Story Craft

I write thrillers. My first novel, “A Killer Secret” is a psychological thriller with an intimate cast of just three main characters, one of whom is a serial killer. My second novel, “The Fall of Faith,” is a domestic thriller with a much larger cast. It’s a story of regret, lust the journey to live for something larger than oneself. They’re two very different stories, but they’re both thrillers. So I thought I’d take a moment for the uninitiated to define what my favorite genre is.

As you can tell from my own works, thriller novels range in theme and content. As a writer, I like that because it doesn’t box me in to writing the same story repeatedly. For you, the reader, it’s also cool because you can choose what thrills you’re interested in. From domestic to psychological to horror and even straight suspense.

So what is a thriller novel? Let’s look at some of the main features that make a thriller novel so thrilling.

Complex characters

A thriller novel must have well-written, interesting, and challenging characters to work with. For the most part, the main character will make decisions that affect the story, but other characters can force their hand and change the action as well.

Sometimes the main character will be aware of their actions and how they impact others, but that’s not always the case. Sometimes you can trust the main character to tell you the truth of what’s going on. But beware, dear reader, often a thriller’s main character is an unreliable narrator.

More than other genres, say romance or high-octane action stories, characters in a thriller novel need to have depth. If they’re unbelievable or one-dimensional, readers won’t be compelled to tag along on their dark journey.

Slow beginning

This one is a bit controversial and, honestly, not a hard and fast rule. I intentionally wrote the beginning of “A Killer Secret” with a slow, methodical pace. I did this for two reasons. 1) I wanted to have time to develop my main characters and for readers to get to know them on a deeper level and 2) I wanted to lure the reader into a sense of calm so that once the action took off, it would be a thrilling jolt that fueled their journey through the rest of the story.

Some readers loved this, but others told me in reviews that they thought the beginning dragged on and they almost gave up on the story. Obviously that wasn’t the effect I was going for, so when it came time to work on my next novel, I tried something different. If you’ve read “The Fall of Faith,” you know the action starts in chapter one and just ramps up from there.

So which is correct? For thrillers, it really doesn’t matter. Some readers love a slow burning mystery while others enjoy a fast-paced, action-packed story. And me? I’ve discovered I enjoy writing both.

Building tension

The creation of tension in a thriller novel is key. As the novel gets closer to its climax, a good thriller will throw in a new element to build tension. This can be anything from a new character introduction, an unexpected event or anything else that drives the plot forward.

The goal is to create a story that is so thrilling, so unexpected, that the reader can’t put the book down. This sounds simple, but believe me when I tell you it is not. It’s hard to be original when so many good thrillers have already come before yours. And today’s readers aren’t naïve. They expect the unexpected.

Smooth plot

A thriller novel should have a plot that flows smoothly from one chapter to the next. If readers get confused or if they spot holes in the plot, it won’t matter how magical your prose is. It sounds easy to construct a solid plot, but even if you have everything mapped out before you start writing, your characters have a way of messing things up.

Humor

If there is one characteristic that consistently separates good thrillers from the crowd, it’s their level of humor. Thrillers can be very serious, with deep emotional connections between the reader and the characters. When there is no sense of humor to balance out the tension, a novel can get really boring.

Humor is hard. I mean, how do you write something that a large swath of the population will find funny? You can’t. So, as an author, you simply must be true to yourself and your voice. That said, a majority of thriller novels I enjoy as a reader include some form of humor.

Memorable scenes

This is another feature of a thriller novel that I think is very subjective. If we’re talking about a spy thriller or action thriller, the author might string action scene after action scene, which makes if very difficult for a reader to remember everything they just read.

This often results in a book that captivates you, but that quickly fades from your memory once you’ve finished. I’m not saying this is necessarily bad. If you enjoyed the reading experience, the author did their job. My personal goal as an author is to write stories that will stay with you long after you’ve read the last page and set the book aside. Am I successful? That’s for you to decide.

Realistic characters

Oh look. We’re back to characters. For me, characters are more important than the plot. Blasphemy, you say? I think it is the characters that propel the plot and not the other way around. I’ve already talked about how complex characters are important. But they also have to be realistic.

I don’t mean that they can’t be over the top. In fact, I like to create super crazy characters with exaggerated characteristics. I simply mean that they have to seem realistic within the story. If they do something out of character for them or something no person on the face of the earth would ever do when faced with a similar situation, it will ring false to the reader.

Shocking twists

This is why you read thrillers in the first place, isn’t it? It’s certainly why I love to write them.

Shocking twists can be narrative or dramatic. A dramatic surprise is when your expectations as a reader are met after a sudden change in plot. If done right, you realize that even though it seems like a twist; the novel was heading that way the whole time.

A narrative surprise is when the reader is surprised by an unexpected detail in a character’s story. This is when the clues were there throughout the novel, but they were crafted so subtly that it isn’t until you reach the end that you realize their relevance and importance to the plot. Those are my favorite!

Suitable ending

The best thriller novels have an interesting and satisfying ending. This doesn’t mean you’ll get a Hollywood happy ending or that you’re guaranteed to be in a good mood when you finish. It simply means that the ending is right for the story you just read.

If you’ve read either of my books, you know I don’t do happy endings. I write dark, twisted novels. I want my endings to be satisfying but in a dark way that is still realistic to the rest of the story. In fact, I labor over the beginning and the ending of my novels because I want the entire experience to feel right within the context of the world I’m creating. No easy task that.

I’ve said it before, and I’ll keep saying it until I can no longer speak: creating strong characters is one of the most important elements of writing a successful thriller. When it comes down to it, people are motivated by three things: fear, hope, and love. To create full-fleshed out and believable characters, readers should be able to connect at least one of these emotions towards each main character.

So how do you develop rich, three-dimensional characters that feel like they’re real people? Like someone you might encounter on the street, whether you’d like to or not?

Using characters’ emotions to the story’s advantage.

The modern thriller is driven by action. The plot propels the book and the characters forward, sometimes at a dizzying pace. Too often you, the reader, don’t have a lot of time to relate to the main characters. You’re given just enough, a sketch really, so you know who to root for and who to despise. This kind of writing works. Obviusly. The best seller lists are filled with books using this method. And I’m not advocating for its demise. At least not fully. What I’d like is a little more time spent developing the characters.

This doesn’t have to stop the action or take you out of the story. If done right, it’ll enhance the book and make it more impactful and memorable. Because the major problem I have with current thrillers is that while they are exciting in the moment, they are easily forgettable once you’ve put them down. That’s why I try to make my stories as compelling and interesting as possible by using my characters’ emotions as a catalyst for action.

Never underestimate the power of the dark side.

In literature, there’s a trope we writers use to great effect where someone who is good will find themselves face-to-face with someone who they consider to be evil or misguided. This is used to show the reader who to root for, and it can become real tiring real fast if the writer is too heavy handed with the set up.

Many times the “good” character loses their first encounter with the “evil” character. This sets their resolve and sets up the road to the story’s climax. Of course, as a reader, it’s your job to determine if the “good” character is really all that good and if the “evil” character is totally unredeemable. I’d argue the best stories are those that blur the lines and whose characters are never purely good or evil.

The best characters are probably hiding something.

In every novel you read, there’s a chance the main character is keeping something from you. This could be because they do not want to tell you what their true motives are, or it could be because they don’t know what to say but feel obligated due to past experiences. It could also be because they want you to be on their side.

Whatever it is, it’s important for readers to understand this aspect of characters. Misdirection is a writer’s best friend when it comes to crafting a successful thriller. No matter what a character may say, their behavior should always be consistent with who they are as a person. Pay attention to what’s not said. To their mannerisms, actions and reactions. And remember, the best characters are probably hiding something. Even the good guys. Aren’t there things most people don’t know about you?

Is anyone ever really who they say they are?

What would a good mystery or thriller novel be without a little obfuscation? In fact, it’s one of the main ingredients of believable characters. After all, in real life no one is ever really who they say they are. Not completely. Think about how you act around your family. Is it the same as how you act amongst a group of friends? Do you use the same mannerisms and language at church as you do at a bar? What about in private? Would people be surprised by some of the things you do or think when no one is around?

Just as we live and breathe deception without even realizing it, so too must a thriller’s characters. Believe me when I tell you that writing rich, fleshed out characters with shades of grey is just as satisfying as reading about them. In fact, the more fully crafted a character, the more likely it is that they just take over while I’m writing.

That’s when I know I’ve done it right. And when I know you’re going to enjoy reading about them, even if, in the end, you despise them.

I admit it. I’m a man. A straight cis man at that. I’m also a novelist who loves writing strong female characters. 

Is that possible? Am I deluding myself? Am I doing my female readers (not to mention my female characters) a disservice?

I admit it. I’m a man. A straight cis man at that. I’m also a novelist who loves writing strong female characters. 

Is that possible? Am I deluding myself? Am I doing my female readers (not to mention my female characters) a disservice?

I don’t think so. My mom has always been one of my role models. Growing up, both my parents worked, but my mom was also a homemaker and caregiver who never made me feel like she didn’t have time for me. I get my love of cooking from her. She cooked a lot, often with me watching from a chair pulled up to the counter next to her. She danced and smiled and loved life. She still does. And, oh yeah, she was also a nurse and went back to school to earn advanced degrees to further her career as a nurse and manager.

And my wife? She’s not just my best friend and inspiration. She’s another one of my role models. She’s an amazing mom. In fact, before we met, she was a single mom who supported and cared not just for her kids, but for one of her sisters and her children as well. She’s intuitive, intelligent and strong as hell. And I couldn’t ask for a better life partner. She lifts me up when I’m down. She shows me the way when I’m in the dark. And she does it all without asking for anything but my love in return. Frankly, I wish I was half the person she is.

So when I sit down to write a new female character, I have plenty of real-life examples to draw from. I don’t think I get it right every time. How could I? I’m a man, after all. I’m flawed and biased and imperfect in many ways. But even that helps me as I craft my female characters because I don’t want perfect characters. I want them to be realistic. You might not like every one of my characters (male or female), but my goal is that they spring to life from the page. They feel like so much more than a bunch of words strung together. That they remind you of someone or at least feel like they could be someone you might run into in your life.

I want to turn the damsel in distress trope on its head. Both of my current novels (“A Killer Secret” and “The Fall of Faith”) have female characters that feel like they need help. And both include men who see themselves as knights in shining armor. Of course, all is not as it seems, and things don’t follow the typical trope. Which, if you ask me, is a good thing. 

Men putting women on a pedestal, treating them as princesses, and thinking they have to fix everything for women and rescue every female they meet contributes to the very real problem of toxic masculinity. It’s not healthy. For either sex. And when it comes to fiction, it’s not entertaining. 

So can a man write a realistic, strong, and independent female character? I think so. They have to want to, of course, which might be why it’s not as common as it should be. 

Can I write realistic, strong, and independent female characters? I believe I can and do. But, as with all things in the life of a novelist, it’s up to you, the reader, to make that call. 

There’s nothing like a colorful description to transport you from your favorite comfortable reading spot right into the middle of a book’s action. I love when an author is able to use language in such an immersive way. But my favorite literary color has always been gray.

I read a lot. I don’t discriminate by genre though I do tend to gravitate towards books that are real, that are gritty. Even if there is a happy ending, I want the characters to have earned it. They should be test, tried and found wanting. That’s how you see what someone is truly made of. That’s when the politeness ends, the public persona slips away and the true character is revealed. 

And let’s face it, we live in a gray world. It’s often hard to tell who the heroes and the villains are. Heroes in one story could end up the villains in another. I get that we are talking fiction here, but in my opinion the best fiction mirrors real life. And in real life, there are no pure good guys or completely villainous characters. Think about all those news accounts of serial killers where a reporter interviews the unwitting neighbor who tells the world how shocked she is because her neighbor was always so nice and considerate, kept his lawn mowed and smiled and waved as he came and went. Does that guy sound evil to you? Me either. But we can agree that he has extremely evil tendencies. And what of the man who saves a woman from an assault only to expect a little something in return? Hero or villain?

I don’t mean to pick on men. There are plenty of female examples as well. It’s human nature. Morality, ethics, character. These are a constant sliding scale. An inner struggle. And it’s precisely that inner struggle that makes a character memorable and real. Too many stories telegraph the white hats and the black hats. That doesn’t work for me. What that does is keep me from the escape I seek in my fiction. It stops me from inserting myself into the story, relating to its characters. It screams “this is fiction!”

I like characters that are fully fleshed out. They have real thoughts and react unexpectedly sometimes, as we all do, when they’re under pressure. I love it when hidden motivations come to light that make you see the book you are reading in a whole new light, making the little details and nuances at the beginning mean so much more than they did on the surface when you first read them. I don’t want my narrators to be angels, to be 100 percent reliable. Who among us is, really? 

We are all biased. We are all at least a little self serving. We all want to win. So when an author celebrates this human truth instead of pushing it aside because it is inconvenient to the story they want to tell, that’s when I know I’ll love their book. Because we all live in the gray. And I thing that’s great. In the gray is where all the interesting stuff happens.