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If one critique partner pegs the killer by page 30 and another says that the surprise reveal was unfulfilling because it wasn’t foreshadowed, which one is right? They both are, of course, because they can only describe their own experience with the book—but that doesn’t really help you, does it?
Naturally, there are detriments to foreshadowing too heavily:
(You only have to watch 15 seconds to get the message; you don’t have to actually learn the bball technique.)
I watched a movie recently where every time a “little fact” was mentioned, I could see the plot twist they thought they were “foreshadowing.” (“I don’t swim,” says one character. I called it—she was going to fall out of the boat and the lead would have to save her. Took about 30 minutes to get there.) Maybe I’ve just seen too many movies and thought about these things too much, but total predictability is definitely not our goal as writers.
Or, to go back to our basketball analogy:
So, what’s the writing equivalent of a no-look pass? I don’t think a reader has to see a surprise coming. But I think that once the surprise is sprung, readers should be able to remember (ideally) or go back and find the clues you’ve been planted along the way.
In The Plot Thickens, Noah Lukeman gives one example of setting up a surprise—specifically, a secret:
For the secret to be used for suspenseful effect, we have to know there is a secret; Norman Bates’s mother is alluded to in shadowy fragments; in Casablanca Ilsa flat out reveals there is something she cannot tell Rick; in the whodunits, we know from the long looks the staff exchange with each other that someone is not saying something. (137)
Conversely, some surprises don’t actually have to be heavily foreshadowed: if you really can’t foreshadow because none of the POV characters have enough information or interactions to come across those clues, for example.
Again, predictability is not a virtue in most storytelling. It’s not a bad thing to surprise your readers. But it is a delicate balance with foreshadowing and betrayal. Make sure your readers have all the pieces your characters do—but beating your readers over the head with the coming surprise is a good way to ruin it.
What do you think? What’s good foreshadowing for a surprise?
A version of this post was first published on 16 Feb 2010 as part of the Tension, Suspense and Surprise series.
This is why writing suspeinse is so scary to me.
I just read a book recently where the foreshadowing was so blatant in the beginning for a certain character but then the character disappears for most of the book so much so I forgot about him. Because of this I thought it was a completely different guilty person through the book so much so that I was angry that ‘I knew’. Then toward the end the real culprit shows up again and the foreshadowing was so heavy that I was mad at the end beacuse I wasn’t suprised. But really I was suprised because it wasn’t really what I thought through the majority of the book. So, yea, I don’t know if that is bad or good beacuse I was completely into the book but so frustrated at the same time. I guess us poor writers have our hands full.
Great post!