I have a thriller novel growing in my head. It’s at the very early stages, and I don’t know as yet exactly which direction it’s going to go in. I do know my two main characters, and I also know what brings them together. But I need to learn more about the genre before I even think of making a start.
As a first step I attended a very stimulating thriller writing master class the other weekend, run by the writer Henry Sutton. It was part of a weeklong crime writing festival in my home city of Norwich, called Noirwich, which also included some great guest speakers.
In the master class, Henry put us on the spot about the books we were planning, giving us feedback that allowed us to really pin our ideas down. He was wonderfully ruthless – not allowing any of us to get away with being woolly.
He also told us that a thriller should be a Why done it rather than a Who done it. I found that very interesting, because the best fictional villains for me are those you really get to know and understand. This is what I’ve tried to do with my character Leo in my novel A Nightingale In Winter, which should hopefully be making an appearance before too long. One novel I read recently featured a hit man who was just a cold killing machine, and he was an unbelievable character as a result.
Other things I learnt on the master class include:
- A thriller has to start with a character wanting something desperately.
- Something, or someone is in the way or out to stop them.
- The clock is ticking.
- There is a lot at stake.
- Unlike as is often the case in detective fiction, the crime in a thriller has not yet taken place at the start of the book.
- Thrillers should be emotional (this really appeals to me!)
Ways of increasing the level of suspense are to:
- Switch the point of view to start a new chapter, so that the reader is left in suspense about what is happening to the character in the previous chapter.
- Keep asking questions but don’t answer them.
- Make the book turn a corner by introducing another plot strand or another character who disrupts everything.
- Wrong-foot the reader – allowing them to think they are being taken in a certain direction then making it turn out completely differently to how they expect.
Many of these things apply to all griping fiction writing of course, but the difference with writing a thriller is that the conflict or issues the characters face should be life threatening.
Henry told us that the crime writer Jim Thompson said that there is only one thriller plot – “things are not what they seem.”
Another part of my research into the thriller genre has of course, been to read lots of thrillers. Henry recommended many authors, including Val McDermid, and in particular, A Mermaid Singing. I couldn’t get that book, so I read another one of hers – I was interested by it, but a little disappointed, I have to admit. It seemed to me that she had built one of her main characters very carefully and then made her act completely out of character at the end. It frustrated me. But this is all part of the learning process, isn’t it? Finding out what satisfies you, what intrigues you and what makes you want to keep on reading.
Judging by the reviews this novel has, I’m not alone in my opinions about it. But readers are so disappointed that it’s clear Val’s books are usually lots better than this, so I shall persist and read more of them. Incidentally, before the master class, I got one of Henry’s books out of the library, wanting to familiarize myself with the way he writes. I couldn’t finish it – not because it was badly written or the characters acted out of character – but because it was about a struggling writer, and the issues he was grappling with were all so depressingly familiar!
What thrillers do you recommend? Why did you particularly enjoy them? I’d love to know!