As fiction writers, one of the most important tasks we have is to keep our readers wanting more. One way to do that is through the use of surprise. But what happens when the surprise becomes too predictable? We’ve all read novels where we could easily anticipate what was coming and found ourselves disappointed when it did. So how do we keep the reader engaged? This is where the art of misdirection comes in.
Misdirection, in literature, is a technique used to lead the reader in one direction while ultimately taking them somewhere else. It’s a way to keep your audience off-balance, thereby keeping them engaged and invested in turning pages long into the night. But what are the ways to do this most effectively?
Red Herrings
One way to create misdirection is through the use of red herrings and false leads. These are elements in the story that are meant to distract the reader and lead them away from the truth of what’s actually going on. For example, in Chris Pavone’s Two Nights in Lisbon, the reader is led to believe that the husband of the protagonist has been kidnapped and is being held for ransom. It’s only as we read on that we discover there is another agenda going on beneath the first one that we are unaware of. This type of misdirection is ideal for keeping the reader focused on the wrong thing. Think of it like the magician who distracts us with the rabbit so we don’t notice the false bottom in the hat.
Foreshadowing
Another technique for creating misdirection is through the use of foreshadowing and hinting at future events. The reader begins making assumptions about what is going to happen in the story, only to realize they’ve misinterpreted the signals and got it wrong. For example, in Harry Potter and the Goblet of Fire, Harry is chosen as a champion for a dangerous tournament, and throughout the story, the reader is led to believe he’ll be the one who’ll save the day. However, in the end, it’s actually his friend Hermione who ultimately triumphs.
Unreliable narrators
This is when the narrator of the story can’t be trusted to tell the truth or is discovered to be hiding certain facts, leaving the reader to question what, if anything, they should believe. The most famous example is Gillian Flynn’s Gone Girl in which Amy is telling the story through diary entries and it’s only later we find out she is slanting the narrative and things are not what they seem. This type of unreliable narrator creates a sense of uncertainty and keeps the reader guessing about what’s really going on. In the last few years, this has become such a popular trope in suspense thrillers that most readers now go into novels already primed to doubt what the POV character tells them.
Playing with reader expectations
A slight twist to the above is the technique of playing with what the reader expects to see in a particular genre based on previous books. The reader picks up the novel expecting one thing only to have the opposite happen. Clare McIntosh’s debut I Let You Go has a famous twist at the end of the first act that is still being written about five years later because it so effectively upended reader’s assumptions about where the story was going, creating an immediate compulsion to re-read the first 75 pages to see how she managed it.
A Caveat
But keep in mind that too much misdirection can be detrimental to the story. The reader needs to be able to follow the story’s plot and understand what’s happening. Don’t put in so many distractions, half-truths, and miscues that the reader becomes first confused, then irritated and finally gives up. Your goal should be to find the right balance between misdirection and clarity. And be sure to resolve any confusion or misleading information before you type The End or your reader will feel cheated. Remember: readers love being fooled, but they hate feeling foolish.
In conclusion, misdirection is a tool in the skilled storyteller’s hands, one that can keep readers engaged and wanting more. It’s a way to create suspense and surprise, but it’s important to use it correctly and play fair with the reader. And the goal should never be just to unsettle the reader. Misdirection should also add depth and complexity to your story. Use it to explore different perspectives and keep your reader questioning what they think they know.
Ultimately you want to write a story that is both engaging and unexpected, one that challenges the reader, one that satisfies their desire for a story that is both engaging and unexpected.
Because that’s what makes for a great read.
Great breakdown! WHERE THE CRAWDADS SING is full of these types of misdirections.
My next novel is in this genre and it’s been so much fun reading other suspense novels to see how they do it. Crawdads is a great example.
I think if you have the ability to write a compelling novel that readers can’t seem to put down then you should give yourself a pat on the back because it takes talent to do this I myself write children’s books, short stories, and I have written two novels. I find the novels are really challenging and the children’s books are fun andy short stories are cool and pretty soon I’m hoping to be able to publish and share them world wide..Maggie Smith I would recommend your books to be awesome.