About ten years ago I wrote a post here at SleuthSayers about the technique of foreshadowing in fiction. My intention today was to provide a link to that column, but it turns out some of the illustrations in that post have disappeared, so I've updated and expanded the whole thing here. (Partial plagiarism of my ownself.)
First, a definition. Merriam-Webster says foreshadowing is "a suggestion of something that has not yet happened." In the literary world, it's a little more complicated. Among other things, it means the early inclusion of information that makes later action believable. Because of this, and because our fictional plots must always be (or appear to be) logical, this writing technique is one of the most useful items in our toolbox.
I love foreshadowing. I like to read short stories and novels that use it, and--probably because of that--I like to use it in writing my own stories. An example of that is my story in the current (July/Aug) issue of Alfred Hitchcock's Mystery Magazine, called "Moonshine and Roses." I mentioned it in an SS post a few weeks ago, but I didn't talk about the foreshadowing part of it. I won't spell it out in case you haven't yet read the story, but if you have, I hope my early planting of vital information made the plot more interesting--or at least the conclusion more satisfying.
Give 'em hell, Larry
Mystery author Lawrence Block once told a joke about the use of foreshadowing. I'm paraphrasing here:
Officer: Okay, soldier. Suppose an enemy submarine surfaced and ran aground on that beach over there, and suppose it offloaded fifty enemy troops. What would you do?
Soldier: Sir, I'd blow 'em off the sand with concentrated mortar fire, sir!
Officer: What? Where would you get the mortars?
Soldier: Same place you got the submarine.
Foreshadowing, according to Block, is the technique of making both the submarine and the mortars acceptable to the reader.
It's a mystery to me
Mystery stories probably lend themselves to foreshadowing more than any other genre, because the clues in the narrative of a traditional mystery usually lead to the solution to the case--and if the reader pays attention, he is ideally given enough facts to come up with the answer himself. This is true of most crime/suspense stories, not just whodunits; the foreshadowing in thrillers and other non-traditional mysteries is sometimes used to telegraph to the reader the means by which the protagonist will get out of whatever fix the writer puts him in. Maybe there's an hidden gun in the kitchen drawer or a sudden curve in the highway up ahead that the carjacker doesn't know about, or maybe the killer's henchman is actually an undercover cop or the radio button on the dashboard is really the trigger for the ejection seat, or . . . you get the picture.
And foreshadowing isn't always used just to "explain" later events. It can also be a way to generate suspense and anticipation, sort of a "ticking bomb" effect. If you read a story or novel or see a movie that mentions, during its first half, a particularly scary place or an especially fearsome enemy, then you as the reader/viewer will dread any situation that might put your hero in that dangerous location or put him in contact with that terrible person or entity you've been told about. Consider this: A group of hikers sees a razor-wire fence, or maybe a skull-and-crossbones sign or a row of scarecrows, on a ridge as they pass through the valley below, and one of them points and asks their guide what that means. The guide looks up and frowns and says, "Oh, that? That's the border of the Forbidden Zone. Don't worry--we won't be going there." That vague warning is a kind of foreshadowing, and the Forbidden Zone is of course exactly where the poor hikers will wind up, before the story's done.
What does foreshadowing really look like, in some of the movies and novels and stories that we see or read? (NOTE: the following examples contain spoilers . . .)
Hiding in plain sight
The Usual Suspects -- As Verbal is questioned by the police, he sees a number of photos and newspaper clippings posted on their bulletin board. Those "clues" later add up to a great surprise ending.
Psycho -- Norman Bates tells his motel guest, early on, that his mother is "as harmless as one of these stuffed birds." Which turns out to be true, since she turns out to be as dead as they are. It's her son who isn't harmless.
Wait Until Dark -- The blind lady remarks to a visitor in her apartment that her old refrigerator growls and gurgles when its door is open because it needs to be defrosted. Later, after the lady has escaped from a killer in her apartment and has frantically knocked out all the lights in every room so he'll be in the dark as well, the killer quietly opens her fridge's door so the light will come on and he can see. She, of course, doesn't know he's done this--but then the refrigerator growls. She now knows the door's open, and knows that he can see her but she can't see him. (I saw this movie while in college, and I'll never forget that scene.)
The Empire Strikes Back -- "Much anger in him," Yoda says to Obi-wan, "like his father." He's talking about Luke Skywalker, who turns out to be the son of Darth Vader.
Jaws -- Hooper warns Chief Brody about the potentially explosive nature of the compressed-air tanks, and Quint says something like "What good is all this equipment? Maybe the shark'll eat it." Later the shark winds up with one of the tanks in its mouth (its jaws?) and Brody shoots the tank, thus blowing Great Whitey to bits.
Reservoir Dogs -- An orange balloon is seen floating along in the street behind a car. As the story progresses, the man code-named Mr. Orange turns out to the impostor who's infiltrated the gang.
The James Bond novels and films -- Before most of 007's missions, the armorer demonstrates the newest lethal gadgets developed by Q Branch. Later Bond uses them to save his skin (and the world).
Fatal Attraction -- When Dan Gallagher says he has to go walk his dog, the lady to whom he is fatally attracted replies, "Just bring the dog over--I'm great with animals and I love to cook." She later cooks Gallagher's daughter's pet bunny.
Once Upon a Time in the West -- Several brief flashbacks show a mysterious blurred figure approaching the protagonist, in the desert. At the end of the movie, that image clears to reveal the villain, and the reason the protagonist has been searching for him for all these years.
The Edge -- An Alaskan guide explains to a group of tourists what a bear pit is, and points one out, saying, "Be careful--don't fall in." Afterward, when the two main characters are alone in the wilderness, and one is about to shoot the other, the gunman falls into a bear pit. The viewer accepts this sudden and convenient turn of events only because of that earlier explanation.
The Shawshank Redemption -- During the search of an inmate's cell, the prison's warden picks up a Bible and says, "Salvation lies within." It's later revealed that the rock hammer used for the breakout is concealed inside the hollowed-out pages of that Bible.
Goodfellas -- "Tommy's not a bad kid," Paulie Cicero admits. "What am I supposed to do, shoot him?" Which is exactly what later happens.
Citizen Kane -- The word rosebud is spoken at the first, and its meaning is revealed only at the end.
Indiana Jones and the Last Crusade -- At one point, a wealthy collector notes that they're only one step away from locating the Holy Grail. Indy replies, "That's usually where the ground falls out from underneath your feet." When at the end of the story they find the Grail, a huge earthquake splits the earth and swallows some of the party.
"The Lottery" -- The pile of stones at the very beginning of this short story later takes on a whole new meaning.
Cool Hand Luke, Ghost, Love Story, Casablanca -- Bits of early dialogue are repeated at or near the end, for closure: "What we got here is a failure to communicate," "Ditto," "Love means never having to say you're sorry," "Here's looking at you, kid."
L. A. Confidential -- Captain Smith asks Ed Exley whether he would be willing to plant evidence, beat a confession out of a suspect, or shoot a criminal in the back. Exley says no. By the end of the movie, though, he has done all three.
Back to the Future -- In the opening credits the camera pans across dozens of clocks, one of which shows a man hanging from its hands, as Harold Lloyd famously did in the silent movie Safety Last. Later, as Marty McFly tries Doc Brown's experiment to go back to the future, Doc winds up hanging from the hands of the giant clock in the tower on the town square.
Aliens -- Lt. Ellen Ripley, who during training demonstrated her proficiency with a powerloader, later uses a powerloader to battle and defeat the alien queen. (This is, by the way, a fantastic movie.)
Signs of things to come
Two of my all-time favorite examples of foreshadowing:
The Sixth Sense -- There are a number of clues throughout the movie that I never suspected would point directly to what the audience eventually saw. I think this was the only time the Best Picture Oscar was ever awarded to a movie that was totally dependent on a surprise ending.
Signs -- There are at least half a dozen facts (signs?) presented during the course of the story that seem to make very little sense at the time, and later serve to make the unbelievable ending believable. I think of this film every time I see a really clever use of foreshadowing.
Questions for the class
Can you think of other stories, novels, or movies that demonstrate the effective use of foreshadowing? As a writer, do you incorporate foreshadowing in your own plotting? Have you, like me, ever used it to "rescue" a hard-to-believe plot and thus make your ending more logical? Which of your stories have featured it?
I have a few short stories coming out soon that rely heavily on planted clues that (I hope) make the endings better, and I'll probably report on those here, when they're published.
How's that for foreshadowing?
.jpg)
