Vera Tobin

Our Mental Limits and the Satisfactions of Plot

Elements of Surprise

Mark Turner

Fey Parrill

Meaning, Form, and Body brings together renowned figures in the field of cognitive linguistics to discuss two related research areas in the study of linguistics: the integration of form and meaning and language and the human body. Among the numerous topics discussed are grammatical constructions, conceptual integration, and gesture.

Meaning, Form, and Body

Elements of Surprise opens with an novel but narrow focus: how a particular cognitive bias, the "curse of knowledge," underwrites stories that rely on what it calls "well-made surprise," as seen in (for example) classic detective fiction--that is, surprises in novels, films, television, and plays that set us up to be fooled in ways we find pleasing and satisfying. But from there, the book expands its reach. At its core, "cursed" thinking underlies almost everything people write, say, and think about both other people and our own pasts. The more information we have about something, and the more experience we have with it, the harder it is to step outside that experience. What unfolds is both a fresh approach to mental heuristics and biases and an ambitious work of cognitive literary criticism. Elements of Surprise provides a new and exciting way of thinking about the mechanics of narrative, explored through thoughtful readings of classic, popular, and obscure texts.--

Why do some surprises delight—the endings of Agatha Christie novels, films like The Sixth Sense, the flash awareness that Pip’s benefactor is not (and never was!) Miss Havisham? Writing at the intersection of cognitive science and narrative pleasure, Vera Tobin explains how our brains conspire with stories to produce those revelatory plots that define a “well-made surprise.” By tracing the prevalence of surprise endings in both literary fiction and popular literature and showing how they exploit our mental limits, Tobin upends two common beliefs. The first is cognitive science’s tendency to consider biases a form of moral weakness and failure. The second is certain critics’ presumption that surprise endings are mere shallow gimmicks. The latter is simply not true, and the former tells at best half the story. Tobin shows that building a good plot twist is a complex art that reflects a sophisticated understanding of the human mind. Reading classic, popular, and obscure literature alongside the latest research in cognitive science, Tobin argues that a good surprise works by taking advantage of our mental limits. Elements of Surprise describes how cognitive biases, mental shortcuts, and quirks of memory conspire with stories to produce wondrous illusions, and also provides a sophisticated how-to guide for writers. In Tobin’s hands, the interactions of plot and cognition reveal the interdependencies of surprise, sympathy, and sense-making. The result is a new appreciation of the pleasures of being had.

Vera Tobin

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