Wendepunkt is a German word that means turning point. In Modernism, Ray Bradbury defines wendepunkt as the moment in a novel “in which there is an unexpected yet in retrospect not unmotivated turn of events, a reorientation which one can see now is not only wholly consistent but logical and possibly even inevitable.” This moment often involves a reversal of the protagonist’s fortunes. Aristotle called it peripeteia, the crisis action of a tragedy.
In her masterful guide to narrative craft, Writing Fiction, Janet Burroway says, “A reversal of some sort is necessary to all story structure, comic as well as tragic. Although the protagonist need not lose power, land, or life, he or she must in some significant way be changed or moved by the action.” This internal and external change, when it comes, may surprise the reader, but should be organic to the plot. Whether shocking or confusing or exhilarating, it should feel intrinsic to the story.
Today, for example, I am at a Verizon store unraveling the mysteries of my new Blackberry. A hip young sales associate named Dawn has been dispatched to teach me how to download ring tones and other “apps.” Part of my brain is paying attention (as much attention as is possible for me ever in these situations, which is to say not much), but mostly I am focused on other things. What brought this girl to this particular Verizon store in a strip mall on Route 3 in Clifton, New Jersey? Is she really passionate about electronics? Was it a bond she shared with, say, her gay older brother or alcoholic ex-boyfriend? What does her tattoo of a purple rose signify? How does she manage to keep her fingernails so long and yet manipulate the tiny keypad so well?
A novelist friend has an index card with these four words on it taped to the wall above the computer in his study:

