How the fuck do you write a plot twist?!

How the fuck do you write a plot twist?!

Wherever the plot is zigging, zag at the end. It's really that simple.

>be writer
>think of plot twist
>write it into book
>publish book
>no one wants to read your book

>build certain expectations in the audience
>subvert them

boom

Ah, but the shitty part is making that zag seem natural, and not completely out of the writer's desperate ass. That's how you get writers who kill everyone at the end and claim it was a plot twist. The zag can't be too far outside the boundaries of what the reader expects. Where is that sweet spot?

>book has a plot twist

i was at a gay bar in the village the other day and they had a big frog next to the cash register i wanted to be like praise kek but then i realized that would be fucking queer

i'm quoting the people who think living in a civilization with laws and clean drinking water is some kind of oppression

Praise him anyway.

>having a plot
You've already failed

Twist the plot, my cuck

Don't bother unless you're actually writing YA genre fiction trash.

Do it the magician's way:

First, make the twist believable. There many measures of believability, but on a basic level, it can't be straight out of left field. There must be some evidence in that past (that is, before the reveal -- the evidence need not appear when the possibility of the twist first arises) that might suggest such a thing could happen.

Second, divert the audience's attention. Introduce subplots, stories within stories, new characters, interesting literary techniques, etc. to draw the audience's mind away from the twist and, instead, keep the audience interested in the overarching universe you've crafted.

A zag opposes the zig. Killing everyone off in the name of a plot twist is a scribble. The sweet spot is a plot twist that subverts the plot's obvious direction.
I think the sweet spot lies within thematic integrity. The plot twist either reaffirms the themes of a story, develops an important new theme consistent with the rest of the story, or subverts the theme entirely, asserting the opposite If themes aren't relevant to the twist, ie pure plot stories like murder mysteries, it just needs to be consistent, vaguely hinted at, and surprising.

>then it was all a dream

look at this post and its context

>gay bar
sets up expectations

>pepe
sad frog, reader expects spaghetti

>subversion/wordplay, in a form which Veeky Forums endorses

there you go, user.

>One day I woke up in my house
>I'm plastic
>Then it was a doll house

backwards

find the plot you want to incorporate and think what events would lead up to said event

>cripple limps away from police station
>slowly loses limps
>was never cripple
>actually the guy the police were chasing all this time
>just pulled off his master heist
>lights cigarette and drives off as detective realizes this all too late and runs out running for him

why did the detective notice it too late? how did he notice it in the first place? what did he notice? is it what the "cripple" did? why did he pretend to be a cripple? and so on and so forth

Write the story in reverse order.

You should right at the last moment have the twist be written by your murderer

Well he'd better do it well, I don't want the readers knowing it was written by two different people, that would be just awful.

Thank you anons who gave advice.

Its not about navigating between the barriers of the readers exceptions. Its about manipulating those barriers in a new direction without snapping them in half

what if you're plot twist is that u don't have a plot twist; just finish you're story with the obvious ending