For me, nothing is more interesting in a story than a well-placed bit of foreshadowing. Defined: Foreshadowing is the presentation in a work of literature of hints and clues that tip the reader off as to what is to come later in the work. The definition makes foreshadowing seem rather mundane, but done correctly, it can work magic for the reader.
Magic? How? Glad you asked.
As writers we need to do more than tell a story, we need to entertain, move and delight our reader. I can think of nothing more powerful than a carefully crafted foreshadow. If you set up your clues and hints in clearly, and in a compelling manner–without making them too obvious–a certain percentage of your readers will have an “ah-ha!” experience at the point of revelation.
This may be an individually philosophical point, but I have found myself being especially fond of authors and stories where the clues are peppered well in the exposition, and which lead me to guess–in a blinding flash of insight–just before the “bomb is dropped”.
Is this manipulation of the reader? Of course it is. Is that bad? No, it’s essential. We want our reader to fall in love–or hate–with our characters. We want our reader to see our hero about to make a terrible mistake and shout at the book. We want our reader to feel dismay or exhilaration. Setting up the proper foreshadowing can do that and so much more.
But wait! Isn’t it really hard to successfully foreshadow?
It could be. But we don’t have to let that get in our way. In his book, “On Writing”, Stephen King admits that many of the foreshadowing, the little hints and clues of what is to come are not a part of his first draft. They are, rather, crafted into the work during the second or third drafts.
Personally, I think foreshadowing is an important and valuable tool for writers. I’ll bet you knew I was going to say that.
There are more things in heaven and earth, Horatio... and isn't it time you experienced some of them?
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I’ve been peppering a novel with foreshadows . . . but even I don’t know what they will ultimately reveal.
I can’t think of something that will fit the characters in a believable way, and still allow the story to move forward.
Some of “the bombs” would completely decimate the landscape, forming a permanent rift between my two main characters. That’s not what I want because I like happy endings.
Others are so inconsequential that they are more like “burps” than “bombs” and would hardly be worth dropping breadcrumbs as clues.
I’ve been stalled in the writing because I felt that I needed to have the “bomb” figured out before tossing any more clues at the reader.
So . . . I was delighted to read about Stephen King’s practice. Write the story, drop the bomb, and then go back and add in the appropriate clues.
Thanks!
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