Great article, Alec! I love it so much I'm planning to share it with the screenwriters who read my weekly newsletter. So I've been thinking of additional movie examples to add to your list. Here's what I've come up with so far, but would love any other thoughts you have on these (agree/disagree?)
1. Reversal of Identity: From Dusk 'Til Dawn, The Crying Game, Fight Club, The Sixth Sense, The Others, The Usual Suspects, Oldboy, Goodnight Mommy, Orphan.
2. Reversal of Motive: Eastern Promises, Seven, Get Out. The Prestige, Primal Fear. Ex Machina? I think Gone Girl fits this category, too, with the Midpoint twist.
3. Reversal of Perception: Planet of the Apes, Memento, The Skeleton Key, Identity (which might actually be a blend of two categories?). Arrival? Shutter Island?
4. Reversal of Fortune: Drag Me To Hell, Lawrence of Arabia, and I think The Mist fits here too.
5. Reversal of Fulfillment: still thinking of movie examples for this category. :)
I'm not sure if the first three categories are just easier to identify or truly more common, but I'd love to come up with more examples for the last two categories (to help myself and others understand them better).
You’re very welcome, Naomi! Thanks so much for reading. I think in terms of writing, I only really come back to these categories in order to clarify my ideas, rather than follow a strict set of rules. They’re like any plot paradigm, really (Save the Cat, the Hero’s Journey, etc.) they’re editorial rather than creative tools. Really hope this helps! Have a dig around those vintage Twilight Zone or O Henry tales too...
Great article! Personally I love a twist but they seem to be out of fashion in short stories, particularly the more literary variety. Stories featured in the New Yorker recently often barely have an ending let alone a twist.
Hi Fran! Yeah, I think because twist endings are very plotty, they don't often feature in literary shorts, which are more about exploring theme/moments in character. Going back to writers like O Henry, the plot was almost the only reason for the story, like the writer is a stage magician pulling off a trick for the amusement of their audience. Two extremes, though, right? There's always a middle ground.
It's been a while since I last saw it but Pans Labrynth has an interesting twist, in that all the fantasy elements are in fact real. I always took it differently, and believed that the fantasy world was her self-constructed escape from the horror of reality, and the "happy" ending was her death. I believe Del Toro himself confirmed the former, but it's presented in such a way that it allows the viewer to apply their own interpretation.
Phantasm and the movies of David Lynch are the only works who can get away with the "it was all a dream" twist because in those works, dreams are every bit as "real" as reality.
Great article, Alec! I love it so much I'm planning to share it with the screenwriters who read my weekly newsletter. So I've been thinking of additional movie examples to add to your list. Here's what I've come up with so far, but would love any other thoughts you have on these (agree/disagree?)
1. Reversal of Identity: From Dusk 'Til Dawn, The Crying Game, Fight Club, The Sixth Sense, The Others, The Usual Suspects, Oldboy, Goodnight Mommy, Orphan.
2. Reversal of Motive: Eastern Promises, Seven, Get Out. The Prestige, Primal Fear. Ex Machina? I think Gone Girl fits this category, too, with the Midpoint twist.
3. Reversal of Perception: Planet of the Apes, Memento, The Skeleton Key, Identity (which might actually be a blend of two categories?). Arrival? Shutter Island?
4. Reversal of Fortune: Drag Me To Hell, Lawrence of Arabia, and I think The Mist fits here too.
5. Reversal of Fulfillment: still thinking of movie examples for this category. :)
I'm not sure if the first three categories are just easier to identify or truly more common, but I'd love to come up with more examples for the last two categories (to help myself and others understand them better).
Thanks for your fantastic analysis!
You’re very welcome, Naomi! Thanks so much for reading. I think in terms of writing, I only really come back to these categories in order to clarify my ideas, rather than follow a strict set of rules. They’re like any plot paradigm, really (Save the Cat, the Hero’s Journey, etc.) they’re editorial rather than creative tools. Really hope this helps! Have a dig around those vintage Twilight Zone or O Henry tales too...
Great article! Personally I love a twist but they seem to be out of fashion in short stories, particularly the more literary variety. Stories featured in the New Yorker recently often barely have an ending let alone a twist.
Hi Fran! Yeah, I think because twist endings are very plotty, they don't often feature in literary shorts, which are more about exploring theme/moments in character. Going back to writers like O Henry, the plot was almost the only reason for the story, like the writer is a stage magician pulling off a trick for the amusement of their audience. Two extremes, though, right? There's always a middle ground.
Oh, and thanks so much for reading, Fran! Glad you got something out of it. :D
Enjoyed it. Looking forward to reading more 😊
It's been a while since I last saw it but Pans Labrynth has an interesting twist, in that all the fantasy elements are in fact real. I always took it differently, and believed that the fantasy world was her self-constructed escape from the horror of reality, and the "happy" ending was her death. I believe Del Toro himself confirmed the former, but it's presented in such a way that it allows the viewer to apply their own interpretation.
Not seen that one in a while, either. But absolutely one of the greatest fantasy films ever made!
Phantasm and the movies of David Lynch are the only works who can get away with the "it was all a dream" twist because in those works, dreams are every bit as "real" as reality.
Phantasm!! Not seem that in a while. :D I guess these movies don't really operate as conventional narratives, right? So twists don't really apply.