Many flash fiction stories rely on the sometime-cliche, sometime-effective literary trope: the twist ending. You see it in novels and short stories as well, but no literary form uses it more frequently, and more dangerously, than flash fiction. With only 600 words to tell an interesting story, many flash fiction writers rely on the twist, more than anything, to impress their readers. The quality of the twist, in many ways, can make or break your story. I know quite a few of my stories rely on the twist ending to give them impact, most notably the science fiction tale, “The Worst Part.”
Of course, being able to surprise your reader is immensely important in storytelling. If everything happened the way your reader predicted, they simply wouldn’t be entertained. Why read a story they could write themselves? The trick, in all forms and all genres, is to do something unexpected but not unforeseeable. Brandon Sanderson works this angle masterfully in his second standalone novel, Warbreaker, playing with his reader’s expectations on the alignment of his various “heroes” and “villains.” The sharp reader may know very well what Sanderson is planning early on, but for most it come as a pleasant surprise.
Of course, in flash fiction, it’s difficult to do the unexpected without using a twist ending. But my fear, both for myself and for other aspiring writers, is making yourself reliant on a definite twist. Sometimes doing the unexpected means doing something subtle. Sometimes it means allowing your reader to slowly discover what is wrong, or right, about the story they are being told.
This was what I attempted in my most recently published story, “Chatterbox.” Turning the central idea of this story into a “reveal” would have cheapened the experience. For one, the nature of the unexpected element I employed called for something my lengthy than a single sentence twist. And for two, my idea simply wasn’t dramatic enough to warrant such an approach. Instead, I focused on making this 300 word story a slow build, allowing my readers to discover the truth behind the narrator’s monologue themselves. Other stories I have written, such as the romance story “Questions,” have followed this model as well.
Ultimately, it is not my goal to do away with the twist ending. It is a useful tool, one that I hope to execute better and better as my writing career goes on. What I want to be careful of, however, is allowing on trope, any literary trope, from becoming my mainstay, my fallback, or my crutch.
Subtly can be a lot more fun anyways.
- J.D.
Continue Reading...