Foreshadowing can add a lot of depth to your writing and make it more exciting for the readers. They create a sense of coherence and satisfaction when future events unfold as hinted—or shock if they don’t.
Here are some tips for effectively using foreshadowing in your novels and books:
Plan Ahead: Foreshadowing works best when it’s woven into the fabric of your story from the beginning. As you outline your plot, think about key events and revelations you want to foreshadow, and strategically place hints and clues accordingly.
Use Subtlety: Foreshadowing doesn’t have to be obvious or heavy-handed. The best foreshadowing is often subtle and understated, leaving readers with a sense of intrigue and curiosity rather than outright prediction.
Establish Patterns and Motifs: Look for opportunities to establish recurring patterns, motifs, or symbols that can subtly hint at future events. These can be visual, thematic, or even linguistic cues that tie into the larger narrative arc of your story.
Create Tension: Foreshadowing is most effective when it creates tension and anticipation for the reader. Use foreshadowing to hint at potential conflicts, obstacles, or twists.
Reveal Gradually: Foreshadowing doesn’t have to be limited to one-off hints or clues. Instead, consider how you can layer foreshadowing throughout your story, gradually revealing more information as the plot unfolds.
Pay Attention to Timing: The timing of your foreshadowing is crucial. Introduce hints and clues at strategic points in your story, building anticipation and suspense without giving too much away too soon.
Revisit Foreshadowing: Ensure that foreshadowed events are eventually fulfilled or addressed in the story. Revisiting earlier hints or clues can provide a satisfying payoff for readers and reinforce the narrative coherence.
Balance Subtlety and Clarity: Foreshadowing should be subtle enough to intrigue readers without giving away major plot twists too early. Aim for a balance where foreshadowing is noticeable upon reflection but doesn’t detract from the immediacy of the story.
Let’s look at some ways to incorporate foreshadowing:
Symbolism: Symbolic imagery or motifs can serve as subtle foreshadowing devices. Think about objects, settings, or descriptive details that can serve as symbolic foreshadowing. A recurring image or object, for example, might subtly hint at future events or themes in the story.
Dialogue Clues: Characters can drop hints or make cryptic remarks that foreshadow upcoming events. Dialogue is a natural way to introduce foreshadowing without being too obvious.
Character Reactions: Pay attention to how characters react to certain situations or events. Their emotions or responses can foreshadow future conflicts or revelations.
Subtle Descriptions: Incorporate subtle descriptions or details that hint at future events. These can be easily overlooked on a first read but become significant upon reflection or when the foreshadowed event occurs.
Dreams and Visions: Dreams, visions, and other forms of altered consciousness can be effective vehicles for foreshadowing—they can hint at an upcoming event, or explore characters’ subconscious desires and fears. This method can sometimes be either blatant or subtle depending on how it is incorporated.
Foreshadowing Through Setting: Use the setting to foreshadow events or developments in the story. For example, a stormy night might foreshadow conflict or turmoil ahead, while a serene setting might signal upcoming peace or resolution. (On the flip side, this can be used to catch readers off guard, like a “calm before the storm” type of situation.)
Parallel Storylines: Foreshadowing can occur through parallel storylines or subplots. Events in one storyline can subtly hint at future developments in another, creating anticipation and intrigue.
Recurring Themes: Identify recurring themes or motifs in your story and use them to foreshadow future events. These thematic elements can serve as subtle hints or clues for attentive readers.
Misdirection: Foreshadowing can be used to misdirect readers and create suspense by hinting at one outcome while actually leading to another. (See my post on misdirection for more!)
As opposed to the plotline, the character is a description of what ahppens to the inside of the character over the course of the story.
Your lead character should be a different person at the other end of the arc.
The character has a build to it. It must, or the change will not be convincing. A good character arc has:
A beginning point, where we meet the character and get a sense of his interior layers (more on layers in a moment)
A doorway through which the character must pass, almost always reluctantly
Incidents that impact the layers
A deepening disturbance
A moment of change, sometimes via an “epiphany”
An aftermath
Layers of a Character
The layers get “softer” (easier to change) as you move outward. The point of the whole character arc is to crack these layers one by one with external pressure until the character changes in a major way.
As an example: Scrooge from <A Christmas Carol>?
Core Image = miser, misanthrope
Beliefs = pointlessness of charity
Values = money over people
Attitude = profit is more important than good works
Opinion = christmas is a humbug
The Beginning = The character is, well, what he usually is.
Impacting Incidents = There’s pressure for the character to change.
it is best to underplay such moments.
Overdo it, and you will lapse into melodrama.
Deepening Disturbances = The initial “lesson” is followed up by an even more shocking pressure
Aftermath = There is an action which indicates that the character is changing, reacting to the external pressure.
The Epiphany = The big moment of change.
The Character Arc Table
List the impacting and deepening incidents in your novel in a table
Add the first (starting) and last (ending) points of your plot
Now, list how your character’s inner world changes along with the external changes that take place.
Writing fight scenes requires a delicate balance of action, emotion, and detail to keep readers engaged and immersed in the moment.
Here are some tips to craft compelling fight scenes:
Know your characters: Understand their fighting styles, strengths, and weaknesses—are they offensive, or defensive? Spontaneous, or strategic? Trigger-happy, or reluctant? Their personalities and motivations will influence their actions and decisions during the fight.
Create tension: Build tension leading up to the fight to increase the stakes and make the action more gripping. Foreshadowing, verbal sparring, or physical intimidation can all contribute to a sense of anticipation.
Use sensory details: Engage the reader’s senses by describing the sights, sounds, smells, and physical sensations of the fight. This helps to create a vivid and immersive experience—but make sure not to overdo it. Too much detail can distract from the adrenaline of the fight.
Maintain clarity: Ensure that the action is easy to follow by using clear and concise language. Avoid overly complicated sentences or excessive description that could confuse readers.
Focus on emotions: Show the emotional impact of the fight on your characters. Describe their fear, anger, determination, or adrenaline rush to make the scene more compelling and relatable.
Include strategic elements: Incorporate tactics, strategy, and improvisation into the fight to make it more dynamic and realistic. Think about how your characters use their surroundings, weapons, or special abilities to gain an advantage.
Balance dialogue and action: Intersperse dialogue with action to break up the fight scene and provide insight into the characters’ thoughts and intentions. Dialogue can also reveal or support the characters’ personalities and motivations.
Keep it concise: While it’s important to provide enough detail to immerse readers in the action, avoid unnecessary padding or overly long fight scenes. Keep the pacing brisk to maintain momentum and keep readers hooked.
Show the consequences: Illustrate the aftermath of the fight, including injuries, emotional trauma, or changes in relationships between characters. This adds depth to the scene and helps to drive the story forward.
If a scene feels flat and you can’t figure it out, ask yourself:
• What can MC smell? Is there an ocean breeze, sweat, a cinnamon roll fresh out the oven?
• What can MC hear, besides the dialogue? Is a bird singing, river flowing, a car speeding, clock ticking?
• Can they taste something, even if they’re not eating? Previously drunk alcohol or juice, aftertaste of a cigarette, smog, too instense perfume?
• Can they feel something on their skin? Rough clothes or delicate material, blowing wind, an allergy or a rash, grass that theyre laying on?
• What does the character see, besides other characters? Is the room dark or is sunlight coming in nicely? Are the colours vibrant or dull? Are there any plants?
• What’s the weather? Is it snowing and the cold is making goosebumps appear on their arms? Is it hot and sweaty and clothes are clinging to their body?
• HOW DOES IT MAKE THEM FEEL?To any of the above.
Do they like the smell of cinnamon rolls or are they weirdos (I’m a weirdo, I don’t fit in).
Does the clock ticking calm them down or annoy them?
Do they enjoy the aftertaste of a cig and like how dirty it makes them feel?
Are they sensitive to touch and how their clothing feels on their skin or are they indifferent?
Would they enjoy the scenery more if it was more sunny out, because they’re afraid of the darkness?
Do they like it snowy or are they always cold and hate winter?
Come on, give them persoanlity, likes and dislikes, don’t be scared to make them people and not only likeable characters.
(me trying to explain fate/go dantes to someone completely canonblind) so remember the chapter where edmond dantes turns into a powerful magical being who possesses people’s shadows and fights people in their dreams
i know that “unalive” is part of larger worrying trend of self censorship but if you really are in a situtation where you have to avoid the words “die” or “kill” the english language already has centuries worth of much better euphemisms. the iconic and perennial “six feet under”? the lovely imagery of “pushing up daisies”? “shuffle off this mortal coil”????? literally anything from the monty python dead parrot bit???? you have so many options. please try to be more creative at least
The fact that Microsoft Word has to be a subscription is upsetting. I already paid for it why do I have to pay again
Yes please be mad about it, genuinely- You used to be able to purchase a single disk to install it and use it forever after that initial purchase of one key. It sickens me to see all this stuff which used to be a one time purchase be shunted under a subscription now.
THIS
“Why is pirating going back up?!”
This. This is why. People don’t mind paying a high price for software if it’s only the once, or every 4-5 years.
But having to pay a high price regularly? Especially in the cases where you lose access to your own work if you don’t?
That’s why people are pirating software.
It’s possible to buy a non-subscription version of Word; Microsoft just intentionally makes it very difficult to find (and also expensive).
However, I know a guy who knows a guy website: MS Office Pro for $50. If the link starts going to a Page Not Found, just search the site; they usually have some form of this sale available.
Worth noting: while $50 is still more money than $yo-ho-ho, that money is a great way to make VERY clear to Microsoft that we DO want one-time-purchase products, not subscriptions.
My laptop just died. If it can’t be fixed and I need to replace it, this post is gonna be a real life saver, because my family has been sharing an old version of Word that came with a limited number of lifetime licenses, and we’re fresh out.
