Obscurus power.
Indeed, all "signs" point to her without being too obvious, over-the-top, cliched, or "told". If she were indeed the Obscurial, it would be hard to blame her for being so angry.
Even right up to the last second, when she hides in fear after Mary Lou Barebone's killing, it could easily go the way that's been suggested. But...
Fantastic Beasts' has a twist that works thanks to the acting, direction, and writing working hard for Modesty and Credence's "signs" to be seen as "going either way". Introducing a twist completely out of nowhere without any rhyme, reason, support, or natural behavior from the characters can be frustrating to the audience, if not downright infuriating.
For your clues, it's a matter of writing, "testing", and thinking over just how much information to include and how much to leave out. In a sensitive medium such as screenwriting, the difference could be as little as a single word and how it is said.
HAVE IT MAKE SENSE
"Luke's father is Chewbacca!"
A good twist should follow the logic and "rules" of your story up until that point to serve as a satisfying payoff for your audience. They're the ones who have taken in the clues, the "breadcrumbs" you've left for them throughout the story. To botch this process could easily leave said audience feeling shortchanged.
Any script or film serves as "audience manipulation" to an extent, but it's imperative not to abuse this power, or the trust the (non-hate watching) audience puts into your story. Mere shock simply can't compare to a twist with shock, internal logic, careful execution of the clues, and an ability for the audience to enjoy the effects of it on the story the more they think about it, the "rule of ramifications" and whatnot.
In short, a good twist should make logical sense in-universe, and enhance your story out of it. For your audience, this effect can spur them to go back and try and make a game out of spotting all the "breadcrumbs" you wove into your script. Which brings us to...
THE REWATCH FACTOR
After you've executed your clues, your twist, your themes tied to it, and the rest of your script's "skeleton", a fun part will be adding not only more clues (if you feel you haven't given enough information or need to refine it), but also some other "touches" and details that take on a whole new meaning with your twist in mind.
For example.
This is certainly true if you're writing a comedy. Comedy depends highly on context and irony, two factors that your twist will "gobble up" in the best way. Jokes can serve as momentary humor to a first-time viewer, while being retroactive foreshadowing for a rewatcher.
In any case, a good twist should deepen the audience's understanding (and enjoyment) of your story, and hopefully make it better for them the next time they experience it.
TIDBITS AND SUCH
Just Write, The Closer Look, and Now You See It have excellent videos on writing and executing a great plot twist.
Of course, I can't vouch for a twist if it's revealed to you this way.
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