Though dramatic irony can work in just about every type of story, it tends to show up more frequently in narratives that rely on the anticipation and suspense of their audiences, such as horror movies and thrillers. Producers of these stories know that creating mystery by leaving out key information (for example, Where did the knife go? or Who is the murderer?) is only part of the formula for success. They also need to provide information that signals when the characters are in danger—information that is especially gripping when the characters themselves are unaware.

Some argue that dramatic irony can be especially empowering to the readers and viewers of the horror genre because it gives them a “leg up” on the characters. Though they still experience suspense, dread, and terror, audiences receive enough information from dramatic irony to ensure that they are at least one step ahead of the frequently doomed cast.

One of the forefathers of horror as we know it, Edgar Allan Poe, seemed especially aware of the power of dramatic irony to both fascinate and comfort his audiences. As one of the first American writers to make his living entirely from writing, Poe focused much of his work on themes that appealed to public interest in the 1830s and 40s—themes related to death, decomposition, burial, and mourning. In one of his most famous short stories, “The Tell-Tale Heart,” Poe creates an intense but subtle sense of dramatic irony by the end of his second paragraph.

Listen to the first section of “The Tell-Tale Heart” and try to identify the dramatic irony that will drive the plot of the story.