Narrative techniques that subvert plot expectations — explained for an 11-year-old (age 11)

What does it mean to 'subvert plot expectations'?

Most stories follow a familiar shape: a beginning that sets things up, a middle with rising action and a big moment (the climax), and an ending that ties things up. To subvert those expectations means a writer plays with or breaks those rules to surprise the reader, make them think, or create a different feeling.

Easy-to-understand techniques (what they are, how they surprise, and a quick example)

• Start in the middle (in medias res) — The story begins at an exciting moment instead of at the beginning. This surprises readers because they must catch up. Example: A story opens with a character running from a strange noise; later you learn how it started. Try it: Begin with action, then show what led to it.
• Nonlinear timeline / flashbacks — Events are shown out of order. This can reveal secrets slowly or make the past feel important. Example: A chapter jumps back to a character’s childhood to explain a choice in the present. Try it: Tell one scene from the end, then go back to earlier scenes to explain why.
• Unreliable narrator — The person telling the story leaves out facts, lies, or is confused. This makes readers question what’s true. Example: A narrator says they’re brave, but other clues show they’re scared. Try it: Write a short scene where the narrator hides something without saying it outright.
• Multiple perspectives — The same events are shown by different characters. This can show hidden motives or contradict what you thought happened. Example: A fight seen first by the winner, then by the loser, gives two versions. Try it: Rewrite a short scene from another character’s point of view.
• Open or ambiguous ending — The story doesn’t explain everything; it leaves questions. This leaves readers thinking instead of giving neat answers. Example: Two friends part ways without saying who won the argument — readers decide. Try it: End a story on a cliff where the next step isn’t clear.
• Anti-climax or false resolution — After a big build-up, the expected big moment is smaller or different. This can show life isn’t always dramatic or teach a lesson about expectations. Example: A hero prepares for battle and when it comes, they find it solved peacefully. Try it: Write a scene where the expected showdown becomes a quiet conversation.
• Twists & red herrings — A twist changes what you thought was true; red herrings are false clues. These tricks surprise readers and change the story’s direction. Example: A friendly character is revealed as the villain (twist); footprints lead the detective to the wrong person (red herring). Try it: Plant one clue that points one way and another hidden clue that points another way.
• Fragmented or episodic structure — The story is made of small, sometimes disconnected scenes or episodes. That breaks the normal continuous plot and can feel like memory or a puzzle. Example: A book made of diary entries from different years. Try it: Write three short scenes about the same character at different ages.
• Metafiction / breaking the fourth wall — The story notices itself as a story or talks to the reader. This can make readers feel surprised or amused because the rules of storytelling are being discussed. Example: A character tells the reader what they should do next. Try it: Have a character explain why the author made them do something.

How these techniques change the feeling of a story

Using these methods can make a story feel mysterious, more like real life (which doesn’t fit neat rules), or make readers think about the story’s ideas instead of just what happens. Sometimes writers mix several techniques to make a strong effect.

Short writing exercise you can try (step-by-step)

1. Pick a familiar short story or fairy tale (for example, Little Red Riding Hood).
2. Choose one technique above (for example, unreliable narrator).
3. Rewrite a short scene (3–6 sentences) using that technique. Example with unreliable narrator: Tell the scene from the wolf’s side, making the wolf seem like the victim.
4. Read your new version and ask: How does this change the feeling? What new questions does it make the reader ask?

That's it — these are the main ways writers play with plot rules to surprise readers. Try a couple and see how your favorite stories can change when you look at them in a new way!