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Chekhov's gun (Russian: Чеховское ружьё) is a dramatic principle that states that every element in a story must be necessary, and irrelevant elements should be removed. Elements should not appear to make "false promises" by never coming into play. The statement is recorded in letters by Anton Chekhov several times, with some variation:

• "Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there."
• "One must never place a loaded rifle on the stage if it isn't going to go off. It's wrong to make promises you don't mean to keep." Chekhov, letter to Aleksandr Semenovich Lazarev (pseudonym of A. S. Gruzinsky), 1 November 1889. Here the "gun" is a monologue that Chekhov deemed superfluous and unrelated to the rest of the play.
• "If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don't put it there." From Gurlyand's Reminiscences of A. P. Chekhov, in Teatr i iskusstvo 1904, No. 28, 11 July, p. 521.

Ernest Hemingway mocked the interpretation given by English instructors to the principle. He gives in his essay "The Art of the Short Story" an example of two characters that are introduced and then never again mentioned in his short story "Fifty Grand". Hemingway valued inconsequential details, but conceded that readers will inevitably seek symbolism and significance in these inconsequential details.

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The Kuleshov effect is a film editing (montage) effect demonstrated by Soviet filmmaker Lev Kuleshov in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.