In this post, I want to focus exclusively on narrative elements that create foreshadowing, yet are very much part of the plot — actions and objects that participate directly in the story. It may be best to describe this sort of foreshadowing as planting and paying-off to differentiate it, for the sake of precision, from foreshadowing though theme and symbol.
Planting for the Pay-Off
In writing, every narrative action ought to have clear consequences. This is especially true in screenwriting, which uses fewer pages to tell the story than are afforded a novel. If the writer plants a gun in a scene, it has to be used in the scene, or at some later point in the story to justify its inclusion. In the television series, Jericho, for example, we notice that a gun in a frame on the wall is part of a display in a home where a couple of bogus cops are lurking. Later, we see that the gun has been removed, indicating that the potential victim is now armed and can fight back. In the movie, Mask, Stanley’s (Jim Carrey) dog shows us his prowess by catching a flying frisbee, setting up the pay-off later in the plot, when it crucially jumps to retrieve the magical mask in mid-flight.
Where is the best place to put plants and pay-offs? A plant should remain innocuous and be situated at a natural and believable point along the story spine — as part of the story’s natural development. Its pay-off ought to be held back for as long as possible, and revealed only when it can deliver the most dramatic impact.
Plants and pay-offs deal with specific elements in the plot. The main characteristic of a plant is that it should appear innocuous, while a pay-off should be delivered at the moment of highest dramatic impact.
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