I’ve been working on revisions for City of Masks and one of the main points of feedback from my editor was the need for extra foreshadowing on a few story aspects.
And as they say ‘writing is rewriting’ I’m pretty excited – because the story’s getting stronger each day and there’s a great joy from the narrative technique of foreshadowing. I’ve heard it described as ‘laying breadcrumbs for the reader’, and it's purpose is of course, to prepare the readers with knowledge they’ll need to best enjoy plot or character points in the latter parts of the book.
But foreshadowing can be a fine line between revealing too much too soon or too little too late.
I believe that many of the stories I’ve enjoyed most over the years, were the ones that gave the reader enough information up front to build curiosity about questions of how and why as much or more than, questions of who, what or whether.
So, for instance, a murder mystery will still work very well if the reader knows who the killer is early on in the story.
What the reader wants to know most, is how the killer got away with it or not whether they will be caught but how they will be caught and why they did it.
And with that in mind, it's back to foreshadowing!
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Ashley Capes is an Australian writer of fiction, poetry and very occasional non-fiction.
Imperial Towers (Never Book 5) - draft 1
Moss Dragon - draft 1
Reed Lavender (working title) - draft 1
Unnamed Spec Fic - draft 1
Whisper of Leaves (sequel) - Outline