25 Mind Blowing Plot Twist Ideas To Elevate Your Story 

The most popular kind of best-sellers are those that leave you in shock. The feeling of not seeing it coming, or even a single gasp, is difficult to achieve on the writer’s part. But what is it about plot twist ideas that elevate a plot line? The goal is to keep readers on their feet. Or the edge of their seats. 

A basic story structure is easy to consider – Beginning-Middle-End. But to write more than a basic story, you would need to employ certain devices to elevate it.  If you had grown up reading R.L. Stine’s Goosebumps, you’d easily recognise his coveted plot structure. The Beginning-Middle-Plot Twist, as opposed to the usual. The plot twist is a trickster! 

Before we settle into decent plot twist ideas, what is a plot twist? A generic definition would explain it as a literary device used to “dramatically alter the direction or outcome of a story.” Used mainly to appeal to the emotions of shock. The focus is on the unexpected. 

This device could be used to shorten the gap between the climax and the denouement. Or perhaps even save the story from a generic ending. That is, when employed properly. 

Why is it recommended as a device?

  • Adds depth even to light-hearted tropes
  • Increases suspense to help with pacing
  • Provokes emotion regardless of degree
  • Elevates the narrative. 

A tricky device to use, the plot twist is often a slippery slope. It is often understood as a battle between the reader and the writer. The deducer and the dispenser of context. While most of its weight lies in movement, it is wise to consider some downfalls. Here are some ways you could ruin the surprise. 

  • Little or too much information (telling > showing)
  • Imbalance in pacing (too slow or too fast)
  • Extravagant likelihood of events portrayed

Lazy writing would not get a writer very far. Using a plot twist requires careful consideration of the pacing within the story. Cliché plot twist ideas are often divulged far more often than complex ones. We get it, it’s an easy guarantee to hook a reader in. But that takes away from the reading experience. Like, readers are being taken for granted. 

Regardless of overhyped plot twist ideas, they are a good start. Especially when you’re an amateur or willing to practice the art! 

1. The ‘Dream’ scenario 

 Why would anyone consider sitting through a plotline that ends as an illusion? It does operate at the core of a reading experience. But we would prefer not to have it spelled out so clearly. 

That there is much effort spent only to pass it up as a dream is supremely irritating. It feels like a waste of time. And worse, it bores the readers. To avoid this kind of nonsensical betrayal, keep things interesting! Let it be anything but a dream. 

2. Golden Halo Protagonist 

High on the plot twists list, this begs for your protagonist to have a chance at death. Unless operating at a fantastical level, no character is strictly immortal. Giving the hero an ‘Achilles’ heel’ makes him human. He may be “god,” but the chances of failure should not be too far off. 

This challenges the undefeatedness of the main character. But it is important to keep the plot realistic. Or as close to reality as possible. Far-fetched situations and implausible circumstances can only take you so far. Emotional appeal is inaccessible after a certain threshold. This is where it is easy to lose readers. 

Your main characters might not be real. Or human. But they are meaningful. Hence, they should be like water, not stone. 

3. It’s a small world after all

Unexpected family. Overlooking basic character information. Withholding important information at the wrong time. These tactics to portray foreshadowing sound appealing. It is an easy way for plot development. Yet, it is frustrating. 

Better options would include’ found family’ tropes. Or exceeding the dimensions of said character towards growth or ultimate downfall. Every character must add to the plot. But there is no use in asking a character to take up too many roles at once. 

Though a seemingly safe play, readers see it coming. What makes a good plot twist work is often a guessing game done well. 

4. Settling for less  

This overused trope occurs when there are not enough stakes to lose. When characters settle for less, readers are left feeling disappointed. There is nothing to fight for. Nothing challenges their growth. A stagnant swamp is something they are peering into, and it is not a pretty sight. 

This is common among love story plot twist ideas. Like when Beauty “falls” for the Beast. Or when characters are forced to go against everything they’ve fought for. The key lies in an almost successful resolution. The closest possible development that would nudge them into their potential. There are no plot twist examples here because they clearly don’t work. 

5. Enemies-to-lovers 

Easiest trope to win readers over, but often used badly. Though common, this trope is generally employed too hastily. Overused in the ‘plot twist ideas romance section,’ it can afford a good comeback. It works best for slow-burns and stories with detailed world-building. Gauging momentum is necessary. 

Capturing human emotions nestled deeper under the surface should be a fact here. Portrayal requires more than the act of telling. Emotional appeal might be the greatest concern. Yet it is important to maintain the other aspects of the plot – compatibility with other characters, development, redemption, and high-stakes resolution. 

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6. Why create heroes when you can play god?  

You might have heard of deus ex machina. The Greek “god from the machine.” Employed as the easiest way to get a character out of a troublesome situation. This was once at the top of a good plot twist ideas list. Now, it is the laziest way to end a story. Thanks to the convenient resolution, the protagonists lose their power. And the story loses its weight. 

Working on the complexity of the plot engages the reader. To fully justify a reading experience, you sometimes need a hook. Consider the following plot twist ideas for your next great story!

7. Eucatastrophe

An assumed relative of the ‘deus ex machina’ twist. Eucatastrophe stands for the abrupt change at the end of the story that saves the protagonist. But unlike the former, this is more accommodating of the main narrative. 

Here, you are allowed to bring in external help solely for its sake. But this highlights how the external forces are solid characters in their own right. Their perspective is not tuned in at this point in the story. 

It employs foreshadowing. And makes use of new introductions to plot beneficial for its own sake. It might add a sense of abrupt debut. But it does not intend to dethrone the main character’s abilities. Everyone needs help from time to time. This is one way to show up without having been asked. 

8. Red herrings 

Using the “is this the culprit?” tactic to keep readers guessing is a good place to start. More so in mystery-oriented plots. Adding opportunities to gather clues with subtle misleads keeps the flow intact. Once the reader is engaged, there is so much to accomplish. 

Called a “red herring,” this idea is used to encourage readers to end up with a false conclusion. The term originated from a time when hunters used to train dogs using smoked herring. Especially to throw them off-scent. It is mostly employed as a distraction, but the focus is on “logical fallacy.” Of plotting the argument to sidetrack from valuable information. This is as easy as changing the subject in an intense conversation. 

9. If a gun is introduced, you must use it

“It’s wrong to make promises you don’t mean to keep.”

Known as Chekhov’s gun, this principle operates on foreshadow. Its emphasis is on making use of every element or detail introduced. It was named after the Russian author and playwright, Anton Chekhov.  

Displacing the use of red herrings, it respects the readers’ expectations. Subversion is not all that encouraged. It is acceptable if used to drive forth the point of dramatisation. As much as it holds fast onto foreshadowing, it demands truth. 

10. Anagnorisis and Peripeteia 

Tools in plot development offer considerable turning points. Generally employed hand-in-hand, this encourages an almost prophecy-like conclusion. Especially in dramas. More specifically, tragedies. 

Anagnorisis is derived from Greek, meaning “recognition.” It is used in a moment of “critical realization or discovery.” Tuning internally, the focus is on the true nature of identity and circumstance. The shift from ‘ignorance to knowledge.’

Peripeteia is understood as “reversal of fate.” This is seen mostly as a change induced by forcible external circumstances. Used to highlight a negative turning point. It is also beneficial as it ensures plot stays steady from the denouement to the end. 

11. He(ro) who is not

Employed as a literary device, a false protagonist makes the plot memorable. Often jarring, the goal is to mislead the readers’ preconception. Like the presence of a narrator until the true protagonist is revealed. 

The goal is plot misdirection. Which makes it all the more difficult without the presence of a decent character. Especially in the beginning. Readers need to feel a sense of trust. Even if it is to be deceived while furthering the plot. 

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12. Unreliable narrator

When credibility is compromised, it is often difficult to deduce the truth. Unreliable narrators can be easily identified by their:

  • Bias to information revealed,
  • Mental instability, and/or
  • Intent to deceive deliberately. 

Questioning the truth of the narrative does more than adding tension. If done well, it highlights plot development. To the extent of elevating a character’s growth. Readers journey through the difficult alleys as much as the narrators. And place their growing (dis)trust regardless of initial expectations. This works well as it operates on the first-person narrative. 

There is a willingness to hold out despite the deception. This appeals to humanity. Of how real a character can get in battles, with what truth means to them. And the readers, in turn. It also offers a chance for readers to draw their own conclusions. Here, nothing is set in stone. Or paper. 

13. Poetic justice 

Nothing is more satisfying than when a character faces “punishment befitting the crime.” 

This is also applicable in the case of good being rewarded.  A type of situational irony, this device is known for its predictability. Its versatility makes it useful in humour. Like a character’s death on a quest for immortality. 

You might also easily identify this as “karmic retribution.” Of characters facing “repercussions in alignment with their actions.” This brings up heavy questions of morality and confrontation of ethical choices. Focusing on the personal values of the characters involved.

14. Building a time machine 

Reverse chronology is often understood as going back in time. Of narrating events from most recent to the oldest. When a story’s narrative is completely flipped, it offers different insights. But how is it possible to start with the conclusion?

Execution requires more effort. But it is necessary to maintain certain standards of the general narrative. This requirement helps keep track of plot development.

Highlighting “consequences before causes” is a delicate string of events to thread through. This eating-dessert-first works because of depth. The focus here needs to be on complexity. On appealing to readers’ emotions and maintaining interest. More than the plot development, interest is given to behaviour. Of why characters might have acted a certain way. 

Employing this plot twist in a novel seems daunting. It is good practice to begin using this for short stories and work your way up. It’ll certainly take you places! 

15. Flashbacks 

If reverse chronology feels difficult, flashbacks are a good alternative. You get to maintain the linear narrative of your story. And add scenes that take you back in time for certain revelations.

Though easier, it is generally employed to interject crucial information. Words which cannot be parted with using the present timeline.  

16. Killing the hero 

Though debatable, it is important to raise the stakes when necessary. This is a risky plot twist idea to consider. But it guarantees memorable characters when done well. It works because death is inevitable. And grief is human. 

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17. POV: Dead-ly speech 

Plainly put, this refers to the dead person’s POV. The truth about this character is not revealed until the denouement or the end. 

As a challenge, you could employ this idea to work favorably from the beginning. Though when used for the final reveal, it packs more punch. Eerie whispers hold tender fear either way. 

18. “It was me all along” 

Tides turn when the main character is the traitor. Complexity here stems from moral obligation. Of being ambiguous with loyalty. Fortunately or not, truth and deception are two sides of the same coin. 

Betrayal plot twists rely heavily on intricately built characters and their worlds. The craft of lying is not easy to master. Providing good motivation for jumping ship is of utmost importance. 

19. “Anything that can go wrong, will go wrong”

Murphy’s Law states this “inevitable certainty.” Emphasises potential. Not easily dismissive of the negative. But it does not have to guarantee. 

This trick can easily offer a breakthrough for a block. It employs the psychological feature to:

  • Express frustration
  • Anticipate likely problems
  • Consider unpredictable situations

This is also useful in understanding a character’s background. Of how they react and respond when things don’t go their way. Of pushing through characters and writer’s blocks. 

20. Throwing dramatic confetti 

If the plot feels stale, it is time to consider a new character. Especially one that would rock the boat. Out of necessity or not, movement is key. 

If a new character feels too heavy, then adding a problem works too. The goal is to keep the plot action-oriented. Run, when you have to walk! 

21. Asking for more 

Demands on the protagonist are no light burden. But it’s worth sticking around when the hero gets more than he bargained for. Say, strength turned into weakness. Or when stakes are raised even after the bad guys come in. 

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22. Redefining the “good”

How do you justify the plot when the good guy isn’t good enough? 

The focus on these plot twist ideas relies on what comes after. As much as the initial deviation. Of acknowledgement, acceptance, and change. This also opens up avenues to reconsider facts that were easily dismissed. Or scrutinise those that were overlooked. 

23. The unusual tell-tale tells a tale 

Think of an annoying character who breaks even. One who means more than a nuisance. Or a snitch with a story within a story. 

Tell-tale characters make or break the plot. Extras are as important as the main characters because they induce triggers. Growth starts with either going with or against them. Who knows?  They might end up being more endearing than the main character!

24. Mode: Fight or flight 

On the surface, this prompts the characters to either:

  • Succumb to tragedy
  • Fight
  • Try to run away. 

Yet another movement-oriented plot twist. Even more so if introduced at a turning point. Drastic changes open up new ideas.

25. Hidden agenda 

An ulterior motive is the meanest amidst plot twist ideas. But we can’t help but agree that they work. The easiest way to work suspense into the plot. Though the key lies in balancing the information dispensed. 

This could be rather straightforward. Or could lead to more plot twists! You could use this as a trampoline to kick off even complex plot divergences. So long as you remain close to the initial narrative of the story. You can afford to stray off as much as you’d like. 

Conclusion

Gasp-worthy plot twist ideas work when they aren’t overused. Or over-hyped. Where moderation is key, it is easy to get the story moving. Especially with a plot twist, basic as it is. You can write off your writer’s block with a neat plot twist. Which of these have you tried before? And what are you excited to try next? 

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Prerna Mullerpaten
Prerna Mullerpaten

Prerna Mullerpaten is a twenty-something-year-old homebody from Chennai, India. She has a soft spot for exploring the world through words. And cats! If she is not reading, she writes – she claims they are mostly half-truths. She has edited and written for InFrame. It is her dream to one day put together lesser-known stories from around India, though that might mean a lot of character development on her part. She believes she is a pessimist, but an aspirant, nonetheless.

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