KN Magazine: Articles
Literary Alchemy: Ingredients of the Story – Foreshadowing
Foreshadowing is one of the most powerful tools in a writer’s craft, planting subtle clues that build suspense, deepen theme, and create satisfying payoffs. In this installment of Literary Alchemy, Chrissy Hicks breaks down how to use foreshadowing effectively—through dialogue, setting, symbolism, and character action—so readers stay engaged and every twist feels earned.
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By Chrissy Hicks
Foreshadowing is a literary device used to hint at what’s coming later in the story. It creates anticipation and builds suspense, engaging readers by making them eager to see how events will unfold. As Chekhov so famously put it, “If in the first act you introduce a gun, by the third act you have to use it.”
Why use Foreshadowing?
Build suspense and tension by hinting at future conflicts or outcomes. In Gone Girl, (Gillian Flynn) Amy’s use of the “treasure hunt” game, leaving clues for her husband Nick (and the police) to find, foreshadows the underlying (and much more sinister) game she’s playing with him, which we don’t learn until about halfway through the book.
By providing subtle clues, foreshadowing encourages readers to engage with the text. They become detectives, piecing together hints to predict what might happen next. In the classic, The Great Gatsby (F. Scott Fitzgerald), Myrtle’s death foreshadows the tragic consequences of the other characters. Her reckless behavior and desire to escape her life leads to her fatal accident. This event sets off a chain reaction that leads to Gatsby’s demise.
Create cohesion with foreshadowing by tying together various plot elements. When a writer plants clues early on, it allows for a satisfying payoff later in the narrative. For example, in Frankenstein (Mary Shelley), Victor Frankenstein’s early fascination with the works of occult philosophy foreshadows his tragic downfall, linking his childhood curiosity to the catastrophic consequences of his scientific pursuits.
Prepare readers for impactful emotional beats, making them feel earned rather than abrupt. In The Hunger Games (Suzanne Collins), Katniss’s early demonstrations of her archery skills foreshadow her survival tactics in the arena, allowing readers to invest in her journey and the stakes involved. The reader isn’t caught off guard by her abilities.
Foreshadowing can also highlight central themes within a story. In my flash fiction story The Last Tour, the canyon, with its vastness and depth, symbolizes both characters’ emotional chasms and the literal danger they face. The tour being the “last one” of the day hints at the finality of their journeys, ultimately foreshadowing the tragic events that will unfold.
How and When to Use Foreshadowing:
To effectively use foreshadowing, incorporate subtle clues that may seem insignificant at first but gain importance as the story progresses. This can be done through:
Dialogue: Characters can drop hints in their conversations or make ominous statements or jokes that hint at darker outcomes. “When I think of my wife, I always think of her head. ...And what's inside it. I think of that too: her mind. Her brain, all those coils, and her thoughts shuttling through those coils like fast, frantic centipedes” (Gone Girl).
Setting: Use elements in the environment that reflect future events. “. . .the sun climbed over the skyline of oaks, revealing its full summer angry- god self. Its reflection flared across the river toward our house, a long, blaring finger aimed at me through our frail bedroom curtains. Accusing: You have been seen. You will be seen” (Gone Girl).
Symbolism: Introduce objects or motifs that will later play a crucial role. Introducing a motif that recurs throughout the story can create a sense of continuity. “But above the gray land and the spasms of bleak dust which drift endlessly over it, you perceive, after a moment, the eyes of Doctor T. J. Eckleburg. The eyes of Doctor T. J. Eckleburg are blue and gigantic—their retinas are one yard high. They look out of no face, but, instead, from a pair of enormous yellow spectacles which pass over a non-existent nose.” Later, “. . .we walked back a hundred yards along the road under Doctor Eckleburg’s persistent stare.” (The Great Gatsby).
Character Actions: A character’s seemingly minor actions can foreshadow future events. “Eve decides to celebrate her 50th birthday with a Grand Canyon excursion. She doesn’t research companies or pricing. She knows exactly which trip she’ll book. The last tour on Saturday, leaving from Boulder City, Nevada.” (The Last Tour).
Flashbacks: Consider how a past trauma influences a character’s decisions later in the story. “My father knew and he taught me some before he was blown to bits in a mine explosion. There was nothing even to bury. I was eleven then. Five years later, I still wake up screaming for him to run.” (The Hunger Games).
Dreams or Visions: These may foreshadow future events. (Be careful: often these can be too on the nose). “I slept, indeed, but I was disturbed by the wildest dreams. I thought I saw Elizabeth, in the bloom of health, walking in the streets of Ingolstadt. Delighted and surprised, I embraced her, but as I imprinted the first kiss on her lips, they became livid with the hue of death. . .” (Frankenstein).
Weather and Atmosphere: Atmospheric changes can foreshadow emotional shifts or upcoming conflicts. “September 9th, the ice began to move, and roarings like thunder were heard at a distance as the islands split and cracked in every direction.” (Frankenstein).
Physical Objects: Objects that hold significance for a character can foreshadow future events. “I think I’m finished when Cinna pulls the gold mockingjay pin from his pocket. . . I remember now taking it off my mother’s dress, pinning it to the shirt.” (The Hunger Games).
Narrative Tone: A dark or foreboding tone can signal that something tragic is on the horizon, while a light-hearted tone may suggest a twist or surprise. “Lonnie’s family labels him a failure; his therapist, a lost cause; the justice system, another burden. So much for the American dream. Or any dream.” (The Last Tour).
Lookout! 👀
Be on the lookout for signs of foreshadowing in movies you watch and books you read. Consider how the author (or director) accomplished the use of this device. Was it effective? What hooked you and made you want to turn the page or keep watching? How can your understanding of what they did help you accomplish the same?
Prompt 📝
Write a scene where a character notices a seemingly trivial detail—like a broken clock, a dead tree, or a faded photograph—that later becomes pivotal to the plot or precedes a major event. Consider how this detail can create a sense of foreboding or anticipation.
Further Reading: 📚
Chrissy’s debut novel, Inheritance of Lies (Marble Press Books), was a 2022 Claymore Suspense Award finalist. Her writing is featured in anthologies and magazines, including Story Sanctum, Killer Nashville Magazine, Black Works, and The Broadkill Review, among others. Her unpublished manuscripts secured First Place in the 2024/2025 Thomas Mabry Creative Writing Award, 2024 Seven Hills Literary Contest, and “Top Pick” in the Suspense category for the 2024 Claymore Award. A Northern transplant who traded snow for Tennessee heat, Chrissy actively volunteers for Killer Nashville Magazine and is a proud member of Mystery Writers of America and International Thriller Writers. Aside from thinking up ways for characters to die, she hikes, runs, reads, and drinks dark wine. Visit her online at chrissyhicks.com or hire her for your next editing project at emberskyeeditorial.com. Join her free newsletter for author updates, a glimpse into a busy writer’s life, and book recommendations.
Drop the Pen! What Every Writer Should Know About Real Police Work: Ten Codes
A practical, candid look at police ten-codes—what they are, why they exist, how inconsistently they’re used, and why writers should approach them with caution when striving for authenticity in crime and thriller fiction.
By David Lane Williams
I recently spoke at a writers' conference in Texas. Those in attendance during my talk were primarily mystery and thriller writers who had lots of questions about authentic police work. One of those questions comes up from time to time: what are “ten-codes,” and how can I interpret them? Truth is, they’re still a mystery to me, even after forty years of practicing, teaching, and writing about first responding and investigations. Let’s give it a try anyway.
Everyone has heard the term “ten-four,” one of the many “ten codes” used in police work, as well as Citizens Band (CB) radio. Ten-codes are still ubiquitous in policing, but I find them archaic. Anyone who spends the money for a scanner to listen in on police chatter is capable of getting and printing off a list of codes. “Ten-four” sounds like a rogue trucker movie in the eighties, and you don’t even have to tack on the “good buddy,” for it to sound hokey. Further, I think there is plenty for a young officer to learn without heaping on a couple of hundred codes to memorize when plain old words do the trick just fine. That said, I’m in the minority on this opinion, so don’t listen too closely to me on this one. Ten-codes are going to be around for a while.
There are certain codes that are standard across the country:
10-4: Everything is okay or I understood what you just said to me.
10-1: I have no idea what you just said. Say it again.
10-6: I’m busy unless you really need me for an emergency
10-20: Where are you? (as in, “What is your ten-twenty,” or just “What’s your twenty”)
10-100: I need to stop and pee, often associated with 10-200
10-200: I need to stop and…you get the idea. I’ve only heard this one over the radio once, during a night shift. A reprimand was issued before sunrise.
For every standardized ten-code, dozens are only used in a specific jurisdiction. In some cities, there is a ten-code for an animal carcass in the roadway, though why the dispatcher can’t just say, “There is an animal carcass in the roadway,” is beyond me. I can almost guarantee you in that scenario that the responding officer would have to stop the car and look up code 10-gobbledeehoozit before he understood he was responding to a dead animal in the street. (And no one is going to get on a public police channel and ask what it means…except maybe that one guy who calls out 10-200.)
Beyond ten-codes, many departments also use systems called “codes” (distinct from ten-codes) and “signals.” This can get really complicated, but you may recognize “Code Three” as the term for responding to an emergency with lights and sirens, as in, “Adam 12, respond Code Three to a robbery in progress at…”
In the first jurisdiction where I worked, we had a code for responding with only lights but no sirens. This was termed “Code Two.” When I moved to a different city, however, the term Code Two meant “intoxicated person.” This resulted in a gaffe on my part one evening after I hit the new streets, during which I called for an ambulance “Code Two” because the person I was trying to help was in a panicked state and didn’t need the extra stress of loud sirens. The dispatchers and other officers listening in interpreted this as me asking for a drunk ambulance crew, which was the subject of relentless teasing for the rest of that night.
I don’t know why there isn’t some standard list, but every town is different. Thus, I don’t want writers to spend much time on this other than to say if it is really important to you, give the agency you’re writing about a call. I bet they’d send you the whole list if you tell them you’re a writer working on a project in their city. This is not top-secret WWII code-breaking stuff. This is some clerk’s version of CB radio-speak made up fifty years ago, now ingrained in that department’s culture.
If you want more, Michael Connelly has a cool list of codes and acronyms on his official website (Police & FBI Acronyms - Extras - Michael Connelly). Most are specific to the California area, but the list could be a fun rabbit hole during your research phase. Regardless, ten-codes are part of police life for the foreseeable future, but I think you’re safe if you use them sparingly or not at all. Your call.
Hope everyone is 10-4 with that.
Drop the Pen!: What Every Writer Should Know About Real Police Work: Handcuffs
A practical, behind-the-scenes guide to how real police officers apply, manage, and think about handcuffs—dispelling Hollywood myths and giving writers accurate insight into procedure, safety, pain, and the constitutional considerations behind restraint.
By David Lane Williams
There are few images more emblematic of police work than handcuffs. Most people get the basic concept: police put them on the wrists to keep arrestees from escaping, fighting, or trying to destroy evidence. Beyond that, handcuffs call to mind constitutional questions, including the Fourth Amendment regarding a government agent (a cop, for example) seizing the physical body of a citizen and the Eighth Amendment as it applies to cruel and unusual punishment. They are a tool, but one that can be abused, so their use must be performed judiciously and without causing injury.
Handcuffs are properly applied with the hands behind the back and the palms facing out. This is the most secure and reliable method for restraining someone who could be a flight or fight risk. It is more uncomfortable than having cuffs on in front, but this is a safety-first issue. Cuffs that are applied so that the hands are still on the front of the body allow aggressive prisoners to punch and grab for weapons, so academies across the country train officers to put them on so that the suspect’s wrists are behind the back.
Exceptions to the behind-the-back method include obesity, pregnancy, and anyone with a pre-existing injury or illness that would be exacerbated by their arms being pinned back. Large-sized arrestees can get some relief if the arresting officer interlaces two cuffs together to widen the links. This takes a lot of strain off the back, shoulders, and wrists.
Most handcuff brands can be opened with a universal key, meaning Officer A, using Smith & Wesson brand handcuffs, can open Officer B’s ASP brand handcuffs. This, ironically, means people who don’t much like police or think laws don’t apply to them can secretly carry a standard handcuff key on or in their person and use it to open just about any handcuff out there. This is why the process of placing handcuffs with the palms (and thus fingers) facing out and the keyhole facing up is standard across the profession. It makes it tougher for malcontents to “Houdini” out of the restraints.
Try it. Sit on a straight-backed chair as if you’re an arrestee in the back of a squad car. Make sure the back of your wrists are touching and your palms are facing out. Pretend that your wrists are locked, and that the keyhole is facing up. Unless you’re a true magician, you’re out of luck if your plan is to escape.
Quality of handcuffs varies from brand to brand, so some officers spring for a higher standard out of their own pocket if they don’t like the department-issued model. The biggest factor is how smoothly and quickly the cuffs encircle the wrists. Most officers like a fast action that wraps around a wrist and locks in one smooth action. Many cops also pony up for better handcuff keys equipped with miniature lights, textured grips, and metal rings for clipping them on the duty belt. There is a whole handcuff industry you’ve probably never imagined.
Once handcuffs are applied, officers are required to verify that they are not impeding blood flow. This is done either by checking the capillary refill in the nail bed, pinching the nail until it blanches, and then releasing the pressure. The normal pink hue should return within a second if the cuffs are not restricting the flow.
The other method is to insert a fingertip between the cuff metal and the wrist skin. The cuffs are too tight if you can’t fit the end of a finger in this space. The handcuffs are then “double locked” so they cannot loosen or tighten during the ride to jail, the police station, or the hospital.
Handcuffs can really hurt. Officers in training spend hours slapping them on one another, wearing them in the back of a squad car, sitting down with them on, etc. They know about as well as anyone how painful cuffs can be if applied roughly or, as in the case of police training, repeatedly.
One of the more brutal aspects of police training comes when the drill instructor orders one or two students to handcuff another cadet, and the “arrestee” cadet is ordered to keep them from getting the cuffs on. This becomes a melee, and I’ve seen shoulders snap out of the socket and bruises to wrists and forearms that travel toward the elbow in the days following the training. Thus, we know that those things can produce agony if they’re not used with some modicum of compassion.
There is a dangerous period right after the first cuff is applied and the officer is moving to apply the second. This is often when people swivel to attack or bolt to flee. There is something about the sound of that first handcuff ratcheting down on the wrist that can make people panic and do something stupid. Cadets practice applying the second cuff quickly to alleviate some of this concern. I was okay at it, but I’ve seen experts apply both cuffs in a proper manner in under one second—blazing fast and tactically efficient.
It’s a lot tougher to apply handcuffs than you might imagine, especially if someone is resisting arrest. People wriggle, shove away, buck and sweat, and getting that second cuff on may call for twisting his arm. This is one of the most dangerous moments for both officer and suspect.
Ironically, in nearly all cases, you’ll hear the officer growling, “Stop resisting,” even as the suspect yelps back, “I’m not resisting.” They are resisting, of course, but this is a panicked vocalization coming from a person who, in that moment, may not even realize they are in full fight or flight mode. This is why excellent communication skills and the ability to get those cuffs on quickly if the situation warrants are so critical to everyone’s safety.
I had a personal rule, which I repeat to every student I teach at academies and colleges: Never curse a man in handcuffs. Once cuffs are on, the fight is essentially over. Sure, some might still buck and kick, but the law won that round. It’s been my experience that even the toughest parolees will forgive the arrest, but they’ll harbor years of resentment toward officers who disrespected them after the capture was made.
Our code of conduct dictates that officers revert to being polite once the scene is made safe. I understand having hard feelings, but we’re supposed to be the good guys. The communities we serve need that level of professionalism and ethics from us more than ever. One way to demonstrate that attitude is through the proper, tactical, and constitutional application of handcuffs.
Be safe out there…just not too safe. Onward.
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