By Jessica Berg
Certain writing techniques spark more drama than an unforeseen plot twist. These five hot takes forever divide even the best writing buddies. But does that mean there’s a right answer? Probably not.
To Prologue or Not to Prologue
Prologues are like Brussels sprouts—you either love them or you hate them, and most of the time, that comes down to how they’re prepared. Some writers say prologues add depth and backstory and are essential for setting the stage for the narrative. Others see them as gatekeepers to the work and would prefer to start the story with the action.
If the info isn’t essential for the reader immediately, you might not want to include a prologue. We all have a million things vying for our attention all the time. Maybe starting your narrative at the beginning of the action makes more sense. No matter what, make sure you’re serving readers an amuse bouche that makes them crave the main course, not just the breadbasket to skip over.
Flashbacks: Strategic or Stalling?
Flashbacks can be brilliant additions to the narrative because they provide depth and understanding of characters. We learn about their motivations and secrets, which helps enrich the present storyline.
But flashbacks can also disrupt the narrative flow. They can quickly and easily pull readers from the moment and possibly cause confusion if they’re too long or not handled correctly. That’s because they stall the forward momentum and trajectory.
Before you go all in on flashbacks, ask yourself if it needs to be told in retrospect? Can you find a way to slip the backstory into the current situation? Flashbacks need to add lays, not trip up your pacing. You might try writing the flashback as a super-condensed piece of micro-fiction and evaluate its success. (And then, you could submit to Fractured Lit if you wanted.)
Multiple POVS: Expanding Horizons? Or Diluting the Story?
We all love it when we can see every perspective of a narrative because this allows us to experience different viewpoints and deepen our understanding of the plot and character.
But juggling too many perspectives can lead to a fragmented narrative, and readers may not connect with any specific character.
If you’re vibing with the idea of multiple POVs, make sure each one pulls its weight. Every voice has to be distinct and bring something unique to the work. Keep it balanced, or you risk losing your reader’s focus.
Purple Prose: Lush or Overkill?
Who among us doesn’t love a perfectly crafted sentence with just the right imagery? When used correctly, rich, descriptive language can transform a story. Purple prose makes the narrative immersive and memorable.
But not everyone loves this level of detail. For some readers, this can feel overwhelming or slow the pacing. This is especially true when working with high-concept, high-stakes commercial fiction narratives. The trick here is not to lose the plot at the expense of the language. The challenge is finding the sweet spot where the descriptive language adds to the narrative instead of overpowering it.
If you (like me) suffer from adding in all the descriptors all the time, here’s what you can do. First, write your zero draft and parse no words! Then, let it rest and go back to it. Evaluate the prose and ask yourself if the words are working for the story, not just showing off your long-term crush on poetic phrasing. Paint those images, but don’t lose sight of the plot.
Are Unreliable Narrators Annoying or So Smart?
Unreliable narrators are narrators who act in ways we know aren’t authentic. Think narrators who distort the truth, hide details, or outright lie. This technique can be incredibly powerful, but it can also polarize readers.
Sometimes unreliable narrators are puzzles for the reader to solve. In this way, they can add layers of complexity and offer a surprise to the readers once they reach the end of the work. Keeping readers guessing, creating suspense, and adding a sense of unease to drive the story are all fine – if they serve the plot and lean into the overarching themes of the work.
But if readers catch on too early, unreliable narrators can be a dud. This makes twists feel predictable instead of clever. If the constant shifts in truth and perspective frustrate readers, this can lead to a disconnect, and readers will feel more manipulated than engaged.
If you’re toying with a nod and a wink to your audience, you have to keep the element of surprise! Readers want to feel like they’re piecing together a puzzle that can be solved, not being led on a chase with no end. The goal here is to keep them guessing, but don’t make it too obvious. Otherwise, you might just spoil your own twist.
Closing Thoughts
In the end, these are hot takes because there’s no right answer. Remember that you’re the writer, so you get to choose what serves your narrative. What matters is using these techniques with purpose. Writing is an art, after all. What works for you and for one narrative might not work for the next. Experiment, take risks, and write the story you want to read.
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Jessica Berg is a literary agent with Rosecliff Literary and a contemporary fantasy novelist. She provides developmental editorial feedback for Writer’s Digest, Uncharted Magazine, and Fractured Lit. A multi-nominated writer, she holds an MFA from Spalding University and is represented by Amy Collins of Talcott Notch. Find out more about her here.