How to Twist Plots
In addition to that first article on Plot Twists, roleplayingtips.com offers some Plot Twist Tips:
Divide An Adventure Into Steps & Twist Each Step
Jim W. submitted this tip and he explains it well:
"Always produce something that must be accomplished BEFORE the main plot point the PCs are working on, preferably three or four things. For example, the giant ants are terrorizing the locals and must be dispatched, but first you must find a way to neutralize the poison they secrete before you can get to the queen, but this requires finding an herbalist who has been kidnapped by goblins. The players have a bigger picture in mind, not just an immediate goal."
Divide An Adventure Into Steps & Twist Each Step
Jim W. submitted this tip and he explains it well:
"Always produce something that must be accomplished BEFORE the main plot point the PCs are working on, preferably three or four things. For example, the giant ants are terrorizing the locals and must be dispatched, but first you must find a way to neutralize the poison they secrete before you can get to the queen, but this requires finding an herbalist who has been kidnapped by goblins. The players have a bigger picture in mind, not just an immediate goal."
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A second Plot Twist Tip:
Twist On Three Different Levels: Encounter, Story, Campaign
A great way to organize and plan your plot twists is to look at them on three different levels: encounter, story or adventure, and campaign.
An encounter twist is a simple surprise that has no intentional affect on the larger picture of things. Its main purpose is to make the encounter interesting and entertaining. For example, the PCs spot an enemy camp and creep forward to scout it out. However, they discover the camp was a ruse to lure them away from the main group and a trap is sprung.
A story twist turns the plot on its head and changes the course of the whole adventure. For example, the PCs' employer is secretly related to a character and has evil ambitions (Luke, I am your father), or the scientist is actually an android, or the new monster allies unintentionally infect other races with a killer virus.
A campaign twist is like a story twist, just on a grander scale. Try to limit a campaign to just 1 or 2 twists, if any, otherwise things can become difficult to manage. Examples are: the war was secretly started by the *allies* for economic reasons, the recovered treasure turns out to be just one piece of a larger artifact, the prophecy is thwarted, but then it is learned because of that another, even more potentially devastating one, is triggered.
Twist On Three Different Levels: Encounter, Story, Campaign
A great way to organize and plan your plot twists is to look at them on three different levels: encounter, story or adventure, and campaign.
An encounter twist is a simple surprise that has no intentional affect on the larger picture of things. Its main purpose is to make the encounter interesting and entertaining. For example, the PCs spot an enemy camp and creep forward to scout it out. However, they discover the camp was a ruse to lure them away from the main group and a trap is sprung.
A story twist turns the plot on its head and changes the course of the whole adventure. For example, the PCs' employer is secretly related to a character and has evil ambitions (Luke, I am your father), or the scientist is actually an android, or the new monster allies unintentionally infect other races with a killer virus.
A campaign twist is like a story twist, just on a grander scale. Try to limit a campaign to just 1 or 2 twists, if any, otherwise things can become difficult to manage. Examples are: the war was secretly started by the *allies* for economic reasons, the recovered treasure turns out to be just one piece of a larger artifact, the prophecy is thwarted, but then it is learned because of that another, even more potentially devastating one, is triggered.
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A third Plot Twist Tip:
Look For Ways To Use Magic Or Technology To Create Twists
Create a situation where something is not as it seems by using magic, mental powers or technology as the means. You can orchestrate the twist so that it is suddenly revealed and the players are shocked, or you can turn the scenario into a series of clues and the players are rewarded for successfully deducing the truth (Scooby Doo style).
For example:
Look For Ways To Use Magic Or Technology To Create Twists
Create a situation where something is not as it seems by using magic, mental powers or technology as the means. You can orchestrate the twist so that it is suddenly revealed and the players are shocked, or you can turn the scenario into a series of clues and the players are rewarded for successfully deducing the truth (Scooby Doo style).
For example:
- Appearance. The person or thing the PCs are dealing with is cleverly disguised. The characters would never willingly work for a demon, but they would be hard pressed to turn down the humble request of a poor, elderly gentleman on his deathbed.
- Illusion or virtual reality. (i.e. Star Trek's holo deck). The whole scene is a sham, perhaps for use as a subtle interrogation or test.
- False readings. Sensors, signals, or equipment readings are deliberately modified, perhaps to trick the PCs or someone the characters know.
A fourth Plot Twist Tip:
Combine Two Different Stories
You can have a lot of fun by creating a couple of different story lines and then mixing them together to create a new one with a twist or two.
Here's a simple way you can do this systematically:
Step 1) Create two independent story lines.
Step 2) Determine the "why?" from each story.
Step 3) Switch the why? from each story with the other.
Step 4) Look at the possibilities and choose the best one.
Step 5) Smooth over any rough edges.
For example:
Combine Two Different Stories
You can have a lot of fun by creating a couple of different story lines and then mixing them together to create a new one with a twist or two.
Here's a simple way you can do this systematically:
Step 1) Create two independent story lines.
Step 2) Determine the "why?" from each story.
Step 3) Switch the why? from each story with the other.
Step 4) Look at the possibilities and choose the best one.
Step 5) Smooth over any rough edges.
For example:
- The villagers are starving. Why? A monster has settled in the area and is eating their crops, livestock, and food stores.
- A nearby wizard in his tower is creating a wondrous magic item. Why? It will magically extend his life another ten years.
- A village is starving because a nearby wizard has magically extended his life another ten years. Perhaps the magic item backfired or has a bad side effect?
- The wizard turns into a monster at night
- The wizard now must eat five times as much food
- Food spoils, livestock dies and crops wither in his presence
- A local wizard is creating a magic item because a monster has settled in the area. Perhaps the monster is a rarity and will be the perfect ingredient needed to create a powerful artifact?
- The wizard takes the monster for a walk every night and fattens it up on the nearby village's food.
- The wizard summoned the monster but it got away.
- The villagers bought the monster and let it loose near the wizard's tower to attack and kill the evil mage but the plan backfired.
A fifth Plot Twist Tip:
Meta-Game twist: Switch Genres On The PCs
Bryan S. and David H. wrote in with this tip, and although it isn't suited for many groups and it technically isn't a plot twist, I thought you might find the concept interesting or inspiring. You might want to consider using this tip for a one-shot game, or for when some players don't show up and you need an alternate plan for the evening.
What you do is start the session and have the players believe they are playing one kind of game, then have them find out later on that they're playing another one entirely.
For example, a few years ago I started a new campaign by supplying the players with pre-made D&D characters. We played for a few hours until things became very dangerous for the PCs--it looked like they were dead for sure. Suddenly the PCs found themselves in a spaceship straight out of an H.R. Giger painting. I switched the players' D&D character sheets with some Cyberspace (Cyberpunk done I.C.E. style) character sheets. It turned out that the PCs were testing a top secret VR project on a space station. I won't bore you with the details, but the whole scene worked extremely well.
In an upcoming campaign (I hope my players don't read this!) I plan on starting the PCs out in a modern campaign as FBI agents investigating some illegal mob activities. However, as the story unfolds things get more sinister and soon they're hot on the trail of an Old One--an ancient demonic horror. I'll be switching from modern day espionage to Delta Green (akin to the X-Files TV show), a Call of Cthulhu campaign.
I think it would be extremely rewarding to play in a campaign where the whole rug of reality gets pulled out from under your feet--much more effective than if you knew from the start you were playing an esoteric game vs. a true modern day one.
A couple of notes on this topic:
Meta-Game twist: Switch Genres On The PCs
Bryan S. and David H. wrote in with this tip, and although it isn't suited for many groups and it technically isn't a plot twist, I thought you might find the concept interesting or inspiring. You might want to consider using this tip for a one-shot game, or for when some players don't show up and you need an alternate plan for the evening.
What you do is start the session and have the players believe they are playing one kind of game, then have them find out later on that they're playing another one entirely.
For example, a few years ago I started a new campaign by supplying the players with pre-made D&D characters. We played for a few hours until things became very dangerous for the PCs--it looked like they were dead for sure. Suddenly the PCs found themselves in a spaceship straight out of an H.R. Giger painting. I switched the players' D&D character sheets with some Cyberspace (Cyberpunk done I.C.E. style) character sheets. It turned out that the PCs were testing a top secret VR project on a space station. I won't bore you with the details, but the whole scene worked extremely well.
In an upcoming campaign (I hope my players don't read this!) I plan on starting the PCs out in a modern campaign as FBI agents investigating some illegal mob activities. However, as the story unfolds things get more sinister and soon they're hot on the trail of an Old One--an ancient demonic horror. I'll be switching from modern day espionage to Delta Green (akin to the X-Files TV show), a Call of Cthulhu campaign.
I think it would be extremely rewarding to play in a campaign where the whole rug of reality gets pulled out from under your feet--much more effective than if you knew from the start you were playing an esoteric game vs. a true modern day one.
A couple of notes on this topic:
- Universal game systems (GURPS, FUDGE, d20, Metaverse) are best because you can switch genres almost seamlessly (and not give away your plans).
- Create custom character sheets. In my upcoming Delta Green campaign example, I will be creating generic character sheets that don't say "Delta Green" in large, block letters at the top.
- Make sure your players won't mind the switch. Some people are 100% loyal to a specific genre, and others have strong, negative feelings against certain types of genres.
A sixth Plot Twist Tip:
Don't Twist Too Much
Be careful not to twist things too much, especially the classic twists that deal with relatives, employers and rewards. Players will soon learn to expect twists and there'll be no surprising them then. Also, your players could become jaded or cynical of your stories, and that's bad too.
Space your twists out. Have stories with no twists, many twists, few twists, twists on twists, and so on. Do anything within the rules and that's fair to keep the players on their toes--they'll thank you for it by eagerly showing up to your sessions!
Something else you can try is, after you've revealed a major twist, run two or more very short stories or side adventures that have no twists in them, and then run an adventure with another twist. By putting brief, no-twist adventures between major twists you will lull the players' suspicions just in time to surprise them again. And by making the side- adventures short, you won't overly delay the main, twisting plot. However, be careful not to make this a regular pattern as your players are smart and they'll catch on.
Don't Twist Too Much
Be careful not to twist things too much, especially the classic twists that deal with relatives, employers and rewards. Players will soon learn to expect twists and there'll be no surprising them then. Also, your players could become jaded or cynical of your stories, and that's bad too.
Space your twists out. Have stories with no twists, many twists, few twists, twists on twists, and so on. Do anything within the rules and that's fair to keep the players on their toes--they'll thank you for it by eagerly showing up to your sessions!
Something else you can try is, after you've revealed a major twist, run two or more very short stories or side adventures that have no twists in them, and then run an adventure with another twist. By putting brief, no-twist adventures between major twists you will lull the players' suspicions just in time to surprise them again. And by making the side- adventures short, you won't overly delay the main, twisting plot. However, be careful not to make this a regular pattern as your players are smart and they'll catch on.
el-remmen
Moderator Emeritus
Hmmm. . .I kind of disagree with this. . in fact I had just exactly this scenario happen recently (check my story hour (session #21, i think)) and the PCs were too paranoid to take the treasure. . .
I think if they don't take it - you have set the proper tone of paranoia - one of the reasons to be a Rat Bastard DM is to teach the PCs to exercise some caution.
In my case, the PCs left the treasure to pursue the main goal at hand and then came back for it later when they thought it was safer and made sure they had the resources to check it properly for traps or enchantment - of course, by then someone or something else had come along and taken a bunch of it (as much as one person could easily carry), but the party still ended up with quite a bit. . .
I believe the above scenario shows you are doing your job as DM correctly.
Jack Haggerty
First Post
One of my favcorites is using the "Upside Down" technique to swap the good guys and the bad guys, and let the players see their enemies and friends from a different point of view...
What if the orcs are raiding the outlying villages because a dragon has killed/chased off all the game in their Hunting Grounds. The orc tribes came to ask for help from the villagers so that their orclings wouldn't starve. But the humans, with their usual prejudices, drove them away with arrows and spears. Now that winter is coming, the orcs are forced into stealing cattle and sheep to survive... The ultimate solution being to kill the Dragon (who is only collecting the food for her imminent clutch of hatchlings) so the orcs can go home, and everyone leaves everyone alone.
What if the orcs are raiding the outlying villages because a dragon has killed/chased off all the game in their Hunting Grounds. The orc tribes came to ask for help from the villagers so that their orclings wouldn't starve. But the humans, with their usual prejudices, drove them away with arrows and spears. Now that winter is coming, the orcs are forced into stealing cattle and sheep to survive... The ultimate solution being to kill the Dragon (who is only collecting the food for her imminent clutch of hatchlings) so the orcs can go home, and everyone leaves everyone alone.
I'm not sure where I stand on that tip. (To be clear, I'm just quoting a tip I didn't write there.) I can certainly understand your feeling that the players should be cautious -- there's a strong tactical element to the game -- but how reasonable is it that the party is paralyzed with paranoia? It's its own kind of meta-gaming. "We know it can't be this easy. He'd never give us free treasure."
You've jumped ahead a bit though, so I'll post the next tip:
Twist In The PCs' Favour
Be sure to add in twists that work to the characters' advantage. These kinds of twists are guaranteed to surprise your players and give them some joy.
Also, watch their reactions when you do this. A good measurement of your players' cynicism and expectations based on their experience with you as GM is how they act when they get something for nothing.
Have them stumble over a small treasure pile that has a logical reason for being left unguarded (for example, the thieves and the guardian killed each other). If the players don't believe that they can take the loot unmolested, make snide comments about waiting for the other shoe to drop, or simply leave the treasure behind in the belief they'd be better off without it, then you know you've set them up or tricked them too many times.
Perhaps it's time to play it straight for awhile and re-gain their trust. And then go easy on the twists after that so you keep their trust. It's hard to surprise suspicious, over-cautious, and cynical players who have been burned too many times--and that means everyone has less fun.
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