Dramatic Irony vs. Surprise: Which One Should You Use (and When)?

By Janice Hardy

Should you clue readers in or keep them guessing?

It’s one of those sneaky little questions that pops up mid-draft, usually right when you’ve got a big moment brewing. You’re plotting a reveal, or writing a high-stakes scene, and BAM!—you're second-guessing yourself. Should readers know what’s coming, or should they be as shocked as the protagonist? Will a slow-building dread serve you better, or is it time for a jaw-dropping twist?

It's time to choose between dramatic irony and surprise.

Both are powerful narrative tools that, when used well, can hook your reader, raise your tension, and add a satisfying emotional punch. But used poorly? You risk confusing your audience, frustrating their expectations, or even undercutting your story’s payoff.
 
Let’s break down how each technique works, when to use them, and how to make the right choice for your story’s needs.

What Is Dramatic Irony?

Dramatic irony happens when your reader knows something your character doesn’t. It creates that delicious feeling of anticipation—the kind that has readers inching closer to the page, practically shouting at the book, “Don’t go in there!”

It builds tension because your audience is waiting for the moment the character discovers the truth. That gap between knowledge and action makes us feel something. Fear, dread, hope, or heartbreak.

Think Romeo and Juliet. The audience knows Juliet is still alive, but Romeo doesn’t, and that tragic disconnect turns a single moment into literary devastation.

Or picture a thriller where the killer is hiding inside the protagonist’s house. We know it. The character doesn’t. And every second they move closer to the danger, the tension climbs.

Dramatic irony works because we see the train coming and can’t look away.

(Here’s more with Three Ways to Add Tension to a Scene During Revisions)

What Is Surprise?

Surprise is exactly what it sounds like—it’s the twist, the reveal, the moment the reader didn’t see coming. But here’s the trick: it only works if it feels earned. A good surprise doesn’t come out of nowhere. It sneaks in on the back of earlier clues, subtle hints, and setup that once the surprise hits, makes us say, “Ohhh, of course! That explains everything.”

In The Sixth Sense, the big reveal that Bruce Willis’s character has been dead all along shocked audiences. But if you watch the movie again, every clue was right there. That’s what made it powerful. It changed the meaning of everything that came before without breaking the story’s rules.

But surprise without setup? That’s when readers feel cheated. Think of the infamous “It was all a dream” ending from Dallas. If your twist invalidates what came before, or has no groundwork at all, it won’t land, it’ll splat on its face.

(Here’s more with Expect the Unexpected: Creating Plot Twists)

So Which One Should You Use?

The simplest way to choose between dramatic irony and surprise is to ask yourself one key question:

What do you want your reader to feel right now?

• Do you want them to worry? Use dramatic irony. Let them know the danger before the character does.
• Do you want them to gasp? Use surprise. Let the truth hit the reader and the character at the same time.

Only you can know for sure which technique will have the most impact in your story.  

(Here's more with How Dramatic Irony Can Heighten Tensions and Strengthen Plots)

Dramatic irony pulls readers forward with anticipation. Surprise knocks them off their feet. 

Both evoke strong emotions—but those emotions are different, and they affect the pacing, tension, and rhythm of your story.

Think About Purpose, Not Preference

It’s tempting to use the one you like best, but this choice is less about preference and more about purpose.

• Dramatic irony builds tension through anticipation.
• Surprise releases tension through a reveal.

Genres tend to lean one way or the other, too:

• Thrillers, horror, and tragedy often use dramatic irony—the dread is what keeps us reading.
• Mysteries, comedies, and twisty psychological dramas tend to use surprise, because rethinking what we thought we knew is half the fun.

But remember, these are tendencies—not rules.

Can You Use Both?

Absolutely. Some of the best stories use dramatic irony and surprise, weaving them together to layer emotional complexity.

For example: You might use dramatic irony to clue readers in that a character’s best friend is secretly working against them. But later, you reveal that the betrayal was to protect the protagonist from something worse. Surprise!

The irony builds tension. The surprise redefines the relationship. The combo punches the reader right in the feels and keeps them hooked.

That’s the magic of layering your techniques.

(Here’s more with Do You Feel It? Writing With Emotional Layers)

When In Doubt, Serve the Story

Like everything in writing, it all comes down to the story. Whether you’re struggling with a plot twist, a POV shift, or what order to reveal your backstory, the same advice applies:

Do what serves the story best.

Look at your narrative arc. Ask yourself:

• What do I want the reader to feel at this point in the story?
• What emotional journey am I building?
• What will keep readers turning pages?

Dramatic irony and surprise are tools, not tricks. 

(Here's more with Serve Your Story and You Won’t Go Wrong)

Used intentionally, they can shape how readers experience your novel and how deeply they connect with it. Sometimes the difference is subtle. Sometimes it changes everything.

EXERCISE FOR YOU: Choose a pivotal scene in your work-in-progress. Write two versions of the same scene: One where the reader knows something the protagonist doesn’t (dramatic irony). One where both reader and character discover the truth at the same moment (surprise). Compare the emotional effect of each version. Which creates more tension? Which better serves your pacing or tone? 

Which Do You Prefer? Are you Team Dramatic Irony or Team Surprise?

If you're looking for more to improve your craft (or a fun fantasy read), check out one of my writing books or novels:

In-depth studies in my Skill Builders series include Understanding Conflict (And What It Really Means), and Understanding Show Don't Tell (And Really Getting It). My Foundations of Fiction series includes Plotting Your Novel: Ideas and Structure, a self-guided workshop for plotting a novel, and the companion Plotting Your Novel Workbook, and my Revising Your Novel: First Draft to Finished Draft series, with step-by-step guides to revising a novel. 

Janice Hardy is the award-winning author of the teen fantasy trilogy The Healing Wars, including The Shifter, Blue Fire, and Darkfall from Balzer+Bray/Harper Collins. The Shifter, was chosen for the 2014 list of "Ten Books All Young Georgians Should Read" from the Georgia Center for the Book. It was also shortlisted for the Waterstones Children's Book Prize (2011), and The Truman Award (2011).

She also writes the Grace Harper urban fantasy series for adults under the name, J.T. Hardy.

She's the founder of Fiction University and has written multiple books on writing, including Understanding Show, Don't Tell (And Really Getting It), Plotting Your Novel: Ideas and Structure, and the Revising Your Novel: First Draft to Finished Draft series.

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