How To Write Twists And Reveals

Twists and reveals exist in almost all novels. The sudden, surprise revelation about the concealed truth of what the protagonist has been facing, or about some fact from the past, or some new piece of information, is a fundamental part of even the quietest literary novels. They are a core part of Classic Novel Structure. Later in this chapter, we will outline when and how to use them through your novel. They are so intrinsic to the novelist’s toolbox, as much as dialogue or inciting incidents, that even if it is possible to write a novel without them, why would you?

Twists and reveals serve as pivotal moments that redefine a narrative's trajectory, create new tension, and increase reader engagement through surprise. They shock the reader, re–energize their interest, set their heart beating. They shift the ground underneath their feet, creating excitement. Understanding their strategic use, especially around the critical closing phase of the story, is essential for crafting compelling plots.

Below, and throughout this book, we will discuss using twists and reveals at various points in your novel. But Act Three is really where they come into their own. In genres like thriller and crime, they are absolutely essential and need careful planning.

Twists and reveals, in fact, can become a dramatic road map through your novel. By placing them strategically at the major plot points, you will give yourself the skeleton for tension and action throughout the narrative and build an urgent, interesting structure for the Quest.

What Is the Difference Between A Twist and A Reveal?

A novel might exist without a twist, but virtually no novel ever published truly lacks reveals. A reveal is the gradual or sudden disclosure of information that was previously kept from the characters and the reader but which once revealed, makes a lot of sense. Reveals are not necessarily as shocking as twists, but serve to clarify events that were previously unclear or mysterious. Often, once revealed, this information will make sense to the reader, and clarify what has been going on. Reveals can be helpful or harmful to the protagonist.

A twist is usually more dramatic and more unexpected than a reveal. Twists are surprising and dramatically alter the course of the narrative and characters’ perception of what has been going on. If a reveal sheds new light on a situation, a twist usually turns it on its head.

Their purpose is, on one hand, similar. New information that has been kept from the characters and the reader is shared. But with a twist, this is much more out of the blue, bringing an unexpected change in the direction of the story, which the reader may not have been able to guess before.

A twist may have been foreshadowed subtly, but it essentially remains that bolt out of the blue. It is more likely to happen without the protagonist’s help and will often harm them as much as help them. A reveal might bring good things. A twist will often make things worse.

There are usually fewer real, true twists in a novel than reveals. They will probably come only at one of the major plot points or the mid–act pinch point of Act Three, around the Climax. Reveals can be minor or major, subtle or dramatic. Twists will usually be dramatic and have major consequences.

You don’t need a big, shocking twist in every novel. They are far more usual in thrillers or crime novels than literary or romance fiction. This shows why you might favor a twist over a reveal. But some genres, most notably thrillers and mysteries, will demand twists. The reader will likely be very unsatisfied by a story marketed in that genre that lacks them.

What Is A Counter–Twist?

A counter–twist follows an initial twist, complicating the narrative further. It can reverse the implications of the first twist or just make the situation worse or more intense. For instance, after revealing that the seemingly innocent character is the true killer (the first twist), a counter–twist might reveal that this character was being manipulated by another, even more hidden antagonist – or worse, an ally close to the protagonist. This can drive the tension level in your novel through the roof.

Counter–twists should be used with care, and indeed, all twists should. It is very important that the twist should feel believable and not just tacked on. If you are planning a novel that will require a big, splashy twist, it is probably useful to have it planned early on in the writing process. Some pantsers will never do this, and some thriller writers I know are themselves pantsers, so this is not a hard rule. But what is a hard rule is that your twist should make your reader gasp, but it should not annoy or alienate them because it feels so inauthentic or inorganic to the rest of the plot, and they feel betrayed in their reading experience.

How To Structure Twists And Reveals – With Exercises

By carefully structuring your twists and reveals, you can create moments that both surprise and satisfy the reader. Both are important: the reader should be shocked, but also feel what has been concealed makes sense in the structure of your narrative. You can swap out the points and exercises between twists and reveals as you suits your novel.

For Twists

1. Lay the Groundwork Early

– Introduce subtle clues or details that hint at the twist from the beginning. These should be barely noticeable, but they will make the twist credible.

Exercise: Write three small, seemingly innocuous details in early scenes of your novel that will later take on new meaning once the twist is revealed.

2. Build Misdirection

– Create red herrings or distractions to mislead the reader, making the twist feel more unexpected. Use subplots, introduce conflicting information, have a character tell a bare–faced lie, let situations appear resolved that the twist reveals are not.

Exercise: Identify the opportunities mentioned above that will make the real twist more surprising. Plot a scene that deliberately misdirects readers.

3. Anchor Twists in Character

– Let the twist arise naturally from your characters’ motivations and actions. Let the reader feel the shock but also that it makes great sense with regards to that character. It makes it feel earned.

Exercise: Review your protagonist or antagonist’s inner conflict or hidden motivations and plot how this inner tension seeds and foreshadows the twist without revealing it to the reader.

4. Show the Consequences

– Once the twist is revealed, show its impact on the story. How does it change the protagonist’s world, and how does it impact the Quest? The twist should force the narrative forwards, probably in a new direction and with a new urgency.

Exercise: Plot a scene where characters react to the twist. How are you going to show how the twist has changed the world? How are you going to show its emotional impact on the characters? How are you going to manipulate the reader’s emotions too?

For Reveals

1. Set Up What Will Be Revealed

– Early in the story, set up what is going to be revealed, without actually revealing it. Know what the reveal will be. Introduce some unresolved element (whether a known mystery or secret, or more subtly). It could be a hidden fact, an unresolved point of emotion or deceit, or something a character is withholding. It will later drive the narrative, so make it both organically part of the story but also significant enough to achieve this.

Exercise: Plot a moment early on that subtly hints at the reveal without giving it away. This could be a piece of dialogue, an action, or a chunk of narration that either leaves the reader with some sense of mystery or will later create their sense that the reveal is earned.

2. Hint At the Truth, But Be Careful!

– Drop hints at the truth but not too many and be subtle. When the reveal happens, readers should be able to look back and recognize how cleverly you foreshadowed the truth. It should not be unbelievable but nor should it be easily guessed.

Exercise: Brainstorm two or three clues you can subtly drop into the story that hint at the reveal ahead, but decide where would be the very best place to put them. Often, it is good to hide them in a piece of dialogue about something else, or in an otherwise tense or dramatic moment when the reader’s focus is elsewhere.

3. Time For Impact

– It should come when it has maximum emotional or plot impact, typically during or just before a major plot point, neither too early, which might deflate pace, nor too late, when readers might have guessed or else just moved on. It should always make the story feel more urgent and often will dramatically alter its direction.

Exercise: Consider where in your novel your core reveal will have the maximum effect. Plot across your novel how you have structured it, in terms of set–up, foreshadowing and consequences.

This is an excerpt from How To Write A Novel Chapter By Chapter available here: https://www.amazon.com/How-Write-Novel-Chapter-Outlining-ebook/dp/B0DJ8TMVWL?ref_=ast_author_mpb

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