Foreshadowing: Creating Suspense Using This Creative Technique

There is something to be said for the art of surprise. When we read a novel or watch a movie, it's the shocking denouement that sticks in our minds and urges to come back for a second helping. In the world of entertainment, we don't mind being fooled, as long as we aren't disapointed in the ending. But are there ways to make the craft of surprise even more satisfying?

Remember the movie The Sixth Sense? The little boy could see dead people, and he was able to communicate with ghosts, but we didn't find out the real kicker until the very end. At that point, the directors took you through various scenes from the throughout the moment, showing you the hints that would have led up to the conclusion. You didn't figure it out until the last possible moment, and you had no idea what the clincher was, but the clues had been laid out for you all through the movie.

That is the bread and butter of foreshadowing. It can be used in prose just as effectively as in the movies, and sometimes it is even more thrilling when read than when seen. Foreshadowing means hinting to the reader about what is to come without purposefully spoiling the conclusion.

There are four different types of foreshadowing,, all of which have separate purposes. Using them effectively can mean the difference between a harrowing, exciting tale, and a flat, boring story.

I have explained each type of foreshadowing using my own CAPE model:

Concrete
Abstract
Prominent
Evocative

Concrete Foreshadowing

Sometimes foreshadowing is employed by taking concrete objects and things and using them to signal various ideas to the reader. Examples of concrete foreshadowing can include objects, people, colors, places, or events, or any combination thereof. Concrete foreshadowing means using something that characters can physically see, though the meaning behind the object may not be blatantly obvious.

For instance, in The Sixth Sense, the audience was never allowed to see Bruce Willis' character without his jacket on. He was always wearing a suit coat, a winter coat, or a bathrobe. Watching it for the first time, you may not even have perceived or understood this small detail, but it was there in plain view for your to see. For those of you who have not seen it, I won't give away what it means, but it ties in strongly with the surprise at the ending.

Similarly, in James Patterson's Cat & Mouse, the serial killer is always in a specific place when the murders occur. He is a well-known character in the book, and the audience isn't meant to suspect him, but Patterson leaves obvious location clues throughout the novel, which are obvious when it is read for a second time.

Using this particular type of foreshadowing is easiest because it is obvious. It won't be particularly obvious to the reader, because he or she does not know the ending, but you can use very transparent clues without endangering the end to your story. It is also the most effective because the reader will pick up on it later more often than he or she will discern one of the other types of foreshadowing.

Abstract Foreshadowing

In concrete foreshadowing, the author or director uses tangible, visible objects and places to convey the hints he wishes you to receive. In abstract foreshadowing, however, it is themes, words, nuances, sounds, and other intangible clues. For example, an author might mention a particular thought that a character is having, or the character will hear a specific noise. These aren't objects, but rather things that the reader can sense.

For example, in Dustin Hart's Mind Frenzy, he uses the seasons of the year to hint at the solution to the crime. Each season has specific qualities and events that lead the reader to believe one thing, but turn out to mean something completely different. Since the novel spans several years (seven, I believe), he is able to use this type of foreshadowing effectively. He also incorporates concrete foreshadowing using different places around the world.

If you want to use this in your writing, be careful that you aren't making your hints too obvious. Have someone else read your work and find out if they were able to reach conclusions easily, or if they were surprised at the end. Let the foreshadowing flow with the rest of the story, and use it sparingly. Too much of a good thing will spoil the plot.

Prominent Foreshadowing

The Masters of Suspense (Stephen King, Dean Koontz, Richard North Patterson, etc.) use this mode of foreshadowing brilliantly in their work. Prominent foreshadowing involves telling your reader what is going to happen. Sometimes, it is used in a prologue or preface, and sometimes it is used sporadically throughout the work. It is very difficult to use, however, I don't recommend it without practicing first.

In Dean Koontz's From The Corner Of His Eye, he tells the reader in the first chapter exactly what will happen to the main character. He doesn't say how it will happen or when it will happen, and he doesn't give away too much of the action, but he does give away the point of the story.

This serves to both prepare and excite your reader. The events that you give away must be fairly exciting, or your audience will have no interest in actually reading the story. It is best used in a plot that is convoluted and twisted, with several subplots and a boat-load of suspense. If used correctly, it will entice your reader to wonder what will happen to the main character, and what chain of events could possibly lead to this end.

Evocative Foreshadowing

This is the equivilent of handing out snacks at a party, but waiting until later to serve the main course. If you want to give your reader a taste of what will happen in the chapters to come, but you don't want to be very specific about the events, then evocative foreshadowing is the way to go.

One of the most famous lines in literature using evocative foreshadowing is "little did I know…" If you've read any of the older fiction from the fifties and sixties, authors often used this phrase to introduce the plot. For example, Little did I know that in one week, I would wish I had never opened that package from Aunt Lucille.

In the above example, the reader knows that package from Aunt Lucille will play a large part in the plot of the story, and that the main character will regret ever opening it. The question here is: how many of you want to know what was in Aunt Lucille's package?

Foreshadowing is an excellent way to create suspense, intrigue, and a sense of momentum in your stories. If your reader doesn't care what happens to your characters, or what will transpire along the course of the plot, then you don't have a story. Foreshadowing can provide just the right edge to draw your audience into the story and keep them turning pages until the very end.