VOL.

40 Plot Twist
Prompts for
Writers
ALL NEW Writing Ideas
for Taking Your Stories
in New Directions

ROBERT LEE BREWER

40 Plot Twist
Prompts for
Writers
Volume 2

Robert Lee Brewer

 40 Plot Twist
Prompts for
Writers
Volume 2
ALL NEW Writing Ideas for
Taking Your Stories in New
Directions

Robert Lee Brewer

40 Plot Twist Prompts for Writers, Volume 2. Copyright © 2022 by Robert
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 ABOUT THE AUTHOR
Robert Lee Brewer is the author of Solving the World’s Problems (Press
53), Smash Poetry Journal (Writer’s Digest Books), The Complete Guide
of Poetic Forms, and 40 Plot Twist Prompts for Writers. An editor with
the Writer’s Digest writing community for more than two decades,
Brewer writes the Poetic Asides and Publishing Insights columns for
the magazine, manages content on WritersDigest.com, and participates
in a variety of other fun writing-related activities.
 TABLE OF CONTENTS
INTRODUCTION..................................................................................... 1

1. ITEM RETRIEVAL ...............................................................................2

2. FORCED DECISION............................................................................3
3. BUSINESS TIME...................................................................................4
4. CONTRARY ACT..................................................................................5
5. MISTAKEN IDENTITY......................................................................6
6. PRANK PULLED...................................................................................7
7. PLACING BLAME ................................................................................8
8. UNDER THE INFLUENCE.................................................................9
9. GIVE ORDER.......................................................................................10
10. APPROACHING DEADLINE........................................................ 11
11. UNEXPECTED VISITOR...............................................................12
12. TIME TRAVEL...................................................................................13
13. CROSS THE THRESHOLD............................................................14
14. WEAR DISGUISE..............................................................................15
15. BREAKING NEWS............................................................................16
16. RUNNING EMPTY........................................................................... 17
17. SPLIT UP..............................................................................................18
18. SHOULDN’T DO THIS....................................................................19
19. OPPOSITE DAY................................................................................ 20
20. PROPHECY MADE.......................................................................... 21
21. GOING TOO.......................................................................................22
22. GIVE IN...............................................................................................23
23. SET A TRAP...................................................................................... 24
24. BACK TO THE GRIND...................................................................25
25. BAD IDEA...........................................................................................26
26. THE ABANDONED PLACE..........................................................27
27. ON THE RUN.....................................................................................28
28. WHAT IF SCENARIO.....................................................................29
29. CURSED............................................................................................. 30
30. BEING FOLLOWED......................................................................... 31
31. UNEXPECTED TEAM UP..............................................................32
32. FALSELY ACCUSED........................................................................33
33. PERMISSION TO ENTER.............................................................. 34
34. STILL ALIVE......................................................................................35
35. BIG DECEPTION..............................................................................36
36. GIVE UP..............................................................................................37
37. GIVING CHASE................................................................................38
38. ANOTHER DIMENSION...............................................................39
39. NOT THERE...................................................................................... 40
40. EPIPHANY MOMENT.................................................................... 41
 INTRODUCTION
I love stories that start strong, and I love stories that have fulfilling fin-
ishes. But the only way to get from a great opening to a great finale is to
have an exceptional middle filled with twists and turns that keep me
involved in the story. That’s where this guide aims to help.
This guide collects 40 plot twist ideas and prompts to help writers
travel down new corridors and alleyways of their stories when they’re
feeling stuck between the opening and closing of their tales. After all,
the Lord of the Rings trilogy would be a much different story if it just
started with a hobbit receiving a ring and then eventually destroying a
ring without all the twists and turns in the middle (of Middle-earth).
So please use this guide to help lead you down some interesting new
paths. Each prompt is a new opportunity to take a chance and see where
it takes your characters and your story next.

1
 01

ITEM RETRIEVAL
Make a character retrieve an item. The item could be relatively innocu-
ous (like some ice cream from the store), or it could be a big deal (like
collecting a rare antique). The character may know the relative value of
the item, or she may over- or underestimate its worth.
The item itself could be important to your characters, but how they
intend to retrieve the item can present many opportunities for your
story. For instance, is it just a “simple” pickup? Is it a more complicat-
ed handoff? Is there the potential for things to go wrong? Consider all
the possibilities.
Also, remember that your “item” could actually be a person or an
animal. In that scenario, the story could really begin after your char-
acters retrieve the item and have to deal with their newfound cargo.
Finally, keep in mind that your characters may never actually re-
trieve the item. Or the item may not be what they thought it was. Often,
it’s the chase that readers love. The item itself is usually just an excuse
to get the characters moving.

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FORCED DECISION
Force a character to make a decision. The decision could be seemingly
low stakes, like what to watch on television. Or you can ramp up the
stakes and make your character decide between taking the cash or sav-
ing their friend/love interest.
How characters handle making decisions reveals a lot about them.
After all, some people seem born to make decisions without a second
thought to whether they’re right or wrong. Others agonize over the ti-
niest decisions and will shut down if given the chance. For some people,
making a decision is a great fear on par with heights, public speaking,
and the unknown.
In addition to revealing the strengths and weaknesses of charac-
ters, the act of forcing characters to make decisions can help amp up
the stakes of a story. In a romance, a character has to choose between
love interest one and love interest two. In a family drama, a character
has to choose between family tradition and personal independence.
Even a seemingly low stakes decision like where to eat dinner can
have profound implications if it’s the scene of a crime.

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 03

BUSINESS TIME
Have two or more characters complete a business deal. I know, I know;
nothing says excitement more than a business deal, right? But then
again, business makes the world go around in many ways and can lead
to big time consequences in a story.
Consider two best friends who always seem to be of a like mind.
Then, they decide to start a business together and maybe things go fine
at first, but eventually one wants to save money while the other wants to
invest (or wants to invest in things like social events and parties). Soon,
the two like-minded friends are turning into enemies.
Or the business deal is for something nefarious (an assassination
or drug deal). Or it’s for something seemingly innocuous but with
mysterious circumstances. In the thriller movie The Commuter, Liam
Neeson’s character is asked to locate (and only locate) a person who
does not belong on the train he’s riding, and he’ll receive $100,000. But
there’s much more at stake than that initial ask.
Also, don’t forget that business could be the thing that brings people
together as well. In a romance, maybe a realtor likes a homebuyer, con-
tractor, or appraiser. In some ways, it’s business that led Count Dracula
to target Mina in Bram Stoker’s classic horror novel.

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 04

CONTRARY ACT
Allow a character to do the opposite of what they’re asked or told.
Tension propels storytelling, and few things create tension more than
having one or more characters do the opposite of what they’re told (as
the father of five children, I have a lot of “real life” experience with this).
Characters who don’t do what they’re told may have any number
of reasons for being contrary. They may be selfish or altruistic. Often,
the mystery surrounding a character’s motivations can help drive an
entire story (including the discussions after The End).
But your character doesn’t have to be shrouded in mystery. Maybe
it’s obvious why the character is doing a contrary act. Maybe the request
is made by an ex-lover’s current love interest, so there’s some jealousy
involved. Or maybe the request is being made by someone in author-
ity, and the contrary act is committed by someone who doesn’t trust
authority. Or maybe the character is just “hangry.”
A simple contrary act can set off a very complicated set of actions
and reactions with plot twists and turns sending your characters and
plot lines into several different directions. In other words, one contrary
act can lead to a very interesting story.

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 05

MISTAKEN IDENTITY
Share a case of mistaken identity. Have a character (or characters) hon-
estly believe someone is somebody who they are not. There are a few
ways you can accomplish this.
First, it could be an honest case of mistaken identity. Someone is
sure they spot Elvis on the streets of Davenport, Iowa. They may decide
to tell the person they think he’s Elvis, or they may “know” he’s Elvis
but not say a word, which could lead to some humorous situations. But
eventually, the person either says something or the “Elvis who isn’t
Elvis” realizes what’s going on and says, “No, I’m not Elvis.”
A second option is to have a character take on the identity of anoth-
er person, so that the mistaken identity is actually intentional (on the
part of the person taking on the identity). A top-secret lab is expecting
a scientist, who arrives. But guess what? The “scientist” is actually a spy.
Finally, your protagonist could be the object of the mistaken iden-
tity. Maybe they realize right away, but maybe they don’t. Either way,
they have a decision to make: Do I correct the error? Or do I roll with
it? Only you can decide which path leads to a better story.

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PRANK PULLED
Have a character pull a prank. Pranks are a great way to insert comedy
into a story. And characters who are jokesters tend to be very lovable
and memorable even if they’re not the main characters (thinking of the
Weasley twins from the Harry Potter series, for instance).
However, pranks are also a great way to add conflict to a story. Not
everyone likes being the butt of the joke, so a prank can make one char-
acter detest another character. Also, pranks can start small and build
into a big lie (because the prankster lets it keep going) that drives a
wedge between friends.
Also, a prank can go wrong. For instance, a character performs
a prank that involves making a character believe a ghost is present.
But then, the fake ghost freaks the character out so much that they
jump out a window to escape the spirit (or have a heart attack). What a
way to start a murder mystery (without revealing the prank until later,
of course).

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 07

PLACING BLAME
Make a character place blame on someone. It could be for something
as simple as eating the last piece of cake or as serious as the cause of
another person’s death or disability. Once a person assigns blame, you
have the beginnings of a more dramatic story.
The blame could be very public. For instance, a person could give a
speech at a big dinner and call out so-and-so breaking up a marriage.
Or your character could internalize the blame without ever calling the
person out, but still believe that other person is to blame for a certain
outcome or situation.
Of course, the assigned blame can turn out to be completely false.
There are several characters who have been blamed for misdeeds or bad
behavior who ended up in the end to be the polar opposite of their im-
age. Also, the person placing blame could very well be the guilty party,
because that kind of thing does happen too.
Maybe the character deserves the blame, but then again, maybe they
don’t. The fun part of storytelling is figuring out the what, how, and why.

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UNDER THE INFLUENCE

Let a character fall under the influence of something or someone. This
could be as simple as having a character get drunk or do drugs. Once
a person does drugs, of course, they tend to act in different ways than
when they’re sober, which can move the plot in unexpected ways.
If the character often engages in this kind of behavior, it can move
the plot in expectedly unexpected ways while developing the character.
However, a character who does not usually imbibe or partake may have
more startling and memorable impacts on the plot if they find them-
selves acting completely out of character. The results of which could be
humorous or horrifically dramatic.
But remember that there are other possibilities for coming under
the influence as well. A character could come under the influence of
a magic potion or spell. Or perhaps, they’re influenced by popularity
and/or being in the presence of a celebrity. And don’t forget the possi-
bility of mind control.
Keep in mind that the character who comes under the influence
may not realize they’re under the influence (using the “mind control”
or “slipped drug” device). Also, the characters around the person
who comes under the influence may be slow to comprehend what’s
happening as well.

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 09

GIVE ORDER
Have a character give an order. That is, have one character tell another
character(s) what to do ... and maybe how to do it. It should be noted
that this is not a polite request, though it doesn’t necessarily have to be
a mean-spirited command.
For instance, a teacher may tell his students to write a report or a
parent may order her child to take out the trash. In both instances, the
“order” could be very matter of fact and without too much emotion
on the part of the person giving the order. But the reaction from the
character(s) receiving the order may vary.
In one of my favorite short stories, Herman Melville’s “Bartleby,”
the character Bartleby is often given orders, and his classic response is,
“I would prefer not to.” And that’s where the potential for conflict enters
the story: Between giving the order and whether the order is followed
(or how it’s followed).
After all, a character could follow an order but follow it in their
own way. And that can provide you with some interesting threads to
pull as the writer.

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APPROACHING
DEADLINE
Give your character an approaching deadline. Scoff if you like, but
deadlines create stress in the real world and anticipation in fiction. Be-
cause a deadline is like an approaching mountain or army; it’s some-
thing your character(s) will have to deal with. But there are questions
to answer.
First question: What is the purpose of the deadline? Is it for a wed-
ding? A graduation? A term paper? Maybe some work project? Or is it
even higher stakes like delivering a huge sum of cash by a certain time
or someone dies or gets their legs broken? Maybe war will break out
between two countries if X doesn’t happen by Y.
Second question: What are the obstacles to meeting that deadline?
This is where you can really ramp up your story. Maybe there are mul-
tiple tasks that need to be completed before hitting the deadline. Maybe
your character(s) gets distracted easily. Maybe there’s traffic.
The nice thing about a deadline is that it gives the characters, the
writer, and the reader a target. Maybe the characters will meet the dead-
line, and maybe they won’t. The story is found in the process of trying.

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 11

UNEXPECTED VISITOR
Invite an unexpected visitor into your story. The unexpected visitor
could be a stranger, an old acquaintance, or someone seen on a daily
basis (though not someone they’re expecting as a visitor). Since this
visit is unexpected, it already jolts the expected pattern of the plot, but
how much is up to you.
The first question to answer is: “Why is the unexpected visit
happening?” Possible reasons might be to check that a character is OK
after a traumatic experience. Or maybe the visitor is hiding from the
law or an abusive partner. It’s also plausible that a visitor would be
delivering news of a personal nature or asking for a favor. Plus, I’m sure
there are many other possibilities you can imagine.
But keep in mind that motivations could be multi-layered, because
the reason the visitor gives may not be the same as what their real in-
tention is. For instance, the visitor says they’re visiting because “I was
in the neighborhood,” but they’re really trying to steal the secret for-
mula for some new scientific breakthrough.
Or maybe the character has been coerced into doing something
they wish they didn’t have to do. It’s also possible the visitor is not who
he, she, they, or it (thinking robots and magical creatures here) pre-
tends to be.

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TIME TRAVEL
Have your characters travel through time. They can jump into the fu-
ture, travel to the past, or attempt to do both. Time travel has long been
an interesting plot twist device, but it comes with quite a few risks—
both for your characters and for your story.
Jumping back in time is probably the most problematic, because
it comes with the most potential for paradoxes. A character who goes
back in time could disrupt their own reality, for instance, by splitting
up their parents or grandparents (or however far you want to go back),
and making it so that they were never born in the new timeline, because
a new timeline will be made with the tiniest of alterations.
Following that logic, it should be impossible to jump back to the
same reality when returning back to the original time. Of course, that
doesn’t keep storytellers from bending reality back to fit their stories.
However, it’s a complication that has to be recognized and overcome.
Jumping into the future has its own dilemmas as well, because it’s
jumping into the unknown. Also, predictions about future technology
are sure to be dated at some point. And if the goal is to jump back into
the past, it can mean that the reality of the future may be wiped out
(and meaningless) once the time traveler(s) jumps back to their origi-
nal time. Because time travel is so complicated.

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 13

CROSS THE THRESHOLD

Make a character cross a threshold. My daughter inspired this prompt
when she remarked that characters in many of her movies and shows
have a moment when they have to enter a little door (think Coraline or
Alice in Wonderland). The character must cross a literal threshold to
enter a whole new phase (or world) of the story.
Not every threshold is a “little door.” In the Chronicles of Narnia,
it is a wardrobe, while the Harry Potter series uses chimneys, phone
booths, and even public toilets as thresholds. Entering a forbidden forest
or haunted house could be considered a threshold. For some characters,
a threshold may be traveling beyond a city that was previously their
farthest trip from home.
That’s part of the value of a crossing the threshold plot twist: The
character is forced into a new place they’ve never experienced before.
This means they’re likely to come across situations that may leave them
with wonder, curiosity, disgust, and/or fear. With a simple act of move-
ment, the stakes of the story are raised.

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WEAR DISGUISE
Let a character wear a disguise. The disguise could be a mask, wig, or
even glasses (it works for Superman, right?). It’s also possible the dis-
guise is the result of a magic spell or some advanced technology. The
character donning the disguise could be a protagonist or antagonist.
A protagonist may wish to alter their appearance to sneak past en-
emy lines or into a place they’re not welcomed. Or maybe the character
is super famous (like an actor or world leader), and they want to move
around without being noticed.
An antagonist may be up to some new villainy and use a disguise to
sneak past enemy lines or into a place they’re not welcomed (sound fa-
miliar?). Also, maybe the antagonist is super infamous, and they want
to move around without being noticed (again, sound familiar?).
Of course, one fun thing about disguises is that sometimes char-
acters learn more about people while they’re incognito. For instance, a
prince may get royal treatment in his day-to-day from a character who
is super mean to him when he’s disguised as a servant.

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 15

BREAKING NEWS
Inject some breaking news into your story. In the real world, there are
some events in the news that can sabotage a day, change conversations,
and/or lead to real worry (or happiness) for friends and family mem-
bers. This same dramatic dynamic is available in fiction as well.
There are different levels of breaking news. Some of it may be akin
to gossip (this technique is used in Bridgerton: The Duke and I), but
there’s other news that may impact your characters in dramatic ways,
such as a raid on someone’s company or a riot in a city. And remember
that not all news has to be bad; it could be good news too.
Plus, the news may break in different ways depending on your story.
In a science fiction novel, the news may break on screens everywhere
at once, while a fantasy novel may have the news “break” whenever a
new traveler wanders through town. In fact, the timing of the event to
people learning about the event can be a fun plot device.
As with all plot twists, think about how the news impacts each char-
acter. Some may be excited at the same time others are terrified. One
character may see a piece of news as evidence to act at the same time
that another believes it’s time to stay put.

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RUNNING EMPTY
Make a needed resource run low or empty. You get to choose the re-
source or resources. Maybe the characters run out of food, water, gas,
medicine, and/or cellular or internet service. It’s possible there’s a range
of resources needed, but even one might be enough to kick up the stakes
of your story.
One example: Car runs out of gas. Character(s) has to find more gas
and/or a different mode of travel. Maybe they hitchhike, walk up to a
nearby house, or steal another vehicle.
A second example: Character(s) runs out of medicine for themselves
or another character. So they must find medicine before complications.
In both of these examples, it’s possible that the stakes could be life
and death. But it’s possible in both scenarios that these stories lead to
humorous and/or romantic situations. However, running empty is what
raises the stakes for the character(s) and gets them interacting with their
world and other characters.

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 17

SPLIT UP
Have your characters split up. If there are four characters, maybe they
can break up into two groups of two. If there are two characters, have
them both go solo.
There are a couple benefits to a story when characters split up. First,
they may become more vulnerable in a smaller group (or alone) than
when they’re part of a bigger group. This raises the risk and suspense,
which is why it’s a popular tactic in mysteries, thrillers, and horror. But
that’s not the only benefit of splitting up.
When characters split up, the writer can reveal information to those
characters at different times and create dramatic tension. For instance,
character A (and the reader) may know about a threat that is unknown
to character B, who is walking right into the danger zone.
Or the team may have all the pieces to the puzzle separately, which
creates a full picture for the reader but leaves the characters with an in-
complete sense of what’s really happening. And when (or if) they come
back together, they may or may not share everything they learned.

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 18

SHOULDN’T DO THIS
Prompt one of your characters to help someone when they know they
shouldn’t. The helping hand could be given by a main character, or it
could be given by a minor character. However, the person giving the
help should give it in full knowledge that they’re not supposed to be
giving aid.
One example of this would be that your main protagonist is cap-
tured and surely on the way to a death sentence. However, one of the
guards feels sympathy toward the protagonist and against their better
judgment decides to assist the protagonist in escaping their fate.
In another scenario, the protagonist provides the aid. And maybe
they regret it immediately or eventually when they find themselves in
a situation in which the protagonist has to keep a secret from their al-
lies. Of course, this creates tension and conflict in the story and could
guide the plot, especially if the secret becomes known.
Of course, escape is only one type of assistance. A character could
also share food, shelter, or intelligence. Maybe the character gives a tool
to another character when they’re not supposed to and then the tool
turns into a murder weapon. Or a secret shared comes back to haunt
the person who shared it.

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 19

OPPOSITE DAY
Have a character (or characters) do everything opposite of how they
would normally do it. If your character usually always says yes to help-
ing others in need, have them start saying no. If your character tends
to be critical, have them be constructive.
The motivation behind the change could be self-inflicted. For in-
stance, a character may make a resolution to start running every day,
even though they’ve never run before. Or the motivation could come
from an external source, like an authority figure telling the character
to change their ways. And don’t forget mind control or the possibil-
ity that the character changed behaviors because they’re not really the
character (because they’re an impostor).
Regardless of motivation, the opposite day twist impacts the story
for the character who has changed their behavior. Is it something they
want to do? Is it something they can maintain? What does the changed
behavior mean for their character arc? The answers to all these ques-
tions are important for your changed character.
But one character changing their behavior is rarely done in a bubble.
As a result, the changed behavior is likely to impact other characters
as well and may even lead to other characters flipping their behaviors.
This can get really interesting if the original character can’t maintain
their opposite day behavior.

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PROPHECY MADE
Introduce a prophecy to your story. The prophecy could be made by a
character in real time, or it could be a prophecy that somebody finds
in a book, glass bottle, or whatever. The point is that there is a proph-
ecy made about the future.
The funny thing about prophecies in fiction is that they do tend
to influence the actions and reactions of characters, whether they say
they care or not. If a character hears someone is going to die in the
near future, then they are likely to wonder if it is them, their friend,
or somebody else. If the prophecy is that something will happen
specifically to “them,” then it can really play games, especially if they
want to avoid the prophecy coming true.
And here’s the thing about making a prophecy: It doesn’t have to
actually come true. Or it can come true, but not in the way your char-
acters thought it would happen, because prophecies are often tricky
things that are open to interpretation.
For instance, a character is told that she will die before the month
is over. She worries about how her life is about to be over. Maybe she
does flatline at some point, but then, she comes back to life. Or maybe
she never dies, but the world thinks she’s dead because she goes missing
for a period of time. So it may come to pass, but not in the way anyone
expects.

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GOING TOO
Allow a character join another character on a trip. The character who
is being joined probably planned on taking the excursion on their own,
because it’s dangerous, mysterious, or “not a big deal.” But the joining
character (or characters) feels they should go as well.
This situation often happens when the leaving character is trying
to sneak off to face some peril that they don’t wish their companions
to face. However, a good friend catches them as they try to leave and
assert that they’re coming too. And so, a new path is forged by a new
grouping of characters.
Another situation is when the leaving character is trying to go
do something dangerous or mundane, possibly with the intention of
leaving for good. However, there may be a character suspicious of the
leaving character’s intentions and wishes to go as well (to keep an eye
on the leaving character).
In this latter situation, the leaving character could earn the suspi-
cious character’s trust, or they could live up to all the suspicions (and
even lead to some new drama via an escape or murder). Of course, if the
leaving character does bank some trust, it may all be part of a longer-
term strategy of letting everyone down.

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GIVE IN
Make a character give in to something or someone. For instance, the
character could give in to temptation, exhaustion, or some other feel-
ings they’ve been trying to hold in check (could even be happiness). Or
the character could give in to someone’s persuasion or demands.
This plot twist only works if the character who finally gives in was
previously making a strong attempt at another course of action. An ex-
ample might be that a character used to get drunk and unruly, but they
made a change in their life and swore off alcohol forever. However, a
moment of weakness (maybe caused by a low or high point in their life)
sets the stage for them to give in to one drink (that probably turns into
many and a big scene for good measure).
Once the character gives in, the possibilities of the story are un-
locked. The character may regret their decision immediately and try
go back to normal (which may or may not be possible). However, the
character may decide this is the new normal. And the new normal could
mean several different things.
As with most plot twists, the decision to give in likely impacts more
than just the character who gives in. There may be friends, family mem-
bers, and even enemies who are impacted for better or worse by the
change in actions. A good example of this can be found in A Christmas
Carol when Ebenezer Scrooge’s decision to finally give in to a charita-
ble spirit saves and enhances the lives of people around him (and, of
course, himself).

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SET A TRAP
Let a character set a trap. For a character to set a trap, they likely need
a reason to think setting a trap is something they should do. After all,
most people don’t just go around setting traps just for the sake of it.
But give your character a motive to set a trap (maybe they’re afraid
of intruders or trying to figure out who keeps eating all the chocolate
chip cookies at night). This alone will help guide your story and
character arc.
Once your character has their motivation, it’s time to think about
the actual trap. What kind of amazing (or flimsy) contraption is your
character going to design? Is it a simple motion detector alarm or some
Rube Goldberg machine with several wild steps? Your character’s trap
can say a lot about the character.
Then, you get to decide if the trap will work or not. I love watching
“Scooby-Doo” cartoons, and Fred is always setting traps (traps that
rarely seem to work). If the trap works, great! (Sherlock Holmes is usu-
ally good at setting traps that work.) But if it doesn’t work, maybe the
perpetrator leaves a trap of their own or a taunt of some sort. Maybe
the target gets away, but at least your character may know who it is now
(or who sent them).

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BACK TO THE GRIND

Place a character back in their normal routine. I admit this plot twist
prompt may sound ridiculous on the surface, but hear me out: For
this to be a plot twist, your character has to have earlier been in a less
than ordinary (for them) situation. Now, they’re re-entering the norm:
What’s that like?
Here’s a scenario: A character goes on a trip and meets someone
that sparked something in them (whether attraction, love, etc.), but
now, they’re back in an office environment waging war with a stapler
that won’t staple correctly. How does this impact your character?
Will they continue suffering through mundane meetings or do
something drastic?
This trope is used sometimes in stories about characters who return
from wars or battles and have to deal with PTSD. Or someone returning
to “regular life” after time spent in prison or a medical facility of some
type. In such cases, the return to a “normal routine” creates a new
trajectory for the character.
Of course, this is also a great fit for people in the education system,
whether teachers or students, who may be returning “back to the grind”
after a planned (summer, spring, winter, or fall) break.

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BAD IDEA
Let one of your characters try out a bad idea. Of course, there are bad
ideas (like investigating that strange noise in the barn when you know
there’s a killer on the loose) and there are bad ideas (like deciding to
jump off a cliff to get away from flesh-eating zombies). For the purposes
of this prompt, I’m thinking of bad ideas in the latter category.
That is, I’m thinking of characters who are put into “impossible
situations” with only bad options, and they are forced to come up with
a bad idea to try and overcome. For instance, a friend is abducted by
scientists who are going to do experiments on them unless (bad idea)
the character(s) breaks into the facility and frees them.
Often, the bad idea forces the character to face their own fears or
push through their own weaknesses. To get the most bang for your
buck on this, it’s smart to set up the situation earlier in the story. A
character is afraid of public speaking and always fumbles over words
and thoughts when placed in that kind of situation, but the only way
to achieve their goal later in the story is through (bad idea) public
speaking.
Also, don’t be afraid to let the character’s bad idea lead to a bad re-
sult that they then have to overcome as well. Often, characters aren’t
judged by their successes alone, but by their ability to keep picking
themselves up from their setbacks.

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THE ABANDONED PLACE

Have your characters confront an abandoned destination. Stories are
filled with abandoned places, whether they’re abandoned hospitals,
abandoned mines, abandoned amusement parks, or abandoned towns.
These are often places that once were filled with life but are now empty
(or so everyone believes).
One nice feature of the abandoned place plot twist is that the loca-
tion itself takes on the guise of a character, often a mysterious character
and sometimes as a character with its own stories and myths attached.
That abandoned house isn’t just a house (like every other house on the
block); it’s the house where the kid went missing, the mother lost her
mind, the father killed himself, and sounds can be heard coming from
it on certain nights.
Another nice feature of the abandoned place is that it often forces
the writer to consider the motivation for going there in the first place.
Are kids going there on a dare? Are adults going there to unlock a
mystery? Are either headed to the abandoned place to hide out? There
should be some form of motivation, even if it’s to prove bravery to
friends or a potential love interest.
Also, don’t forget that abandoned places aren’t always empty. Since
many people usually know about abandoned places, they may have
guests (like criminals hiding out or a squatter seeking shelter). And, of
course, abandoned places are great for playing with the supernatural.

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ON THE RUN
Put your characters on the run. Maybe your character is falsely accused
or under the influence, but give your character a reason to look at where
they’re currently at and decide they need to escape somewhere else. And
with the emphasis on escape.
After all, I’m not sure if a character is “on the run” if nobody cares
that they left in the first place. Watership Down is a great example of a
novel that is built around being on the run, because the inciting incident
of a prophecy made by Fiver is what jumpstarts the rest of the action.
When a character is on the run, they may initially be running from
someone or something. However, there is usually a moment (or several
moments) when the character realizes they are running toward some-
one or something new. And it’s usually once they make that transition
that their past comes crashing back into the picture to remind them
they’re still on the run.
It’s a great dynamic that has a natural and authentic bit of conflict
built into the plot twist.

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WHAT IF SCENARIO
Take something that you accept for fact in your story and think about
what it would be like if it weren’t that way at all. Maybe there’s a super
supportive secondary character who is actually rooting (and maybe
plotting) for the protagonist to fail. Perhaps the antagonist has been
trying to do the right thing all along. Maybe that dream sequence ear-
lier in the story actually happened.
I admit that this prompt is totally inspired by the Marvel Comics
“What If ...” series, which would ask these types of questions of long-
established characters and storylines: What if, instead of X happen-
ing, Y happened? But there’s no reason writers can’t do that as well in
their own stories.
There is, of course, a chance to really twist your story here, but be
aware that you could also lose your readers if you use this tactic too fre-
quently. Quite a few TV shows (looking at you “The Flash” and “Once
Upon a Time”) take this tactic too far, so that viewers can’t work up the
ability to be emotionally invested in the characters after they’ve died
(and come back to life) and changed sides (from good to bad and back
again) so many times.
On the other hand, some of the best moments in storytelling history
have come from learning that the antagonist actually had some good
in them. Or that the coward or punching bag was actually the real evil
mastermind. And so on.
Once you begin thinking this way, you’ll find that the twists are
limitless. But remember: With great plot-twisting ability comes great
responsibility. So take a hard look at your story and think, what if it
were different?

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CURSED
Put a curse on one (or more) of your characters. The fun thing about a
curse is that it automatically creates a lot of story and debate. First off,
characters have to decide if the curse is even real. Then, if they decide
it is, what do (or can) they do to break the curse?
But let’s back up a minute: Determine who is placing the curse on
who ... and why. Perhaps, Person A cut in line at the DMV after Person
B had been waiting for nearly an hour. As a result, Person B places a
curse on Person A that leads to them getting a different traffic ticket
every day until they figure out how to break the curse.
Or karma itself could be placing the curse. In the movie Groundhog
Day, the protagonist is a meteorologist with a bad attitude who gets
stuck in a time loop where he repeats the same day (Groundhog Day)
over and over again. While it’s never fully explained, I feel that in this
case karma placed a curse on the character until he could figure out
how to truly be a good person.
Curses can be placed by witches, wizards, and other magical crea-
tures, for sure. But curses can also be placed by jilted lovers, disappoint-
ed parents, and mortal enemies. They may have grave consequences or
add a bit of humor to your story. Plus, the validity of curses (are they
real?) is often debatable, regardless of what the characters believe. And
this dynamic makes them entertaining.

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BEING FOLLOWED
Let your character know they’re being followed. There may be no great-
er literary technique for building suspense than to create a situation
in which your characters know they’re being followed by someone or
something. And it’s great for story, because this situation automatically
provokes questions that need answers.
First off, who (or what) is following your characters? Is the follower
a friend or foe? Are they native to the area, or have they been follow-
ing your characters for a while? But the answers to these questions only
prompt more.
Do the followers intend to attack your characters? Are they suspi-
cious of your characters? Would they like to join your characters? Or
are they merely curious of your characters’ intentions? Your readers
will be asking these questions, but your characters should consider
them as well.
If you have a group of characters, don’t shy away from having one
or more characters overreact to being followed. It’s natural for people
to assume the worst, and maybe a character believes they’re being fol-
lowed by an evil force bent on their destruction (when in actuality, it’s
just some curious kids). Of course, it’s also very possible that those worst
fears are justified (and maybe even underselling the threat).

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UNEXPECTED TEAM UP
Have an unexpected grouping of characters team up for a common
purpose. Perhaps, it’s two strangers who are confronted with a natural
or manmade disaster. Or two people who dislike each other in school
are forced to complete a group project for a class. Maybe two characters
are even trying to kill each other when a more dangerous foe enters
the battle.
The unexpected team up twist can make stories fun for a variety
of reasons. To begin with, they can add more drama and conflict to
a story, especially if the characters already have a conflicted history.
Plus, that can make for some great moments for authentic tension-
breaking humor.
Finally, people (readers) love to see other people (characters) come
together, whether that means falling in love or pulling together to face
a common enemy. Think of the three protagonists in Jaws. Without
spoiling, there’s friction between the various personalities until they
start comparing scars and become chums.
People love those moments when characters can set aside their dif-
ferences and find their commonalities. It’s human nature to yearn for
harmony, even as the world (and ironically human nature itself) tends
to push against that potential for harmonious living. That said, some
unexpected team ups only last as long as they absolutely have to (and
sometimes shorter than that).

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FALSELY ACCUSED
Have a character get falsely accused for something. This is a different
spin on the earlier Placing Blame prompt, in which a character places
blame on someone. In this case, a character gets accused of something,
whether it’s not completing a task, cheating on a test, murdering an-
other character, or a range of different possible problems.
The character who is falsely accused is bound to go through a range
of emotions and possible reactions. They may immediately try to pro-
claim their innocence and work to clear their name. After all, nobody
is enamored with the idea of being accused of something they know
they didn’t do.
But there’s also a chance that the character does not proclaim their
innocence or work to clear their name, and there may be a variety of
reasons for this. For instance, the character may feel like they shouldn’t
have to prove they didn’t do X, because of their track record of doing
the correct thing.
Or perhaps, the character is covering for someone else who they
care about. Or maybe they just figure that it won’t do any good to fight
the system. A character may also take the false accusation and work to
get revenge on the accuser.

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PERMISSION TO ENTER
Give a character permission to enter a location. This dynamic is
commonly seen in vampire stories, in which the vampire requests
permission to enter a person’s domicile before they can wreak havoc
within said house. But giving someone permission to enter doesn’t have
to be limited to Transylvanian tourists.
For instance, there’s a certain change in the atmosphere once a char-
acter invites their new neighbor into the house. Moving forward, that
neighbor may assume that one-time affair is a standing invite. They may
think they have permission to enter whenever they want, at any time of
day and for any purpose. Such characters could conceivably start treat-
ing that home and the objects in it as their own—creating a humorous
or sinister situation for your original inviter.
Also, this is not limited to physical locales; your character may give
another character permission to enter their love life or a conspiracy.
And again, once a character is invited into this new place, there’s no
telling how they will use their new-found powers of permission (or how
they’ll react if those rights are rescinded).

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STILL ALIVE
Reveal that a character who was thought deceased is actually still
among the living. This is a familiar trope in soap operas, horror mov-
ies, and even romances. But it’s familiar because it can be compelling
when done well. After all, there are many questions that need answered
when someone is proven to be still alive.
First off, there are the questions about how the person was mistak-
enly thought dead in the first place. Were they shot? Caught in a house
fire? Washed out to sea? Were they pronounced dead? Or was it as-
sumed? So there are obvious questions that need answered there, and
you get to decide how and when these are revealed.
Then, there will be questions about what this means moving forward
for the still living person, as well as the other characters. In romance,
the still living person may have had a love interest who has since moved
on (but have they?). In a horror or thriller, maybe the antagonist (or a
protagonist) was thought dead; what does it mean that they’re still alive?
If the character was thought dead for a long period of time, why are
they just now revealing their true state? Is it possible the still living per-
son is actually a fake? These questions and more will need answered.

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BIG DECEPTION
Unveil a big deception from an unreliable narrator or character. One
familiar way that writers use this plot twist is to set up a character who
just seems too good to be true—maybe even to the point that they’re
considered a suspected villain (but then shown that they’re definitely as
good as advertised)—only to find out that they are, in fact, a bad char-
acter. That is a big deception.
Now this could be a good character who is actually bad, sure; but
remember the pendulum could swing the other way and unveil a bad
character as good. In some genres, the deceptions could spiral down so
far that even the characters aren’t sure where their allegiances are until
the moment of truth. But for this prompt, we’re making the assump-
tion that the character knew all along to deceive those around them.
Of course, it’s one thing for a character described in the third per-
son to pull off the deception, but narrators have been known to deceive
as well. An unreliable narrator can make for some very interesting sto-
ries, but the author (you) needs to provide some clues in interactions
with other characters and/or descriptions to make the big deception
not feel like a trick.

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GIVE UP
Have a character quit or surrender. I’m sure this plot twist prompt will
draw a chuckle or two but hear me out: This prompt is for the character
to quit or surrender, not the author. As the character gives in to defeat,
the story will march forward with its own priorities.
Perhaps a farmer fights to keep his family’s farm before finally giv-
ing in and selling. But maybe he discovers some sort of foul play after
the sale and starts working to get revenge on the people who forced him
to sell in the first place.
Or a band of characters are on an adventure and find themselves
under attack from some group of soldiers. Perhaps the force is over-
whelming and a few characters are forced to surrender and be captured.
Is their story over? It doesn’t have to be. In fact, it could move the plot
in whole new directions for many of the characters.
Remember: The best stories are not those in which characters get
everything they want when they want it. There will be times of great
difficulty, and they may even temporarily give up or surrender; but
then, the author pushes them back into harm’s way and toward the end.

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GIVING CHASE
Make a character start to chase someone or something down. Of course,
a chase scene could involve running, biking, or driving a vehicle (like a
car or spacecraft). But for a plot twist prompt, the overall chase is prob-
ably going to last longer than just a scene.
In fact, it will probably involve multiple close encounters and/or
chase scenes. This is to draw out the suspense. If a character is caught
within a page or a paragraph or a sentence from the beginning of the
pursuit, then there’s no real suspense or drama there. So this chase
should last a while.
And remember that I said your character should chase someone
or something. This opens up the possibilities a bit, because your char-
acter could be chasing success, fame, or money. Also, your character
might chase a person for romance or some other purpose that is more
of a psychological pursuit (as opposed to a physical chase).
Keep in mind that the thing or person being chased may have no
idea they’re being pursued. That moment or realization may even kick
your story into high gear as the character being chased starts actively
fleeing.

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ANOTHER DIMENSION
Let your character travel to another dimension. This other dimension
(or dimensions) could take a few different forms. First, it could be an
alternate version of the same place the character came from, which is
a popular trope in comics. Second, it could be a hidden world within
the character’s actual world, whether on an island or in a tunnel. Fi-
nally, it could be a completely different dimension found through some
gateway, like a mirror or a wardrobe or a tornado (as a few examples).
Some characters may know they are traveling to another dimension.
In such cases, they may be excited about the adventure ahead and have
all manner of visions of what awaits. Of course, many characters in such
a situation find the new dimension is different than what they expected.
Other characters may unintentionally travel to another dimension.
Maybe they’re exploring somewhere they’ve been warned to avoid, or
they let curiosity lead them into a new reality. In these cases, charac-
ters may find themselves reacting to several new and strange beings
and situations.
However the characters end up in another dimension, it’s only
natural for them to compare the new dimension with the one they left
behind. And it’s all too common they find that they wish to return,
which is often where the conflict comes in this plot twist.

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NOT THERE
Have your characters come to the realization that the thing they’ve been
searching for is not there. This may seem like an ending to some people,
and it could be, sure. But for those of us who like to bend and twist plots,
this moment of realization can spark new directions for characters.
For instance, the character who always stayed optimistic through
challenge after challenge may find this is the straw that breaks their
hopeful back. As a result, this character may abandon any further
searching or even turn into an antagonist or hurdle for the characters
who wish to push onward.
A character who was pessimistic may see the inkling of optimism,
because while the person, place, or thing they were searching for is not
there, maybe there’s a clue that speaks to them. And so there may be a
passing of the torch.
Of course, finding nothing is there may also propel some characters
to look back over decisions they’ve made leading up to this moment and
realizing the person, place, or thing that really matters was discovered
along the way. They may decide that’s what they need to rediscover.

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EPIPHANY MOMENT
Let a character experience an epiphany. That is, let a character expe-
rience an “aha!” moment when they suddenly have some greater un-
derstanding of other characters, actions and reactions, and the world
around them. The more profound the epiphany the better.
Epiphanies can help detectives solve crimes, lovers realize they’re in
love, and villains hatch plans for villainy. While epiphanies can be felt
by many at the same time, they’re often experienced by one character.
And this fact makes them interesting, because one character’s epiphany
may not line up with the other characters at all.
For instance, a character has the epiphany that the best way to “save
the universe from overpopulation and war” is by collecting a bunch
of powerful rocks and snapping half the life forms out of existence
(Avengers: Infinity War). In another instance, a character has an
epiphany that each time her farm boy says “as you wish” what he really
means is “I love you” (The Princess Bride). In both cases, the character’s
life and goals in life are changed by their epiphanies.

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