Red Herrings: How to mislead your readers
False clues, fake suspects and clever misdirection can keep your readers guessing until the final page
I had no idea what to do. I was about to embark on my second psychological thriller, The Stolen Child. I knew what the premise of the story was, but I had no idea how to execute it—how to turn it into a convincing plot with twists and turns.
Fortunately, the crime writer, Sarah Hilary, who writes the DI Marnie Rome series, agreed to a chat. We met for a coffee at a cocktail bar next to the railway station at Bath Spa. I spotted her when she was at the far end of the bar, which was long and thin to match the railway siding, her trademark brunette bob gleaming.
Sarah liked the idea for my story.
‘But I just don’t know how to write it,’ I said.
Sarah shrugged, as if she didn’t get the problem.
‘Just have a few red herrings,’ she said.
‘What?’ I said, nearly chocking on my coffee. I’d heard of a red herring, but I had no idea how to create one.
‘Make up a few suspects. There’s a reason why they could be a suspect. That’s all you need,’ she said breezily, finishing her coffee and getting ready to leave.
She made it sound so easy and as I took the train back to Bristol that day I still I had no idea how to execute my novel, although I knew I was a step closer. I just had to focus on creating a red herring or two.
As you know, a good crime novel should keep readers guessing. The best ones don’t just lay out clues—they also plant misdirection, leading us down the wrong path before revealing the truth. And as I discovered in a railway siding cocktail bar, the most effective tool for this? The red herring.
But what exactly is a red herring? Where does the term come from? And, more importantly, how can you use them well in your own writing?
What is a Red Herring?
A red herring is a deliberate misdirection—a false clue, a misleading suspect, or a narrative detour designed to keep the reader looking the wrong way. It’s the equivalent of a magician’s sleight of hand, drawing your attention to one thing while the real trick happens elsewhere.
You’ll find red herrings in all kinds of fiction, from classic detective novels to psychological thrillers. They can take many forms:
• A false suspect (a character who seems guilty but isn’t).
• A misleading clue (a piece of evidence that seems important but ultimately leads nowhere).
• A distraction (a subplot or side character whose presence is designed to throw the reader off the scent).
Done well, a red herring adds layers to your story, making the final reveal more satisfying. Done badly, and it can feel like a cheap trick—frustrating the reader rather than delighting them.
Where did the term ‘Red Herring’ come from?
The phrase red herring has an odd history. It dates back to at least the early 19th century, and its origins are often linked to hunting. The story goes that strong-smelling smoked herrings (which turn reddish in the curing process) were used to distract hounds from following a scent trail. Whether this ever actually happened is debatable, but the idea stuck.
The term was popularised in 1807 by British journalist William Cobbett. He claimed that red herrings had been used to mislead hounds, using it as a metaphor for the way newspapers distracted the public from real political issues (no change then!). From there, it found its way into everyday language—and eventually into crime fiction, where it became shorthand for any kind of deliberate misdirection.
Why are false suspects called Red Herrings?
In crime fiction, the red herring plays a crucial role. A well-placed false suspect or misleading clue keeps the reader engaged, making them think they’re solving the puzzle—when in reality, they’re heading in completely the wrong direction.
A good red herring works because:
• It diverts attention from the real perpetrator, making the final twist more surprising.
• It challenges both the detective and the reader, creating tension and uncertainty.
• It adds complexity to the narrative, making the mystery more engaging.
Agatha Christie was a master of red herrings, frequently leading readers to suspect one character, only to reveal a completely unexpected culprit.
The Murder of Roger Ackroyd
One of the best red herrings in crime fiction comes from Agatha Christie’s The Murder of Roger Ackroyd (1926).
The story is set in the quiet English village of King’s Abbot, where the wealthy Roger Ackroyd is found murdered in his study. The case is investigated by the brilliant detective Hercule Poirot, who has retired to the countryside but is drawn back into the world of crime-solving.
Suspicion falls on several characters, including Ackroyd’s stepson, Ralph Paton, who mysteriously disappears after the murder. Throughout the novel, Dr James Sheppard, the village doctor and the story’s narrator, assists Poirot in gathering clues.
However, in a shocking twist, Dr Sheppard himself is revealed to be the murderer. He had been blackmailing a woman named Mrs Ferrars, who committed suicide out of guilt, and killed Ackroyd to keep his secret safe. The novel’s brilliance lies in its use of Sheppard as an unreliable narrator—misleading both Poirot and the reader until the very end.
This groundbreaking twist cemented Christie’s reputation as the Queen of Crime and remains one of the greatest surprises in detective fiction and has, of course, been emulated frequently since then (psychological thrillers are known for their often unreliable narrators). It’s a brilliant example of misdirection: the answer is in plain sight, yet we’re so busy looking the wrong way that we miss it entirely.
How to Use Red Herrings in Your Own Writing
If you’re writing a crime novel, a well-placed red herring can add intrigue and complexity. But how do you get it right? Here are a few tips:
1. Make it convincing. A weak red herring—one that’s too obvious or easily dismissed—won’t fool anyone. The best misdirections feel just as plausible as the real solution.
2. Don’t overdo it. If your story is nothing but false leads, the reader will grow frustrated. They should feel tricked—but in a satisfying way.
3. Tie it into the plot. A good red herring shouldn’t feel random. It should fit naturally into the story, with its own internal logic.
4. Play fair. The best crime fiction gives the reader all the clues they need to solve the mystery—but cleverly distracts them from putting it together too soon.
Final Thoughts
Red herrings are a crime writer’s secret weapon. They keep readers on their toes, make mysteries more engaging, and ensure that when the truth is finally revealed, it feels all the more satisfying.
So the next time you’re plotting a novel, ask yourself: where can you plant a trail of false breadcrumbs? How can you make your reader think they’re solving the case—only to realise, too late, that they were looking the wrong way all along?
Because in crime fiction, misdirection isn’t just part of the game—it is the game.
Let me know how you get on with your own red herrings!
And if you want to see the red herrings I created in The Stolen Child, it’s available here.
You might want to check out my masterclass on How to Plot.
Coming next month, a masterclass on How to Create Suspense, which also touches upon red herrings.