Using Plot Devices Effectively: Examples & Tips for Aspiring Writers

Once you spot misplaced plot devices, it’s hard to look away. They appear as an obvious attempt to scoot the plot forward or resolve a central conflict, yanking us from being fully immersed in the story. As a reader, we can’t help but roll our eyes or — if they’re really unbearable — close the book entirely.

A plot device done well is less conspicuous. It’s nestled snugly within the narrative. Most readers don’t question its place, and they don’t get distracted by its function. It’s natural, intuitive and plausible.

But writing good plot devices is easier said than done. You must learn the rules before you can break them to play with reader expectations.

What Is a Plot Device?

A plot device is a storytelling technique used to move a narrative forward. It can be a character trait, physical item, looming conflict or anything else that aids in plot development. The device may create drama, suspense or mystery.

One story can use several plot devices or reuse the same one in different contexts. You can think of a plot device as simple cause and effect: something happens that forces the character to take action, make a decision or respond to a story development. It’s a means to push a character into the next phase of a story.

According to best-selling author of “The Last Garden” Elle Farrell-Kingsley, “The right plot device keeps the pace flowing, builds tension, and pulls at your emotions. It’s not just about what happens next—it’s about how it makes you feel. That moment when everything clicks and you realise the author’s been leading you there all along? That’s the power of a great plot device.”

In principle, a plot device is straightforward. In practice the execution can be difficult.

The average reader in your audience might be clever. They’ve consumed enough narratives in one form or another to know how to spot a well-worn plot device. If a plot point seems to come out of nowhere or doesn’t fit the narrative, you risk losing the reader.

Be intentional with your storytelling decisions. Before you can play with reader expectations and subvert tropes, you must start with the basics.

14 Common Plot Devices

As you read through these common plot devices, keep an eye out for three patterns:

1. Devices that could complement each other,
2. Ideas for how you might subvert well-known devices and
3. Good and bad examples of plot devices you’ve encountered

1. Red Herring

A red herring guides a reader to believe something about the story that isn’t entirely true. It intentionally misleads to create suspense, mystery or tension. A reader may think they have the answer. In truth, they’ve been distracted from the real culprit.

In 1807, journalist William Cobbett first used the term when he criticized the press for reporting Napoleon’s defeat too early. Cobbett compared the press’s choice to using pungent red herring to distract a dog, accusing the press of using false information to distract readers.

If a red herring is well executed, the author has an opportunity to surprise the reader. Your reader experiences their “ah-ha” moment at the same time as the main character. This revelation may come as an initial shock, but makes sense in hindsight.

Red herrings often appear in literature, and readers are well acquainted with their signals. As the writer, you’re trying to strike a balance between providing the reader with discrete hints without being so secretive that the big reveal doesn’t make sense.

Example: ‘Murder on the Orient Express’ by Agatha Christie

Mystery writer Agatha Christie is known for her use of red herrings. In “Murder on the Orient Express,” Hercule Poirot becomes transfixed by a scarlet kimono that works to mislead readers.

Early on the morning of the murder, Poirot peers from his cabin to catch a fleeting glimpse of a woman in a scarlet kimono. When the body is found moments later, he connects the kimono sighting and the crime.

Poirot’s belief in the significance of the kimono forces the reader to consider it a key clue in solving the murder. Yet, his sight of the kimono is a mere coincidence. His focus on it creates the red herring.

2. MacGuffin

A MacGuffin is something that pushes the character into action, yet it lacks importance on its own. It can be a physical object, concept or another character. You identify a MacGuffin by its role in the character’s motivation. If it no longer matters to the character, it becomes irrelevant to the plot.

A Brief History of the MacGuffin

Filmmaker Alfred Hitchcock often used MacGuffins in his work and popularized the storytelling technique. However, it was screenwriter Angus MacPhail, a writer for many Hitchcock films, who coined the term.

During a 1939 lecture at Columbia University, Hitchcock referred to a plot element called the “springboard situation”— an event early in the story that pushes the character to act. The lecture was an early discussion on the plot device that would become known as a MacGuffin.

There are several famous MacGuffins in literature—for example, the Holy Grail. The Grail’s existence drives the characters’ actions in Arthurian legend. There would be no quest without it.

More Specific Plot Devices That Are Very Similar to a MacGuffin

With the definition of a MacGuffin in mind, let’s dig deeper into the world of plot devices. The further you dig, the more likely you are to encounter some that operate similarly yet possess slight differences. These plot devices aren’t necessarily independent writing strategies as much as subgroups of another device. To illustrate, consider the Big Dumb Object (BDO).

A BDO is a large, inexplicable item that captures the character’s attention. The object creates mystery and intrigue, so the characters are motivated to investigate. The obelisk in “2001: A Space Odyssey” is a BDO (In this case we are referring to and linking to the book because it is a hidden gem compared to the movie). We don’t really know its purpose, but its presence in the story drives the narrative. If the item never existed, neither would the story as we know it. Therefore, the Big Dumb Object is a kind of MacGuffin.

In short, anything that moves the narrative forward due to a character’s interest in it, yet loses value if a character stops caring, is a MacGuffin.

3. Magnetic Plot Device

A magnetic plot device is a MacGuffin lookalike. It’s an item that works to move a plot forward, but it also possesses an intrinsic value to the world or story. Take the One Ring in “The Lord of the Rings” as an example.

At first glance, the ring appears as a MacGuffin. It determines the hobbit’s quest to deliver the ring to Mordor. The key difference is the story’s explanation of the ring’s importance. In the hands of a certain type of character, the ring is a tremendously powerful weapon. Yet, for Frodo, its only power is invisibility. If he suddenly stopped caring about destroying the ring, the story wouldn’t exist in its present form.

The Ring operates as a MacGuffin within “The Lord of the Rings”, but it’s a magnetic plot device because of its utility for other characters within the story.

4. Quests or the Hero’s Journey

Quests or hero’s journey plots have captivated readers for thousands of years. Per the classic narrative structure, a great hero is called forth to go on a journey with the hopes of achieving a named goal. Failure of the quest results in severe penalties for the character or the world.

These tales are exciting, full of triumphant victories and devastating losses. The heroes encounter hardships and challenges, yet they persevere.

Most of the time, the hero’s journey is the story. Without it, that particular narrative doesn’t exist. You’ll often see quests in fantasy or science fiction, but they also appear in contemporary literature. For example, a heist story is a type of quest. The characters are on a mission to acquire a valuable item and will have to overcome obstacles throughout their journey.

Example: ‘The Odyssey’ by Homer

One of the greatest examples of a hero’s journey is “The Odyssey.” This sprawling epic follows Odysseus as he fights to find his way home to Ithaca after the battle at Troy and being stranded on Calypso’s island for eight years. We also follow his son, Telemachus, who sets out to discover the truth of his father’s fate.

Over the course of the story, Odysseus faces perils and obstacles. He encounters peoples of distant lands to whom he recounts his harrowing journey and seeks help. Readers witness Odysseus’ struggle: he is stranded, trapped and challenged. The reader is invested in his story, longing to see his successful return home.

5. Cliffhanger

A cliffhanger ends a story or chapter in the midst of a high-stakes situation. It leaves the reader with unanswered questions. An effective cliffhanger comes after a series of tense plot developments that hook the reader.

The story might conclude with the main character learning critical new information that dramatically alters what they previously thought true. Or perhaps they find themselves in a new dangerous situation. The character might make an impulsive decision that will have large, yet unknown ramifications. The reader can only speculate what comes next.

The success of a cliffhanger hinges on a reader’s investment. They must care for the character and be immersed in the plot to feel the full weight of not knowing where the plot will go next.

6. In Medias Res

In Medias Res is a Latin phrase that translates to “into the midst of things.” The story begins by landing the reader in the middle of a narrative. Key events have already occurred. Through a series of flashbacks and character discussions, you reveal bits of information that explain how the character ended up there.

Where the story starts is critical. It reveals something important about the plot or character. It’s significant to the story—not simply a technique to get a reaction out of the reader by using shock, awe or wonder. The technique loses its power if followed by lengthy descriptions of backstory or world lore.

With In Medias Res, the reader gains little information at the start of the story. The writer must take extra care to avoid disorienting them. When done intentionally and skillfully, In Medias Res can be a powerful technique to immediately draw the reader into a story.

7. Flashbacks

Flashbacks convey information to the reader that can’t fit within the linear structure of your story. Often, these details are pertinent to a character’s motivations. For a moment, you pull back the curtain to reveal a character’s past, offering context for why they hold a particular opinion or exhibit a unique character trait.

A flashback is a great technique to help the reader feel close to a character, but the memory can overwhelm a story if used too often. Sprinkle them throughout the narrative when it makes sense for the character and plot. Avoid giving the reader context solely for informational purposes. Your audience doesn’t need to know everything about a character, so choose what you reveal carefully.

Example: ‘The Great Gatsby’ by F. Scott Fitzgerald

Flashbacks are a crucial plot device in “The Great Gatsby.” The reader is a step removed from the elusive Gatsby because the story is told from the perspective of Nick Carraway. F. Scott Fitzgerald uses flashbacks to inform why the present moment exists in its current form. Gatsby expresses to Nick a desire to return to the past. Flashbacks provide context for this longing, allowing readers to juxtapose the present and past.

Throughout the narrative, flashbacks briefly lure the reader closer to Gatsby before pushing them away again. Our experience of Gatsby is carefully curated by what he chooses to tell Nick and how Nick relays that information to us.

8. Plot Twist

A plot twist shocks readers by creating a dramatic change to the story through meaningful revelations or turns of events. A successful twist is surprising, but inevitable. Ensure it’s not so surprising that it doesn’t make sense for the story. Also, using too many plot twists can leave your reader feeling disoriented and exhausted.

A great plot twist benefits from the “show don’t tell” technique. Rather than describe a character’s motivations, you use their actions to show why they behave as they do.

This technique works because readers often take “telling” for face value. As a writer, invite a slight discrepancy between a character’s dialog and their actions. Carefully foreshadow the plot twist by showing a character’s true self while telling the reader something different. As a result, the twist is surprising, but the reader recognizes it was bound to happen in hindsight.

Example: ‘Fight Club’ by Chuck Palahniuk

“Fight Club” by Chuck Palahniuk has perhaps one of the most famous literary plot twists. It carefully plays with reader expectations. We meet an unreliable narrator on page one. The narrative voice makes certain we can’t truly believe anything. We’re simply along for the ride.

Over the course of the story, we experience a gradual escalation of extreme actions and thoughts from the narrator. Yet we still don’t know what is real or not. This doubt creates discomfort. Tensions rise as the ending approaches and the twist is revealed. After the immediate shock wears off, we’re able to reflect on the story and see the text is filled with hints. The twist, while surprising, was ultimately inevitable.

9. Chekhov’s Gun

Russian playwright Anton Chekhov used his play, “The Seagull,” to demonstrate this plot device. He’s often quoted, “If you say in the first chapter that there is a rifle hanging on a wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.” That is to say: if you note a detail early in the story, it needs to be necessary for the plot. If it doesn’t assist the plot, cut it.

A plot detail mentioned early in the story but never again can be frustrating to the reader. It can feel like a loose end and the reader may wonder why it was brought up in the first place. Such confusion creates an unsatisfying reading experience.

With Chekhov’s Gun, the proverbial gun firing is unavoidable. The reader might not yet know how it will impact the plot and characters, but its appearance in the early pages of a story sets the stage for its use and builds tension.

Chekhov’s Gun is a principle to guide narrative decisions, but it can still be subverted. You can introduce something important early in the story, however, the characters fail to use the element, use it in an unpredictable way, or refuse to use it.

Take note, in subverting Chekhov’s Gun, you’re walking a line between playing with reader expectations and creating a red herring. To subvert the device successfully, the factor you introduce must play a key role, but not in the way the reader would expect. If you introduce a plot element of seeming importance, but it’s revealed to be unimportant in the end, you’ve created a red herring.

Example: ‘Frankenstein’ by Mary Shelley

Mary Shelley’s “Frankenstein” uses Chekhov’s Gun admirably. Early in the novel, Dr. Frankenstein reveals what will be his downfall: insatiable ambition. He discusses aspirations to create life, seeking to transform society through scientific achievement.

Over a series of missteps throughout the story, Frankenstein realizes his mistake. He was not prepared for the outcome of his ambitions. The revelation that the world was not ready for the life he created and subsequent harm to his personal life is a result of his earlier ambitions. It’s the firing of Chekhov’s Gun.

10. Plot Voucher

A plot voucher is an item or piece of information given to a character early in the story that will become important later. The reader might sense its importance, but they don’t know why or how until the moment it’s needed. Where Chekhov’s Gun is the philosophy behind narrative intention, the plot voucher is the rifle hanging on the wall.

Think of a plot voucher as the opposite of a red herring. It’s no secret the voucher is important to the story, but it creates tension because the reader doesn’t know why. The voucher isn’t intended to deceive or mislead. Rather, it’s foreshadowing.

11. Quibble

You’ll see quibbles used to fulfill literal verbal conditions instead of the intended meaning. It’s a plot device often used in fantasy when opposing characters make a deal or agreement wherein the literal terms come to fruition. A quibble is effective when the literal interpretation of words used brings unintended consequences to the story.

Genies are the perfect example. In most narratives that include them, genies are notoriously sneaky for granting wishes that create unexpected or unwanted results. The genie grants a request based on the literal words of the wish. You can often use quibbles to instill humor into a narrative or complicate a situation.

For example, in an episode of “The X-Files,” two young brothers discover a genie in an old storage locker. As one of their three wishes, the brothers ask for a boat. The genie grants their wish, with a catch. Because the two didn’t specify they wanted a boat on the water, they received a boat that was stuck on land.

A character can also use a quibble to escape a deal. The Deal with the Devil trope may at first seem hopeless, but a character’s literal interpretation of the agreement’s language can help them escape their fate.

12. Ticking Time Bomb

A ticking time bomb plot device puts time pressure on the character’s in a situation. It may appear as a literal explosive that characters must disarm, but really it can be anything that forces characters to race against the clock.

It intends to create suspense and add urgency to the story. Readers understand there are severe penalties should the characters not complete their task by the time the bomb goes off. As a result, readers sit with a feeling of impending doom.

The ticking time bomb doesn’t have to be a physical item. It might be a piece of secret information that, once revealed, will dramatically alter the course of the story or change the character’s motivations.

The origin of the ticking time bomb can be traced back to medieval literature. It’s simply anything that creates a situation a character must navigate within a set amount or time or else repercussions ensue.

13. Twins

Twins are widely used through literature and film. Think of a Tweedledee and Tweedledum from “Through the Looking Glass.” They’re humorous to the reader while supplying Alice with useful — albeit riddled — information.

Twins sometimes also appear as doppelgangers, with one twin being a version of the other. The doppelganger’s presence either proves helpful or creates problems.

Jekyll and Hyde is an ideal example of the doppelganger device. The characters seem to operate separately in the story, but the ending reveals they were split personalities of the same individual. To execute this device without leaving plot holes, it’s crucial you provide the reader with hints throughout the story to create the surprising yet inevitable effect.

Essentially, twins can be used to enhance the plot with their presence, like Fred and George Wesley, or be used to drive the larger narrative, like Viola and Sebastian in Shakespeare’s “Twelfth Night.”

14. Deus Ex Machina

A deus ex machina happens when the creator of a story suddenly introduces a person, thing or event to quickly resolve a conflict that previously seemed impossible or near impossible to overcome. Writers tend to employ this plot device device for endings, but technically a deus ex machina can occur at any point in a story where there is a conflict with no clear solution established before. A deus ex machina can conclude a scene or story arc rather than the ending to an entire book or series.

Meaning and Origin

Deus ex machina is Latin for “God from the machine.” During ancient Greek and Roman plays, theater workers used a crane to hoist and lower actors playing gods and goddesses. This technique would usually happen around the end of the show, right when the protagonist needed a god to swoop in and save him from overwhelming odds. The “machine,” the crane, was literally delivering a god to solve the plot.

Some academics credit playwright Euripides with popularizing the technique. According to Brittanica, the plot device dates back to the ending of Sophocles’ “Philoctetes,” where Heracles appears suddenly to help Philoctetes make a life-altering decision he had been struggling with.

Is Deus Ex Machina Always Bad Writing?

Deus ex machina is usually a sign of one or more of these situations:

• The writer did not thoroughly plan their plot.
• The writer did not work with an editor.
• The writer did work with an editor, but the editor was not competent enough to notice the deus ex machina, explain why it was bad writing and convince the writer to restructure the plot.
• The editor or editors requested revisions, and the writer kept the deus ex machina anyway.
• An unreasonable deadline forced the writer to quickly resolve the plot by any means necessary.
• The writer had a reasonable deadline but did not plan the ending from the beginning of the writing process. As the deadline approached, the writer realized that the current plot structure made deus ex machina the only possible ending, and there was no time to restructure the plot.

Nonetheless, it is possible for a deus ex machina to work, especially in satirical stories where writers intentionally break the fourth wall. In “Monty Python and the Holy Grail,” there is a scene where a massive monster chases the main characters and is about to devour them. The narrator suddenly notes that the animator of the monster died before finishing the scene.

How to Avoid a Bad Deus Ex Machina

While author S.M. Stevens was working on her award-winning novel, “Beautiful and Terrible Things,” she wrote a key plot detail without realizing it could be considered deus ex machina.

Stevens told The Rauch Review, “I learned this the hard way when several beta readers for ‘Beautiful and Terrible Things’ vehemently protested the plausibility of my character, Charley, revealing hidden wealth near the story’s end.”

Ultimately Stevens decided that the hidden wealth plot detail could not reasonably fit the narrative and character she had established.

Readers, editors and writers tend to have a good nose for potential bad writing. Allow some trusted people to see your first draft, and seriously consider their advice if more than one person points out a deus ex machina.

How and When to Use Plot Devices to Enhance Your Story

A writer faces two challenges when crafting a story: hooking a reader and keeping their attention until the end. Plot devices are tools to accomplish both.

Use as many plot devices as you like, but ensure your creative decisions make sense for the story and characters. If the introduction of a new plot element has potential to cause reader confusion, it’s best avoided.

A well-executed plot device is a rewarding reading experience. Before working one into your narrative, ask yourself the following questions:

• What is necessary to move the story forward?
• Does the device serve the character and overall story?
• Does the device feel like a natural fit for the story?
• Does it reveal something about the world or character?
• Is it cliche, contrived or tropey?
• Will it distract, distance or confuse the reader?

When you write plot devices, you’re not trying to reinvent storytelling. Don’t be afraid to use devices familiar to readers. These recognizable plots make a reader comfortable, believing they know where the story is headed.

Once they’re hooked, flip the familiar upside. In playing with reader expectations, the story remains refreshing and exciting.

Avoiding Cliches and Other Plot Device Pitfalls

It’s hard to write a great plot device. Fortunately there are a handful of strategies that can help you avoid common cliches and plot device flops.

Create Complex Characters

A great character makes mistakes, falls short and says the wrong thing. They are a messy collection of admirable traits and faults. As readers, we can relate to their flaws just as much as we’re in awe of their top qualities.

Perfect characters, those who never error and reveal no weakness, are unrealistic. They can feel too good to be true. Without faults to make a character compelling and relatable, the story risks losing the reader.

Avoid plot device cliches by creating characters who struggle and falter. What are their flaws, and how do they impact the story? Plot devices craft opportunities for characters to grow and develop.

Subvert Common Tropes

Plot tropes can make a reader roll their eyes and close the book. However, they’re not completely off-limits. Use tropes in your story, but flip them upside-down.

When asked about tropes in plot, Farrell-Kingsley noted, “These are devices that can cheapen the impact of your story if not handled properly. But here’s the thing: even the most overused devices can work—if you put a new spin on them. Twist them, add depth, make them feel earned. The key is how you use them, not just that they’re familiar.”

For example, instead of having a helpless “damsel in distress,” allow the character to escape on their own through trickery and disguise, staying one step ahead of their captor and rescuer. Give them unique motivations beyond being rescued. Done well, the story is refreshing and exciting.

Don’t Overuse Them

It’s possible to overwhelm the story with plot devices, making it so the reader is confused by the information or doesn’t know what warrants their attention.

“If you rely too much on the same plot devices, they’ll lose their punch. Readers start to see it coming, and there’s where you lose the tension,” Farrell-Kingsley told The Rauch Review.

However, according to the best-selling author, if you’re clever about it, you can use a lot of one plot device, and it might still work. She said, “The trick is balance. Use familiar devices, but don’t be afraid to surprise your reader, play with their expectations.”

Tips for Aspiring Novelists

For writers just starting out, Farrell-Kingsley offered key advice: learn the rules before breaking them.

Study examples in classic literature and experiment in your own writing. While it might feel contrary, read examples of plot devices that fall short. Knowing what works is just as important as knowing what fails.

When experimenting with plot devices, keep these tips in mind:

• Make plot devices a natural part of the story
• Ensure they serve the narrative
• Prioritize a character-driven plot
• Think about the reader’s experience
• Study the best examples
• Ask for feedback

Writing is a muscle that grows stronger the more you work it. Play around with different plot devices. Challenge yourself to write a story that uses a cliche device then write a different version of that story that subverts the trope. The more you practice, the better you’ll be able to trust your intuition when making narrative decisions.

To Learn Plot Devices, Go Back to the Basics

A writer’s job is to provide the reader with a memorable and satisfying experience: a story that sweeps the reader into its world with compelling characters and plot tension.

Plot devices give the story the means to move forward. Yet, as you work with plot devices, do so with intention. A random device here or sudden twist there risks cheapening your story. It’s well worth your time to explore traditional uses of plot devices.

“If you read a lot (as every author should), and absorb what you read, you may already be incorporating plot devices into your own writing without giving them a lot of thought,” Stevens explained. “But to master plot devices and create something original, you have to practice the craft first, and then, eventually, subvert your devices in original, creative and entertaining ways.”

You must learn the rules before you can break them.