Unlock the Power of Dramatic Irony for a Captivating StoryIf you're writing a book, screenplay, or short story, you want to infuse it with as much suspense as possible. Dramatic irony is a powerful writing tool you can use to build suspense. In this article, I'll give you the definition of dramatic irony, provide examples, and offer tips for applying it to your story. Want to write an awesome story? Download my FREE outlining guide. What is dramatic irony?Dramatic irony is a literary device in which a writer reveals information to the audience that one or more characters in the story don't know. The technique is used to build suspense. How to build suspense with dramatic ironySuspense occurs when a writer holds off on revealing information the audience cares about. In general, the more the audience cares about the information, and the longer the audience waits for the answer, the greater the feeling of suspense. The audience's level of interest in a piece of information relates to how emotionally invested they are to the character(s) the information affects. For example, if you've developed a great lead character the audience connects with, and then put that character in a dangerous situation, the audience should worry about the outcome of that situation: Will the protagonist make it out alive? As the audience waits to see how the situation plays out, a strong sense of suspense will develop. To create suspense with the dramatic irony writing technique, follow these steps:
Since the character doesn't even know about the explosive situation he's in, he doesn't do anything to help himself. This idea of helplessness makes a negative outcome seem more likely, and drives up the tension. How POV relates to dramatic ironyDramatic irony is rooted in information imbalance - your audience knows something certain character(s) don't. The POV you tell your story from will limit the level of information your audience can know that specific characters don't. For instance, if you're telling a story from a first-person POV, with your main character as the subject of every scene, your audience wouldn't be able to know anything your lead character doesn't. Since the protagonist is directly telling the story, whatever the audience learns would come from him. Thus, with first-person POV, you wouldn't be able to apply dramatic irony to any predicaments your main character is in. However, if you went with a third-person POV, you would have the option to put your protagonist into a dynamic with dramatic irony. With a third-person POV, your main character does not need to be in every scene. You can show a dangerous situation developing in a place your main character is not yet in, then have the lead character arrive a few scenes later. If you plan to create suspense via dramatic irony, be mindful of selecting a POV for your story that permits the intended information imbalances. Examples of dramatic ironyLet's look at examples of dramatic irony across three popular genres: thriller, romance, and comedy. Dramatic irony in a thrillerScene A Wesley, the villain, gets on a train. Its number, 208, is stamped on the front. He hides a bomb in a luggage compartment. No passengers or staff notice. The bomb is set to go off at 8 AM, in thirty-two minutes. Wesley gets off at the next stop. Scene B Ryan, the protagonist, is waiting at a train station for his daily commute to the office. A train with "208" on the front stops at the station and Ryan gets on. He calmly reads emails on his phone. The time is 7:45 AM. He writes an email. The time is now 7:54 AM. Dramatic irony in a romanceScene A Lydia, the main character, is getting ready for a date with a man named Paul, at a restaurant called Avery Cafe. This date would be her first since her bad breakup with Charles, who cheated on her with her former best friend. Scene B Charles and Lydia's former best friend pull up to a valet in his car. Holding hands, they walk inside a restaurant, an "Avery Cafe" sign out front. Inside, they're seated at a table. Paul is seated at a nearby table for two. The seat across from his is still empty. He's never met Charles or Lydia's ex-best friend, so doesn't recognize them. Paul seems to notice his guest walk in. He stands and waves. Dramatic irony in a comedyScene A Hal, the protagonist, receives a call from his boss to join him at a prospect's house to demo the new product Hal invented. Hal, excited, says he'll be right there. As a child, Hal was attacked by a flock of birds and wet his pants. Now an adult, he has a psychological complex about the incident - if he's too close to a bird, he risks wetting his pants. Embarrassed, he has never told anyone about this except his therapist. Scene B Hal's boss is inside a mansion with an eccentric businessman. The businessman has over a dozen exotic pets. One is a large bird, perched on his shoulder. Hal's boss tells the prospect that Hal should be here in five minutes. Dramatic irony's inverseTo keep your scenes fresh, you shouldn't just rely on dramatic irony to create suspense. Its inverse is a very effective tool as well: A character knows something the audience doesn't. Give a character the answer to a question the audience wants to know, however, don't reveal the answer right away, building suspense. For example, Jen goes into her parents' attic. She screams. The scene ends. In the subsequent scene, she is shocked and nervous. She clearly saw something in the attic that petrified her, however, the audience has not been told what. She keeps the sight a secret through most of the story, not telling her parents or anyone else about it. Want more writing advice?
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Unlock the Power of Motifs for a Compelling StoryA motif is a powerful literary technique you can use to captivate your audience through your story and make a strong thematic statement by the end. In this post, I give you the definition of a motif and examples, plus show you how to create effective motifs in your book, screenplay, or short story. Want to write an awesome story? Download my FREE outlining guide. What is a motif in writing?A motif is a recurring element in a story that plays a significant role in the story's overall message, or theme. Motifs can be abstract ideas, such as freedom or violence or guilt. However, they can also be physical parts of your story world, such as places, objects, colors, and sounds. What's the relationship between a story's theme and motifs?A story should have just one theme. The theme is the message the audience is left with after the story ends. For instance, "Hard work leads to success" may be the theme of a story. Though a story's theme can be explicitly stated in it, often it is not. Instead, the audience infers the theme from the resolution of the story events. For example, if a story is about a protagonist who works very hard and is successful at the end, "Hard work leads to success" is a natural takeaway the audience would have. On the other hand, let's say a protagonist works very hard, then is beaten out by a rival who cheats. "Hard work leads to success" would not be a message the audience would walk away with. Instead, the theme may be something like "Wiliness leads to success." A motif expresses a concept that's related to the theme, though is not the theme. A story can have multiple motifs - each would cover a facet of the larger theme. In the story with the "wiliness leads to success" theme, the following could be motifs:
This story may feature a protagonist who engages in "hard work," squaring off against a villain who employs "deception." Story events occur in "skyscrapers," corporate arenas of battle. Various characters drive "cars" of different price points, signifiers of their level of financial success. These four elements would surface multiple times through the story, in different ways, adding depth to the characters and plot while fortifying the impact of the theme. What a motif is notTo understand what a motif is, you should also know what it's not. Just because a certain element may show up multiple times in a story does not mean it's a motif. For instance, let's say you're telling a crime story with the theme "The legal system doesn't always deliver justice." The protagonist is a prosecutor. His sidekick is a junior lawyer who wears chintzy clothing and consistently tells funny stories about his disastrous dating life. Dating would not be a motif of this story, neither would the chintzy clothing. Though the sidekick's funny comments and outfits may provide consistent comic relief in an otherwise serious story, they're not tied into the broader message, "The legal system doesn't always deliver justice." On the other hand, here are some motifs a story like this could have:
Tips to create motifs in your story - with examplesI suggest you start by looking at the battle between your hero and villain. What's the main conflict in your story? What abstract idea does your protagonist embody? What about your antagonist? For example, if you're telling a sci-fi thriller, you may feature "the rebellious citizen" (the hero) versus "the oppressive ruler" (the villain). The abstract ideas rebellion and oppression would be natural motifs for a story like this. Next, ingrain the concept of rebellion into the parts of your story world your protagonist inhabits, and oppression into the areas where your villain operates. Are there places you can associate with rebellion? Possibly the protagonist and his allies meet in an underground bunker to strategize. Are there places you can associate with oppression? For example, maybe the villain's government spies on the population from a high-tech surveillance facility. Even further, are there objects, actions, images, or sounds you can tie to the ideas of rebellion and oppression? For example, to avert the omnipresent spy microphones around the city, the rebels develop a way to communicate with sophisticated codes. Whenever the oppressive government catches a citizen acting out of order, blinding lights shine down on him. This technique of associating an idea with a character, then extending that idea into the character's sphere in the physical story world, is not just reserved for your hero and villain. You can use it with other characters too. However, your hero and villain's conflict should closely tie into your theme, which makes motifs built around these two characters very straightforward. If you're going to create a motif around another character, be sure that character represents a concept linked to the theme. Symbols vs. motifsA symbol is another of the devices writers use. It's a specific element in your story that represents a specific idea. Often they are physical-item motifs themselves (or represent an abstract-idea motif). However, not all symbols have a direct connection to a story's theme, and not all symbols recur (requirements for motifs). Thus, a symbol can exist in a story completely outside the story's set of motifs. Tips for writing symbolic motifsIf a symbol does happen to be a motif, you can convey a lot of strong thematic information by showing the symbol change through the story. For instance, in the legal story we've been discussing, a mansion on a hill can represent the power of the wealthy. A young man who grew up there committed murder and now his family is wielding their clout to win the court case. Early in the story, after the alleged murderer's charges are announced, a swarm of reporters closes in on the mansion to interview the defendant. However, the press can't get past the imposing gate. Here, you'd be symbolically conveying, "Wealthy families are protected." Later in the story, after the verdict is announced - not guilty - people in town turn on the killer's family. Locals who were close with the victim jump over the mansion's gate and set the house on fire. In this story, even though the legal system does not deliver justice (the theme), those close to the victim are able to get a form of justice outside the courts by burning down the mansion. Here, you'd be symbolically conveying, "Wealthy families are not protected from everyone." Connecting story threads with motifsCertain elements in your story may not be directly linked, yet, if they both contribute to the same motif, they become connected in the audience's mind. This association can be very impactful. For example, let's say you're telling a story that takes place in various countries and time periods. "Courage in the face of danger" is a motif. You show a young boy in America, risking himself to protect his family during the Civil War. Later, you show a young girl in Europe risking herself to protect her family during World War II. These two characters are not directly connected in the physical world of the story - they are not even alive at the same time. However, since they both exhibit "courage in the face of danger," the audience will make the connection. This association has a "2 + 2 = 5" synergy effect. The little boy's story thread becomes strengthened because of the association to the little girl's and vice versa. A human bond is evoked even though they've never met. What writing genres use motifs?Motifs can be applied to any fiction or narrative non-fiction genre, such as:
Want even more writing tips?Foreshadowing - Write a Captivating Story [Definition, Examples, Tips]If you're writing a book, screenplay, or short story, you want to keep your audience glued to your story and deliver satisfying surprises. Foreshadowing is a tool that can help. In this post, I give you the definition of foreshadowing, examples of foreshadowing, and tips for applying this powerful literary device to your story. Want to write an awesome story? Download my FREE outlining guide. Foreshadowing definitionForeshadowing is a literary device that alludes to future story events. Two types exist: (1) Direct foreshadowing announces a story event to come (2) Indirect foreshadowing provides evidence of an event the audience does not see coming. Direct foreshadowingBelow are examples and tips for direct foreshadowing... 5 examples of direct foreshadowingIn these examples, major plot event to come are foreshadowed in a clear way to the audience:
Tips for direct foreshadowingCreate Suspense Direct foreshadowing is a great way to build anticipation. Once you announce an event is going to occur in your story, your audience will start thinking about the implications of that event, most notably, how it will affect the lives of characters. If you've done a good job creating a connection between your audience and characters, your readers will be emotionally invested in the impact these story events have on characters. A feeling of suspense is created while the audience waits to see how the events will shape the lives of the characters. Keep the Stakes High The higher the stakes of an event, the more emotionally invested the reader will become in the outcome, and the stronger the feeling of suspense. For instance, in the example with Hank, a hurricane is a high-stakes event. A hurricane can devastate homes, even end lives. If the reader has a connection with Hank - and others in the town - the reader will start worrying about the hurricane the moment it's mentioned. If, on the other hand, Hank heard about a mild rain that was nearing, the drama would be flat. In the example with Jenny, if the audience has a connection with her, and knows her dream, readers will eagerly await the outcome of a singing competition that has the potential to make her dream a reality. If, on the other hand, Jenny heard about a talent show at a local rec center, yes, the audience may root for her to win, however, the stakes - and drama - would not be nearly as high as her competing in a national contest on TV. Make Them Wait Once you've established a high-stakes story event is coming, the next tip is to wait a while before you take the reader to the event. The wait sustains the feeling of suspense. That's where the "edge of your seat" effect comes from. After Hank hears about the hurricane, before it strikes, you might show him analyzing an in-depth weather report online. You can even have him convinced the warning is a false alarm, and he avoids taking precautions like boarding up his windows. The audience's worry will grow as it waits to see how bad the storm will be. Though people don't like worrying about things in real life, they do in stories. Keep them in this worried state for as long as doable. After Jenny hears about the singing competition, you might show her practicing. Possibly she practices so much, her sleeping suffers. As the contest approaches, she gets sick and loses her voice. The audience's worry will be heightened. Keep the audience worrying until the end of the competition. Be Sure to Deliver Direct foreshadowing is a sort of promise you make to your reader. You're suggesting that a very interesting plot event will happen. If you make the suggestion, and then do not eventually put the event in your story, your audience will feel ripped off. This does not mean the event needs to play out exactly as it's initially suggested. This simply means the event needs to show up in the story in some form. For example, in a horror story, Leah receives a note from the villain saying "I'm going to kill you." This does not mean the villain has to eventually kill her. However, the audience will be expecting the villain to at least try. Even if Leah gets away unscathed, the killer should attack her at some point in a dramatic scene. Indirect foreshadowingBelow are examples and tips for indirect foreshadowing... 5 examples of indirect foreshadowingIn these examples, major plot event to come are foreshadowed, yet the audience would not be able to necessarily anticipate them:
Tips for indirect foreshadowingPlant and Payoff Planting and payoff is a writing technique that involves "planting" story elements in the minds of your audience that eventually go on to have a "payoff." In the example with Gary, the saxophone story element was planted in the minds of readers. The payoff from this element comes when he hits the criminal during a dramatic break-in scene. As a general rule, if a major plot event features a certain story element, you should show that story element to the audience considerably earlier, even if briefly. These story elements may be physical objects, like a saxophone, however, can be any variety of things (ex, maybe a song or a dream). Showing the audience the element establishes it as part of the story's world. When the element is later used in a dramatic plot event, that scene would feel more authentic than it would if the element first popped up during the dramatic moment. For instance, if Gary was being attacked by the villain, and grabbed a big metal instrument the audience never saw before, the scene would feel inauthentic. The saxophone would seem like a too convenient, unrealistic fix to Gary's problem, versus an organic extension of his world. Create Awesome Twists Audiences love twists. However, if you don't follow certain steps, your twists may be guessable or non-believable. An effective twist needs to strike a fine balance. For believability, you need to give the audience clues about the information eventually revealed in the twist. However, if these clues are too obvious, your audience will be able to guess the twist before it happens, wiping out the crucial shock factor. In the example with Sally, the twist in her story is that she is a murderer. To make that twist shocking, Sally should not come off like a murderer beforehand. For instance, maybe she's a friendly mother of three who volunteers at a hospital. Sally arriving home with dirty shoes is a clue that she was burying a body in the woods. However, it's not an obvious clue, whereas her showing up with blood on her shoes would be. Sally is able to dismiss any suspicion by saying she stepped in a puddle. However, before she gives the answer, she should hesitate. Only for a second, but long enough to hint at a potential lie. After the audience finds out she is the murderer, the conversation about the shoes will add credence to the revelation. On the other hand, if Sally is shown to be a pleasant woman through the story, then is revealed as a killer without any clues the audience can reference, the twist will feel inorganic. The audience may be surprised, yet not satisfied. Readers prefer when evidence of a twist is shown to them, yet in subtle ways they can't understand until after the reveal. What genres use foreshadowing?The foreshadowing storytelling technique - both the direct and indirect varieties - can be used in any genre of fiction or narrative non-fiction, such as:
Want more writing tips?Elevate Your Writing With Symbolism - Definition, Tips, and ExamplesSymbolism is a powerful tool. If you're writing a book or screenplay, you can use it to add emotional impact to your scenes. In this post, learn the definition of symbolism and tips for applying it to your story, with examples. Want to write an awesome story? Download my FREE outlining guide. What is symbolism in writing?Symbolism in writing is when an element of your story - such as a person, place, or object - represents an idea. The represented idea tends to play an important role in the story's character development, plot, or theme. For instance, in a war story, a pen might be a symbol for peace. Types of symbolism in writingTwo major types of symbolism exist in stories. I call the first outside symbolism and the second inside symbolism. With outside symbolism, an element of the story represents an idea that the characters in the story are unaware of - the meaning exists "outside" the world of the story. Let's say a writer was telling a story about a gang leader who causes a lot of violence in his city. The writer wants this gang leader to symbolize a certain god of destruction from an ancient myth. The writer goes on to give the gangster certain characteristics that represent the mythical god. For example, the mythical god has the skin of a serpent and the gang leader wears a snakeskin suit. The gang leader, however, is not aware of this representation, nor are any other characters. The symbolic effect exists outside the world of the story. With inside symbolism, a story element represents an idea that one or more characters are aware of. The symbolic effect exists "inside" the world of the story. Let's look at the example I gave earlier, about a pen symbolizing peace. In the story, a politician signs a peace treaty with the pen, preventing thousands of deaths. The politician cherishes the pen, carrying it in his pocket wherever he goes. Later on in the story, the politician's country is attacked. While fleeing from a bombing, he loses the pen. This moment signifies the "loss of peace." Below, find five tips for applying symbolism to your story. If you want even more writing advice, check out my online writing courses. #1 - Use symbolism to show character lossAs we just went over with the war-story example, the loss of the pen represents the loss of peace. You can create this effect in two steps:
If you're going to use this technique, be sure not to waste it on a minor idea. The loss of the element should signify a major setback for your protagonist or another significant character. In a war story, the loss of peace is a major turning point. If you were telling a crime story, the loss of presumed innocence could work. If you were telling a sports story, the loss of an athlete's health could fit. #2 - Use symbolism to show character gainThis technique is the flip side of tip #1. Follow these steps:
Like with #1, be sure not to waste this tactic on a minor idea. The gain of the element should signify a major win for a significant character. For example, let's say you're telling a story about a kid who's training to be a boxer. In his gym are two training sections, one for the experts, another for the amateurs. Early in the story, the kid accidentally steps onto the expert side and the boxers tell him to leave. The kid keeps working out on the novice side and getting better. The pro boxers notice his improvement. Later on in the story, they invite the kid to join them on the expert side. This would be a major turning point - the hard work has paid off, the kid now embraced as a serious fighter. #3 - Use symbolism to show behavioral growthFollow these steps:
For example, let's say a character, Rebecca, dates a guy named Collin. He lies to her, cheats on her, and asks her for money he never pays back. Because he has positives, she forgives him for his wrongs, despite the advice of her friends, and continues reaching out to him. One night, he drives drunk with her in his car and gets into an accident, nearly killing them both. Rebecca finally decides she's had enough. She deletes his contact in her phone. The deletion symbolizes her growth - no longer blinded by his positives, she can see Collin for the negative force he is. Her life will be better with him out of it. #4 - Use symbolism to show an overcoming of fearFollow these steps:
For instance, a middle-school-aged character named Jeremy is scared of public speaking. Early in the story, he has to make a speech to his entire school in the auditorium. Nervous, he stutters and runs off the stage. Through the story, Jeremy gains confidence. At the end, he performs in a talent show in the same auditorium. No longer scared, he doesn't stutter and entertains the whole school. The packed auditorium symbolizes fear. Jeremy facing the crowd and succeeding signifies his conquering of fear. #5 - Use symbolism to show a rise and fallFollow these steps:
Let's say a character, Harold, starts a business. The office building can symbolize the rise and fall of the business. As the business grows, the furniture and decor in the building become nicer. However, the audience soon learns the success stems from white-collar crimes Harold has been committing. As clients uncover the truth, they leave. Soon, federal investigators begin a probe. Harold is forced to sell the expensive furniture and paintings in his office to pay his legal bills. The once-beautiful office now is barren. You might also like my additional posts on literary devices, such as metaphors, personification, and foreshadowing.
First Person vs Third Person POV - Your Unique Writer VoiceA unique writer voice can make your book or screenplay stand out. However, to create a compelling, consistent voice through your story, you need to understand the nuances of point of view (POV), particularly first person vs. third person. Want to write an awesome story? Download my FREE outlining guide. What is a writing voice?A writing voice is the tone a writer uses to tell a story. Though characters can have their own voices, the writing voice refers to the overall voice telling a story. With first-person POV, the voice is that of a specific character. In many other cases, it belongs to no character. Voice is important because it plays a key factor in the style of a story. Is a story told in a sarcastic way that pokes fun at the characters? Or, is that story told in a matter-of-fact fashion that gives the reader information without any direct opinion? These are two drastically different examples that would drastically alter the story's style. If you're trying to capture a certain style, you need to be mindful of voice. And that means you need to be mindful of POV... What is a writing POV?A POV is the perspective a story is told from. The two main options are first person and third. In first, the story unfolds from the perspective of a character, who speaks with "I." In third, various characters can be the subjects of specific scenes, yet they are referred to by name, not "I." POV is important because it helps define voice and style, but also because it plays a major role in how information is delivered to your reader. When writing from the perspective of a subject character, you can only discuss information that character would be aware of - in a given scene, the reader can only know as much as this character. Because of the various nuances associated with POV - which we'll discuss later in this post - writers often make POV mistakes. Unfortunately, these can make you come off as an amateur. As I went over in my post on dialogue writing, publishing-company employees, film producers, and consumers will often only read five or so pages of your story before making a decision to continue or not. If you have a POV error on those opening pages, you'd be giving someone a reason to stop reading. What are the types of POV in writing?As mentioned, the two major POV categories are first person and third. However, within third are various distinctions. The four key POVs:
If you're writing a book, you can choose any of these four POVs. Once you pick one, you need to stick with it through your story, though. Thus, be sure to select the one that'll let you tell your story in the most impactful way. If you're writing a screenplay, you don't have any choice about POV. Scripts tend to be written in third-person omniscient. Below, find a detailed breakdown of the four key POVs. What is first-person POV?
What is third-person, limited, close POV?
What is third-person, limited, distant POV?
What is third-person, omniscient POV?
Leveraging POV for a distinct writing voiceAs mentioned, with first-person POV, your story's overall voice becomes that of the protagonist. With third-person POV, however, the overall voice is fused together by various factor, such as:
Get more writing tips with my free guideYou might also like my posts on descriptive writing and characterization.
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