{"id":5002,"date":"2025-03-03T20:27:35","date_gmt":"2025-03-03T20:27:35","guid":{"rendered":"https:\/\/josephrauch.com\/therauchreview\/?p=5002"},"modified":"2026-01-16T13:26:41","modified_gmt":"2026-01-16T13:26:41","slug":"plot-devices","status":"publish","type":"post","link":"https:\/\/josephrauch.com\/therauchreview\/articles\/plot-devices\/","title":{"rendered":"Using Plot Devices Effectively: Examples & Tips for Aspiring Writers"},"content":{"rendered":"

Once you spot misplaced plot devices, it\u2019s 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\u2019t help but roll our eyes or \u2014 if they\u2019re really unbearable \u2014 close the book entirely. This breaks the suspension of disbelief, a necessary part of engaging storytelling.<\/p>\n

A plot device done well is less conspicuous. It\u2019s nestled snugly within the narrative. Most readers don\u2019t question its place, and they don\u2019t get distracted by its function. It\u2019s natural, intuitive and plausible.<\/p>\n

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. This is true whether you\u2019re writing novels, short stories<\/span>, or a screenplay<\/span>. It\u2019s also a key component in strong character development<\/span>.<\/p>\n

What Is a Plot Device?<\/h2>\n

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, particularly in genres like whodunits<\/span> and thrillers.<\/p>\n

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\u2019s a means to push a character into the next phase of a story.<\/p>\n

According to best-selling author of \u201cThe Last Garden\u201d Elle Farrell-Kingsley<\/a>, \u201cThe right plot device keeps the pace flowing, builds tension, and pulls at your emotions. It\u2019s not just about what happens next\u2014it\u2019s about how it makes you feel. That moment when everything clicks and you realise the author\u2019s been leading you there all along? That\u2019s the power of a great plot device.\u201d<\/p>\n

In principle, a plot device is straightforward. In practice the execution can be difficult.<\/p>\n

The average reader in your audience might be clever. They\u2019ve 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\u2019t fit the narrative, you risk losing the reader.<\/p>\n

Be intentional with your storytelling decisions. Before you can play with reader expectations and subvert tropes, you must start with the basics.<\/p>\n

Editorial Note<\/strong><\/em>: Want to get published? Learn how to get a literary agent<\/a>.<\/p>\n

14 Common Plot Devices<\/h2>\n

As you read through these common plot devices, keep an eye out for three patterns:<\/p>\n

    \n
  1. Devices that could complement each other,<\/li>\n
  2. Ideas for how you might subvert well-known devices and<\/li>\n
  3. Good and bad examples of plot devices you\u2019ve encountered<\/li>\n<\/ol>\n

    1. Red Herring<\/h3>\n

    A red herring guides a reader to believe something about the story that isn\u2019t entirely true. It intentionally misleads to create suspense, mystery or tension. A reader may think<\/em> they have the answer. In truth, they\u2019ve been distracted from the real culprit.<\/p>\n

    In 1807, journalist William Cobbett first used the term when he criticized the press<\/a> for reporting Napoleon\u2019s defeat too early. Cobbett compared the press\u2019s choice to using pungent red herring to distract a dog, accusing the press of using false information to distract readers.<\/p>\n

    If a red herring is well executed, the author has an opportunity to surprise the reader. Your reader experiences their \u201cah-ha\u201d moment at the same time as the main character. This revelation may come as an initial shock, but makes sense in hindsight.<\/p>\n

    Red herrings often appear in literature, and readers are well acquainted with their signals. As the writer, you\u2019re trying to strike a balance between providing the reader with discrete hints without being so secretive that the big reveal doesn’t make sense.<\/p>\n

    Example: \u2018Murder on the Orient Express\u2019 by Agatha Christie<\/h4>\n

    Mystery writer Agatha Christie<\/a> is known for her use of red herrings. In \u201cMurder on the Orient Express<\/a>,\u201d Hercule Poirot becomes transfixed by a scarlet kimono that works to mislead readers.<\/p>\n

    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.<\/p>\n

    Poirot\u2019s 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.<\/p>\n

    2. MacGuffin<\/h3>\n

    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\u2019s motivation. If it no longer matters to the character, it becomes irrelevant to the plot.<\/p>\n

    A Brief History of the MacGuffin<\/h4>\n

    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<\/a>.<\/p>\n

    During a 1939 lecture at Columbia University, Hitchcock referred to a plot element called the \u201cspringboard situation\u201d\u2014 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.<\/p>\n

    There are several famous MacGuffins in literature\u2014for example, the Holy Grail. The Grail\u2019s existence drives the characters\u2019 actions in Arthurian legend. There would be no quest without it.<\/p>\n

    More Specific Plot Devices That Are Very Similar to a MacGuffin<\/h4>\n

    With the definition of a MacGuffin in mind, let\u2019s 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\u2019t necessarily independent writing strategies as much as subgroups of another device. To illustrate, consider the Big Dumb Object (BDO), an element that can become a plot coupon, serving no purpose beyond its role in advancing the plot.<\/p>\n

    A BDO is a large, inexplicable item that captures the character\u2019s attention. The object creates mystery and intrigue, so the characters are motivated to investigate. The obelisk in \u201c2001: A Space Odyssey<\/a>\u201d 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\u2019t 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.<\/p>\n

    In short, anything that moves the narrative forward due to a character\u2019s interest in it, yet loses value if a character stops caring, is a MacGuffin.<\/p>\n

    3. Magnetic Plot Device<\/h3>\n

    A magnetic plot device is a MacGuffin lookalike. It\u2019s 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 \u201cThe Lord of the Rings<\/a>\u201d as an example.<\/p>\n

    At first glance, the ring appears as a MacGuffin. It determines the hobbit\u2019s quest to deliver the ring to Mordor. The key difference is the story\u2019s explanation of the ring\u2019s 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\u2019t exist in its present form.<\/p>\n

    The Ring operates as a MacGuffin within \u201cThe Lord of the Rings\u201d, but it\u2019s a magnetic plot device because of its utility for other characters within the story.<\/p>\n

    4. Quests or the Hero\u2019s Journey<\/h3>\n

    Quests or hero\u2019s 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 worldbuilding around them.<\/p>\n

    These tales are exciting, full of triumphant victories and devastating losses. The heroes encounter hardships and challenges, yet they persevere.<\/p>\n

    Most of the time, the hero\u2019s journey is the story. Without it, that particular narrative doesn\u2019t exist. You\u2019ll 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.<\/p>\n

    Example: \u2018The Odyssey\u2019 by Homer<\/h4>\n

    One of the greatest examples of a hero\u2019s journey is \u201cThe Odyssey<\/a>.\u201d 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\u2019s island for eight years. We also follow his son, Telemachus, who sets out to discover the truth of his father\u2019s fate.<\/p>\n

    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\u2019 struggle: he is stranded, trapped and challenged. The reader is invested in his story, longing to see his successful return home.<\/p>\n

    5. Cliffhanger<\/h3>\n

    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.<\/p>\n

    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.<\/p>\n

    The success of a cliffhanger hinges on a reader\u2019s 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.<\/p>\n

    6. In Medias Res<\/h3>\n

    In Medias Res is a Latin phrase that translates to \u201cinto the midst of things<\/a>.\u201d 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.<\/p>\n

    Where the story starts is critical. It reveals something important about the plot or character. It\u2019s significant to the story\u2014not 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.<\/p>\n

    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.<\/p>\n

    Editorial Note<\/em><\/strong>:\u00a0<\/strong>Looking to get noticed? Learn how to get book reviews<\/a>.<\/p>\n

    7. Flashbacks<\/h3>\n

    Flashbacks convey information to the reader that can\u2019t fit within the linear structure of your story. Often, these details are pertinent to a character\u2019s motivations. For a moment, you pull back the curtain to reveal a character\u2019s past, offering context for why they hold a particular opinion or exhibit a unique character trait.<\/p>\n

    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.<\/p>\n

    Example: \u2018The Great Gatsby\u2019 by F. Scott Fitzgerald<\/h4>\n

    Flashbacks are a crucial plot device in \u201cThe Great Gatsby<\/a>.\u201d The reader is a step removed from the elusive Gatsby because the story is told from the perspective of Nick Carraway. F. Scott Fitzgerald<\/a> 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.<\/p>\n

    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.<\/p>\n

    8. Plot Twist<\/h3>\n

    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\u2019s not so surprising that it doesn\u2019t make sense for the story. Also, using too many<\/em> plot twists can leave your reader feeling disoriented and exhausted.<\/p>\n

    A great plot twist benefits from the \u201cshow don\u2019t tell\u201d technique. Rather than describe a character\u2019s motivations, you use their actions to show why they behave as they do.<\/p>\n

    This technique works because readers often take \u201ctelling\u201d for face value. As a writer, invite a slight discrepancy between a character\u2019s dialog and their actions. Carefully foreshadow the plot twist by showing a character\u2019s 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.<\/p>\n

    Example: \u2018Fight Club\u2019 by Chuck Palahniuk<\/h4>\n

    \u201cFight Club<\/a>\u201d by Chuck Palahniuk<\/a> 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\u2019t truly believe anything. We\u2019re simply along for the ride.<\/p>\n

    Over the course of the story, we experience a gradual escalation of extreme actions and thoughts from the narrator. Yet we still don\u2019t 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\u2019re able to reflect on the story and see the text is filled with hints. The twist, while surprising, was ultimately inevitable.<\/p>\n

    9. Chekhov\u2019s Gun<\/h3>\n

    Russian playwright Anton Chekhov<\/a> used his play, \u201cThe Seagull<\/a>,\u201d to demonstrate this plot device. He\u2019s often quoted<\/a>, \u201cIf 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\u2019s not going to be fired, it shouldn\u2019t be hanging there.\u201d That is to say: if you note a detail early in the story, it needs to be necessary for the plot. If it doesn\u2019t assist the plot, cut it.<\/p>\n

    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.<\/p>\n

    With Chekhov\u2019s 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.<\/p>\n

    Chekhov\u2019s 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.<\/p>\n

    Take note, in subverting Chekhov\u2019s Gun, you\u2019re 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\u2019s revealed to be unimportant in the end, you\u2019ve created a red herring.<\/p>\n

    Example: \u2018Frankenstein\u2019 by Mary Shelley<\/h4>\n

    Mary Shelley\u2019s \u201cFrankenstein<\/a>\u201d uses Chekhov\u2019s 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.<\/p>\n

    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\u2019s the firing of Chekhov\u2019s Gun.<\/p>\n

    10. Plot Voucher<\/h3>\n

    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\u2019t know why or how until the moment it’s needed. Where Chekhov\u2019s Gun is the philosophy behind narrative intention, the plot voucher is the rifle hanging on the wall.<\/p>\n

    Think of a plot voucher as the opposite of a red herring. It\u2019s no secret the voucher is important to the story, but it creates tension because the reader doesn\u2019t know why. The voucher isn\u2019t intended to deceive or mislead. Rather, it\u2019s foreshadowing.<\/p>\n

    11. Quibble<\/h3>\n

    You\u2019ll see quibbles used to fulfill literal verbal conditions instead of the intended meaning. It\u2019s 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.<\/p>\n

    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.<\/p>\n

    For example, in an episode of \u201cThe X-Files,\u201d two young brothers discover a genie<\/a> 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\u2019t specify they wanted a boat on the water, they received a boat that was stuck on land.<\/p>\n

    A character can also use a quibble to escape a deal. The Deal with the Devil trope<\/a> may at first seem hopeless, but a character\u2019s literal interpretation of the agreement\u2019s language can help them escape their fate.<\/p>\n

    12. Ticking Time Bomb<\/h3>\n

    A ticking time bomb plot device puts time pressure on the character\u2019s 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.<\/p>\n

    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.<\/p>\n

    The ticking time bomb doesn\u2019t 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\u2019s motivations.<\/p>\n

    The origin of the ticking time bomb can be traced back to medieval literature. It\u2019s simply anything that creates a situation a character must navigate within a set amount or time or else repercussions ensue.<\/p>\n

    13. Twins<\/h3>\n

    Twins are widely used through literature and film. Think of a Tweedledee and Tweedledum from \u201cThrough the Looking Glass<\/a>.\u201d They\u2019re humorous to the reader while supplying Alice with useful \u2014 albeit riddled \u2014 information.<\/p>\n

    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.<\/p>\n

    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\u2019s crucial you provide the reader with hints throughout the story to create the surprising yet inevitable effect.<\/p>\n

    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\u2019s \u201cTwelfth Night<\/a>.\u201d<\/p>\n

    14. Deus Ex Machina<\/h3>\n

    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.<\/p>\n

    Meaning and Origin<\/h4>\n

    Deus ex machina is Latin for \u201cGod from the machine<\/a>.\u201d 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 \u201cmachine,\u201d the crane, was literally delivering a god to solve the plot.<\/p>\n

    Some academics credit playwright Euripides with popularizing the technique. According to Brittanica<\/a>, the plot device dates back to the ending of Sophocles\u2019 \u201cPhiloctetes<\/a>,\u201d where Heracles appears suddenly to help Philoctetes make a life-altering decision he had been struggling with.<\/p>\n

    Is Deus Ex Machina Always Bad Writing?<\/h4>\n

    Deus ex machina is usually a sign of one or more of these situations:<\/p>\n