Stories With Sudden, Drastic Twists

[slyc_willie]

I watched the movie Boondock Saints the other day, and it seemed to me that there was little foreshadowing of the two brothers suddenly becoming vigilantes. The scene in which they explain how they got into their situation to LaRoca, however, was adequate enough to the story to justify why they did what they did.

Which leads me to wonder, in the scope of any written story, how far can you suspend the reader's disbelief when it comes to introducing a sudden and dramatic element?

For instance, I have an idea that is sort of the same premise as Boondock Saints. Two brothers (twins) appear to randomly decide one day that they want to kill someone, for the sake of the experience. I plan to hint at various events in their background which would eventually account for their sociopathic behavior, but I want the initial decision to be abrupt and jarring for the reader.

Thoughts?

 

[JAMESBJOHNSON]

John LeCarre often starts his books without clue-one as to whats happening or why, I reckon cuz life is like that.

 

[litfan10]

I watched the movie Boondock Saints the other day, and it seemed to me that there was little foreshadowing of the two brothers suddenly becoming vigilantes. The scene in which they explain how they got into their situation to LaRoca, however, was adequate enough to the story to justify why they did what they did.

Which leads me to wonder, in the scope of any written story, how far can you suspend the reader's disbelief when it comes to introducing a sudden and dramatic element?

For instance, I have an idea that is sort of the same premise as Boondock Saints. Two brothers (twins) appear to randomly decide one day that they want to kill someone, for the sake of the experience. I plan to hint at various events in their background which would eventually account for their sociopathic behavior, but I want the initial decision to be abrupt and jarring for the reader.

Thoughts?

I find if you have a very clear sense of who your characters are the actions you have them do make sense within the realm of your mind as a writer which becomes the fictional reality. If it doesn't feel wrong or out of character, it probably isn't.

With good writers, characters can dictate their own actions as they are being written.

Sometimes we have to push the envelope to get the desired reaction from the reader. As long as the reader can't point at anything from the past that contradicts it should work.

As a reader I love being surprised by the writer. Hint but don't overplay your hand I think is the best way to go.

 

[lovecraft68]

In the first book of a projected trilogy(Muse willing) I spent most of the book dropping hints about the cause of the main characters erratic behavior. I also allude to something else. I then "misdirect" the reader from the latter, so in case they were thinking "Oh, yeah, I got it" I say Oh, no, you don't

The majority of the book is split between the POV of two women. The very last part is done from the male characters POV and that is when I "drop the bomb" that explains what's wrong with him then make the second revelation.

Of the dozen people from here who have read it the majority said I foreshadowed well enough that the cause of his behavior is not that shocking, all of them said the final revelation caught them totally by surprise.

 

[Saxon_Hart]

I watched the movie Boondock Saints the other day, and it seemed to me that there was little foreshadowing of the two brothers suddenly becoming vigilantes. The scene in which they explain how they got into their situation to LaRoca, however, was adequate enough to the story to justify why they did what they did.

Which leads me to wonder, in the scope of any written story, how far can you suspend the reader's disbelief when it comes to introducing a sudden and dramatic element?

For instance, I have an idea that is sort of the same premise as Boondock Saints. Two brothers (twins) appear to randomly decide one day that they want to kill someone, for the sake of the experience. I plan to hint at various events in their background which would eventually account for their sociopathic behavior, but I want the initial decision to be abrupt and jarring for the reader.

Thoughts?

You can explain a lot after the unexpected action as back story. Reveal only what you have to up to the point of surprise, then you can reveal all. Remember in Boondock Saints, you only find out that Il Duche is their father as he is about to clip them.

 

[SamScribble]

I think most readers are happy to be shocked and surprised by an unexpected twist – just so long as it makes sense at some point.

In fact, if there is no surprise, there is probably no drama. Dog bites postman. So what? Postman bites dog. Hey, I didn’t see that coming. I thought he was just a normal run-of-the-mill postman. Now you’re telling me that he has bitten a dog. Tell me more.

 

[JackLuis]

Sudden twists!

His blind date proved to be surprising!​

 

[slyc_willie]

John LeCarre often starts his books without clue-one as to whats happening or why, I reckon cuz life is like that.

I've read a little of LeCarre. My father loved his books. From what I remember, his books all shared a common theme -- espionage -- so there was that built-in flavor of mystery, a backdrop against which the reader expected to be surprised.

As a reader I love being surprised by the writer. Hint but don't overplay your hand I think is the best way to go.

I posted the beginning of a story on the Story Feedback forum years ago, a good ten or so paragraphs. It was a basic seduction of a young woman whom the main character met in a nightclub. They have sex, then go out to the balcony of his tenth-floor hotel room. In the midst of making out, he suddenly picks her up and throws her off the balcony.

Everyone who read it said the scene shocked them because of its abruptness. I gave no hints or clues at all, but it seemed to convey exactly what i intended. I was thinking I'll use that same basic scene in my story.

In the first book of a projected trilogy(Muse willing) I spent most of the book dropping hints about the cause of the main characters erratic behavior. I also allude to something else. I then "misdirect" the reader from the latter, so in case they were thinking "Oh, yeah, I got it" I say Oh, no, you don't.

I try to do this sometimes as well. It's like playing a cat-and-mouse guessing game with the reader.

You can explain a lot after the unexpected action as back story. Reveal only what you have to up to the point of surprise, then you can reveal all. Remember in Boondock Saints, you only find out that Il Duche is their father as he is about to clip them.

I think there come certain points in such a story, though, that you have to provide at least a little information about the mindset of the characters. Boondock Saints, while I loved the movie, had some character plot holes that kept it from being complete for me.

I think most readers are happy to be shocked and surprised by an unexpected twist – just so long as it makes sense at some point.

In fact, if there is no surprise, there is probably no drama. Dog bites postman. So what? Postman bites dog. Hey, I didn’t see that coming. I thought he was just a normal run-of-the-mill postman. Now you’re telling me that he has bitten a dog. Tell me more.

Good point. If the reader reads something that is completely out of the ordinary (thus far) for the character(s), they'll be compelled to read on and find out why so-and-so is suddenly homicidal.

Thanks for all the responses. I'm still playing with this idea, but I'm getting a pretty good sense of who my sociopathic twins are.

 

[slyc_willie]

Sudden twists!

His blind date proved to be surprising!​

Hahaha! That just reminded me of a scene from the Blake Edwards film, Skin Deep, in which John Ritter picks up a woman at his favorite bar and takes her home. She strips down, revealing that she is a professional bodybuilder. Ritter does an excellent job of showing both arousal and intimidation. The scene is classic.

 

[jomar]

I posted the beginning of a story on the Story Feedback forum years ago, a good ten or so paragraphs. It was a basic seduction of a young woman whom the main character met in a nightclub. They have sex, then go out to the balcony of his tenth-floor hotel room. In the midst of making out, he suddenly picks her up and throws her off the balcony.

That's a petty great beginning...sets up a huge who/what/why...

 

[glynndah]

I've used the twist ending on a few of my stories. No one's ever complained about it.

 

[MSTarot]

Only have used a twist in one story. It kind of came to me about halfway through the story as I was writing it.

http://www.literotica.com/s/on-silent-feet

several comments say I was sneeky with it.

M.S.Tarot

 

[slyc_willie]

I've used the twist ending on a few of my stories. No one's ever complained about it.

Your Tango With a Vampire is one of my all-time favorites. It's one of those deceptively simple stories that catches the reader off guard. Definitely one of the best examples of "short, sweet, but with a twist" storytelling I've ever read.

But you already knew that.

Only have used a twist in one story. It kind of came to me about halfway through the story as I was writing it.

http://www.literotica.com/s/on-silent-feet

several comments say I was sneeky with it.

M.S.Tarot

Sneaky is good. Sneaky is always good.

 

[i_would]

I posted the beginning of a story on the Story Feedback forum years ago, a good ten or so paragraphs. It was a basic seduction of a young woman whom the main character met in a nightclub. They have sex, then go out to the balcony of his tenth-floor hotel room. In the midst of making out, he suddenly picks her up and throws her off the balcony.

That's very much like real life.

Mant things happen out of the blue, seemingly without reason.

And in case of taking the correct POV for the story there is no way to get hints of such an intent. E.g. focus on the woman, and have this part be a flashback to before she woke up from her coma, having miraculously survived the fall (maybe there happened to be a pool, or a tree that broke her fall).

 

[glynndah]

Your Tango With a Vampire is one of my all-time favorites. It's one of those deceptively simple stories that catches the reader off guard. Definitely one of the best examples of "short, sweet, but with a twist" storytelling I've ever read.

But you already knew that.

Oh, my!
Thank you.

A from the good little witch.

 

[slyc_willie]

That's very much like real life.

Mant things happen out of the blue, seemingly without reason.

And in case of taking the correct POV for the story there is no way to get hints of such an intent. E.g. focus on the woman, and have this part be a flashback to before she woke up from her coma, having miraculously survived the fall (maybe there happened to be a pool, or a tree that broke her fall).

No, unfortunately, she dies. The scene was supposed to detail the sociopathic (okay, technically, in this case, psychopathic) nature of the male main character being able to first have sex with the woman, and then murder her so coldly. It is something that exists outside the normal range of human understanding . . . I mean, I don't really know what it's like to be psychopathic, or sociopathic. I can only guess, and extrapolate from numerous books I have read, what such a person would do and think in that situation.

And yes, of course, you are right about "many things happen out of the blue, seemingly without reason," and perhaps that is why readers can readily accept and even relate to unexpected events in a story.

 

[slyc_willie]

Oh, my!
Thank you.

A from the good little witch.

A back

 

[JAMESBJOHNSON]

No, unfortunately, she dies. The scene was supposed to detail the sociopathic (okay, technically, in this case, psychopathic) nature of the male main character being able to first have sex with the woman, and then murder her so coldly. It is something that exists outside the normal range of human understanding . . . I mean, I don't really know what it's like to be psychopathic, or sociopathic. I can only guess, and extrapolate from numerous books I have read, what such a person would do and think in that situation.

And yes, of course, you are right about "many things happen out of the blue, seemingly without reason," and perhaps that is why readers can readily accept and even relate to unexpected events in a story.

Psychopathic and sociopathic are not the same disorder. Sociopaths are malignant personalities, and psychopaths simply color outside the lines.

 

[JAMESBJOHNSON]

I've read a little of LeCarre. My father loved his books. From what I remember, his books all shared a common theme -- espionage -- so there was that built-in flavor of mystery, a backdrop against which the reader expected to be surprised.



I posted the beginning of a story on the Story Feedback forum years ago, a good ten or so paragraphs. It was a basic seduction of a young woman whom the main character met in a nightclub. They have sex, then go out to the balcony of his tenth-floor hotel room. In the midst of making out, he suddenly picks her up and throws her off the balcony.

Everyone who read it said the scene shocked them because of its abruptness. I gave no hints or clues at all, but it seemed to convey exactly what i intended. I was thinking I'll use that same basic scene in my story.



I try to do this sometimes as well. It's like playing a cat-and-mouse guessing game with the reader.



I think there come certain points in such a story, though, that you have to provide at least a little information about the mindset of the characters. Boondock Saints, while I loved the movie, had some character plot holes that kept it from being complete for me.



Good point. If the reader reads something that is completely out of the ordinary (thus far) for the character(s), they'll be compelled to read on and find out why so-and-so is suddenly homicidal.

Thanks for all the responses. I'm still playing with this idea, but I'm getting a pretty good sense of who my sociopathic twins are.

Indeed. LeCarre's introduction of George Smiley is maybe the best intro ever.

 

[slyc_willie]

Psychopathic and sociopathic are not the same disorder. Sociopaths are malignant personalities, and psychopaths simply color outside the lines.

I know that. That is why I made the distinction.

A psychopath has no or little ability to feel true emotion. They are manipulators, in that they are adept at faking emotion in order to garner responses from others.

A sociopath, on the other hand, has little or no ability to relate to others within the understood moral framework around them. They are not manipulators, but rather opportunists in the most extreme definition of the term.

 

[lovecraft68]

Psychopathic and sociopathic are not the same disorder. Sociopaths are malignant personalities, and psychopaths simply color outside the lines.

Sociopaths are by far the most dangerous. Pyschos have no control and usually tip people off that they are nuts.

Socio's are not only fully functional, but generally highly intelligent to the point of gifted. The wolves amongst the sheep.

 

[lovecraft68]

I know that. That is why I made the distinction.

A psychopath has no or little ability to feel true emotion. They are manipulators, in that they are adept at faking emotion in order to garner responses from others.

A sociopath, on the other hand, has little or no ability to relate to others within the understood moral framework around them. They are not manipulators, but rather opportunists in the most extreme definition of the term.

There's an excellent book called mindhunter written by John Douglas who was a pioneer in the FBI profiles division ( the real life criminal minds)

One line for the book that always stuck with me was that sociopaths dehumanize at a young age. The sadism usually starts with the torturing of small animals and by the time they are adults when they are cutting up and torturing their victims to them its like they are carving into nothing but a barbie doll.

 

[slyc_willie]

There's an excellent book called mindhunter written by John Douglas who was a pioneer in the FBI profiles division ( the real life criminal minds)

One line for the book that always stuck with me was that sociopaths dehumanize at a young age. The sadism usually starts with the torturing of small animals and by the time they are adults when they are cutting up and torturing their victims to them its like they are carving into nothing but a barbie doll.

I have a couple of books on the subject, which pretty much say the same thing. Sociopaths are pretty chilling as adults; as children, they seem, to me, to be infinitely more evil. There were all sorts of case studies concerning children (almost all of them were boys) between the ages of 8 and 12 who had histories of torturing small animals, family pets, and other kids. One of the most horrific I read was about a pair of boys who tortured a five-year-old to death, using burning sticks and firecrackers placed in various body openings. I had to put the book down for a while after reading that one. If that doesn't make you cringe, you've got no heart.

 

[carlieplum]

I think that if you've lived at all, you've had enough "what the fuck?" moments where someone (and the more someones the farther you go in life) you thought you knew did something totally unexpected that it makes it easy to accept it in fiction. Mr. CarliePlum worked with a guy who murdered someone and chopped them to bits (seemingly a really nice guy), my cousin's wife (the "perfect wife and mother") was fucking not one, not two, but three guys on her street (not with her husband's knowledge or consent), regular 9-to-5 Joe come-to-work-in-a-suit-every-day guy I worked with who seemingly had his shit together was dealing LSD to college kids to supplement his income. Cops came into the office and carted him away in handcuffs.

Everybody's got secrets. Some people's are bigger than others.

 

[JackLuis]

I worked with a guy who rented a spare room out to a guy down on his luck. He was working in his garage with the guy smacked him with a baseball bat set fire to the garage and locked the doors. He woke up in time to jump through a window and saved himself.

While he was in the hospital, the cops arrested the wife and the boarder on their way to Nevada. Seems she had said it was their Christan duty to look after the less fortunate when she convinced him to take the boarder in.