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I’m writing a series of 1-4 nonfiction books. I have a character in the 2nd book whose drama with the main character (MC) ends. However, the MC bumps into the character about 20 years (during the 4th book in the series) after both of their lives change drastically. The two exchange pleasantries for about two minutes without asking questions or mentioning the past and never see each other again.

The chance encounter is a good tidbit to include and close (“kill”) that character. But I’m conflicted on where to place it.

Do foreshadow and include it in the 2nd book?
Do I wait until the 4th book and look for a chapter to stick it in using a flashback?

Any insights appreciated.

I fully support foreshadow. it shows you have a plan. Flashbacks always feel cheap to me, but I prefer a linear story.

Phillip wrote: "I fully support foreshadow. it shows you have a plan. Flashbacks always feel cheap to me, but I prefer a linear story."

I'm with Philip.

At most, my characters will momentarily reflect on past events as they consider their options. I use those moments of reflection to hook the reader back into each character's broader context.

For your specific question, given the encounter is a surprise, 20 year future event, foreshadowing seems very difficult to carry off...

So, I would have whatever you need to be said or done, performed in the event in the 4th book, to give closure to the character in question.

Phillip wrote: "I fully support foreshadow. it shows you have a plan. Flashbacks always feel cheap to me, but I prefer a linear story."

Thanks, Phillip. I prefer linear, too. The confusion comes when the character's final story comes decades into the future and, meanwhile, there is another book in the nonfiction series.

I've never written a flashback I liked.

Wanjiru wrote: "I’m writing a series of 1-4 nonfiction books. I have a character in the 2nd book whose drama with the main character (MC) ends. However, the MC bumps into the character about 20 years (during the 4..."
You got me thinking. I can't think of a recent book I've read that has a flashback scene, although that can't be right. But I agree. Foreshadowing sounds the way to go.
Since you are planning for four books, I'm curious how many words you are planning for each one in the series. If you don't mind sharing.

For a series of four books, how many readers will read all four books and, of those who do, how many will remember the foreshadowing?

Debra wrote: "Wanjiru wrote: "I’m writing a series of 1-4 nonfiction books. I have a character in the 2nd book whose drama with the main character (MC) ends. However, the MC bumps into the character about 20 yea..."

Debra, I didn't initially plan. But since it's nonfiction and I knew the ground I wanted to cover, I wrote until I ran out of steam. I'm now organizing and rewriting as I go, at least the first two books. The 3rd and 4th books will be skeletal.
The books will average 60K, give or take.

M.L. wrote: "For a series of four books, how many readers will read all four books and, of those who do, how many will remember the foreshadowing?"

M.L. thank you for your rhetorical question. It has cleared things for me.
I think it's best to leave that character's story as a loose end since the drama with the MC is over. Then when I get to the 4th book, I'll give a short character into/flashback/and end his story with what became of him.
What do you think?

Wanjiru wrote: "Debra wrote: "Wanjiru wrote: "I’m writing a series of 1-4 nonfiction books. I have a character in the 2nd book whose drama with the main character (MC) ends. However, the MC bumps into the characte..."

Around 60k sounds like a good number!
Good look with the writing.

Wanjiru wrote: "M.L. wrote: "For a series of four books, how many readers will read all four books and, of those who do, how many will remember the foreshadowing?"

M.L. thank you for your rhetorical question. It ... What do you think?"

I think you're the best judge of where it enhances the story the most and where it is most fun/entertaining, and makes the most sense, to include it. You'll make a good choice.

The two exchange pleasantries for about two minutes without asking questions or mentioning the past and never see each other again.

So who cares? Every book must stand on its own. Every sentence must pull its weight by either: Developing character, meaningfully setting the scene, moving the plot. We don’t present conversation, we present the essence of it. We don’t record, “This happened…then that happened…and after that…”

If the reader remembers the character from the earlier book they’ll be expecting them to have a role in this one. But they don’t, which is a “But I thought…” point for the reader. If they don’t remember, or know, ask yourself what story purpose the interaction serves. Unless your protagonist leaves the conversation with something that changes the course of his/her reaction to events, or greater understanding of something necessary item, what did the meeting do but slow the narrative?

Jay wrote: " The two exchange pleasantries for about two minutes without asking questions or mentioning the past and never see each other again.

So who cares? Every book must stand on its own. Every sentence..."

Well put Jay. Thanks.

Foreshadowing.