A Reversal of the Situation is a change by which the action veers round to its opposite. A twist ending is just a twist. There’s a difference!
During the last Story Structure class I taught in December, I got asked for more specific examples of Aristotle’s reversal in modern day films. So, in preparation for the class I’m teaching this Wednesday I thought I’d google it to find some examples maybe I hadn’t been thinking of. Imagine THE HORROR when I discovered at least five different reputable sites explaining that Reversal is a change in your character’s fortune!
No, I cried inside! No!
Your character’s fortunes need to be changing in EVERY SCENE! A reversal is special because it causes your plot to veer round TO ITS OPPOSITE.
What does that mean?
Simply put it means the thing your character wants most is the thing that destroys them. Recognition is the moment your character realizes their doomed fate.
Aristotle explains in Poetics that there are two kinds of plots: simple and complex. Complex plots contain a reversal. Simple plots do not.
Your story does not have to have a reversal. But it must have changes in the fortunes of your character.
Your story CAN have recognition without reversal.
A twist ending is just a clever surprise that usually includes a recognition. The Usual Suspects and The Sixth Sense contain two of the most powerful moments of recognition in film history! But that recognition is not inspired by the hero's own demise and so it cannot be considered a reversal.
In this photo I’ve included the examples I’ve prepared for Wednesday’s class on specific examples of reversals in modern day films. If you’d like to join me in that class, click the link below 😉
** cover photo taken from this article on reversals: https://gointothestory.blcklst.com/studying-aristotles-poetics-part-11-reversal-recognition-and-suff
I love this so much!