These are from Writer’s Digest. I couldn’t make this conference, but my friends at WD provided an excellent
You wonder why I hark back to 2008? Writing thrillers is different from any other genre. They nailed the specifics.
People often confuse the mystery and thriller genres. While it’s true that they often overlap, there’s a distinct difference: A mystery follows an intellectual protagonist who puts together clues to solve a crime after it’s been committed, and a thriller details the prevention of a crime before it has been committed.
At the 2008 Maui Writers Conference, bestselling thriller writer Gary Braver (Skin Deep) said that dread drives thrillers. You know who the good guys and bad guys are. Dull moments will lose an audience, and writers can’t afford to lose an audience, even for one page.
To captivate an audience (and agents and publishers), Braver offers these 10 essential ingredients for a successful thriller.
1. You need to have a good story. Thrillers want to be thrilled. A common element in thrillers is that the protagonist will fall victim to someone else’s scheme and get stuck in a moment of dread. There are only three themes in all of literature: death and rebirth (Stephen King’s Misery); the hero slaying a dragon to restore the world to normalcy (James Bond, Indiana Jones); and the quest to make life better (The Da Vinci Code). Know which theme fits your story.
2. Write about the underdog. Tell your thriller from the point of view of the person with the most to lose. The protagonist gives the story character. Give him baggage and emotional complexity.
3. Multiple points of view can give you great range in a thriller. They allow you inside the heads of many characters, which can build more dramatic tension and irony.
4. Open your book with an action scene. Don’t put biographical information or exposition in Chapter 1 (do that later). Introduce the crime—which tells you the stakes—and introduce the hero and villain, and even some obstacles the protagonist may face. Don’t sacrifice style—use metaphors and good language—but stick with action.
5. Early on, make clear what your protagonist wants and what he fears. You should know what the protagonist wants and how he would end the novel if he were writing it. There are two quests: Stopping the bad stuff from happening (In The Silence of the Lambs, it’s to stop Buffalo Bill from killing) and dealing with the character’s baggage (for Clarice to be a good, professional FBI agent in a [then] male-dominated profession).
Think Cinderella: Her main quest is to get to the ball. It’s about liberation. When she gets to the ball she finds freedom.
6. Make your characters miserable. Ask what the worst thing is that could happen to your protagonist and make it worse. Give them grief, false hope, heartaches, anxiety and near-death experiences. We don’t want our protagonist to win until the end.
7. Your main characters have to change. It has to be an emotional change that shows growth and victory over some of his baggage. In The Silence of the Lambs, Clarice is stronger and tougher at the end and she gets a good night’s sleep.
8. Pacing must be high: Strong Narrative Thrust. Each scene should reveal something new, no matter how slight it is. Don’t tell us about stuff that has nothing to do with the story. The villain has a ticking clock, so there’s no time to waste on pages with useless information. Short paragraphs and white space are good. Consider using cliffhangers at the end of every chapter, albeit a sudden surprise or provocative announcement.
9. Show—don’t tell. Avoid the passive voice. Use action verbs (He heard the screams in his bedroom). Avoid adverbs—they are cheesy and cheap ways of telling instead of showing. Don’t start sentences with –ing words (“He stared” vs. “Staring at the …”). Make the subject and verb close and up front in the sentence.
10. Teach us something. Make sure your audience has learned about something—an animal, medical treatment, social issue—so we walk away with more knowledge.
Thrillers are normally only shown from two characters point of view. The first character who is first observed is the protagonist which involves the audience in more events and creates empathy for the character. However, occasionally the story is told from the villains point of view which can lead to empathy for the villain also to their twisted ways and perhaps their demented past that has led to the future. Lastly the story can also be told from the point of view of an onlooker. Detaching the audience from the events, they can be more obsevervant.
- The central protagonist/s face death, their own or someone else’s.
- The force/s of antagonism must initially be clever and/or stronger than the protagonist.
- The main storyline for the protagonist is either a quest or the character who cannot be put down.
- The main plotline focuses on a mystery that must be solved.
- The film’s narrative construction is dominated by the protagonist’s point of view.
- All action and characters must be credibly realistic/natural in their representation on screen.
- The two major themes that underpin the Thriller are the desire for justice and the morality of individuals.
- One small but significant aspect of a great thriller is the presence of innocence in what is seen as an essentially corrupt world.
Jacqui Murray is the editor of a technology curriculum for K-fifth grade and creator of two technology training books for middle school. She is the author of Building a Midshipman, the story of her daughter’s journey from high school to United States Naval Academy midshipman. She is webmaster for five blogs, an Amazon Vine Voice book reviewer, a columnist for Examiner.com, and a weekly contributor to Write Anything and Technology in Education. Currently, she’s working on a techno-thriller that should be ready this summer. Contact Jacqui at her writing office or her tech lab, Ask a Tech Teacher.