Cliff Hanger Promises...

One of the first things I tried to conquer when I started writing thrillers was the art of cliff-hangers. I tried my hardest to get my hero/heroine into terrible difficulty and then leave then… well, hanging!

But I often rebelled about doing it as it didn’t always fit the story. Then I realised that you simply had to lead the reader with the promise that something was going to happen and then delay the actual happening. The page turning suspense that this caused was the answer, I thought. So I practised it fervently.  Scene cuts also helped – i.e. moving to a different time, place or character and then coming back to the present dilemma later in the story.

The only problem was that sometimes it still felt like a kind of breathless ride where no one gets time to reflect properly or for the reader to drop down the tension.  Even the most hair-raising ride can seem tame if someone gets too used to it.

It wasn’t until I understood the art of using scenes that I realised I didn’t have to go over the top. Scenes with character, conflict, conclusion/disaster made a lot of sense to me and once I realised that the character must have a want/ objective at the beginning  and that objective should not only be unmet by the end, but the character must be worse off, then I began to see that here was the natural cliff-hanger. The character now has an even greater obstacle to overcome. How will he cope? What will he do? The reader, hopefully, worries for the character and that will keep him turning the pages just as if it is a cliff-hanger.

“We throw in as many fresh words as we can get away with. Simple, short sentences don't always work. You have to do tricks with pacing, alternate long sentences with short, to keep it alive and vital. Virtually every page is a cliff-hanger—you've got to force them to turn it.”
― Dr. Seuss

 

So do you try to put a 'will he won't he' question at the end of every scene? Or do you save cliff hangers for chapter ends or even for every page?

Seeing is Believing

In supernatural thrillers and horror stories one of the parapsychologies will usually figure somewhere along the way.  Clairvoyance is one of these. The dictionary says clairvoyance is ‘the ability to perceive things that are usually beyond the range of normal human senses’.  But I think many people associate it with the power to ‘see’ into the future.  (My current WIP features this a little so I must confess I am rather fond of it!)

Second sight or ESP is one of these ethereal subjects and it can be a particularly helpful plot device; remembering, of course, that we are talking about fiction and a willingness on the part of a reader to suspend disbelief.

The idea of being able to ‘see’ (or sense) something that is not within the bounds of normal is not a new one. It has been used from the early beginnings of the written word and tales from the classics and mythology are steeped in them.

The main areas of second sight seem to be Remote Viewing, where a person can ‘see’ something that is happening a long way away, Precognition, where a person can ‘see’ and foretell something that is about to happen, and Visions where a person simply ‘sees’ something (it may only be a flash image) but has no idea if it’s from the future, past or present.

Telepathy, premonition and telekinesis are also closely related to second sight.

Of course the scientific community does not accept any of this stuff as it requires proof that is just not available. The various researchers into the area are of the view that most of it is fraud, self-delusion and guesswork. But that doesn’t stop the believers and it certainly doesn’t stop the notion of second sight being fertile grounds for the imagination in fiction writing.

One does not have to believe these things to enjoy a good story that uses any these ideas. If you asked the population in general how many believed in the paranormal you would get a much lower number than those who read the fiction books and watch the films. This is what suspension of disbelief is all about; in that, just for the period that you are immersed in a good story, you are willing to step into a universe where all things are possible. This is the nub of all good plots and fiction in general. How else would we enjoy Harry Potter and The Lord of the Rings?

The other interesting thing for me is that if you have one character who believes in the paranormal and one that doesn’t then that sets the story up for even more conflict and tension, quite naturally without having to work at it.

What do you think? If you make a world ‘real’ enough for the reader, can you suspend disbelief?

How to make a thriller really matter - raising the stakes!

All the steps in creating a plausible plot in thriller writing, I believe,  must come from the premise of an antagonist (villain) wanting one thing and a protagonist (hero) wanting the direct opposite. This creates the basic conflict that will drive the story to its final climactic end. Layered in and around this conflict may be more subplots and story lines that enrich the central story. In other words the story is multi-layered and thick with intrigue and suspense. It is this potent mixture of forces set one against the other that is the engine behind any thriller story.

The stakes in a thriller must also be very high so menace and threat are around every corner. Of course, the greatest threat (and the one many successful stories have thrived on) is world domination or a catastrophic event that threatens the entire world. For example ‘War of the Worlds’, ‘Alien’ and various James Bond’s epics. Plotting a novel like this may start fairly worryingly but then the plot should rise to epic proportions and stakes go higher and higher as more danger is piled on and more people realise the gravity of the situation and a race against time.

But it doesn’t always have to be about threats to the entire world - it may simply be threats to a main character’s nearest and dearest! And, in my opinion, the best way to raise the stakes is for the reader to strongly identify with the characters in peril and thereby worry for their safety. So the plot cannot be all about action and suspense - character development and engendering empathy is integral to the plot too. Put together it should make for one heck of a thriller…

Worry ought to be a key element in a thriller, do you agree?

The Click is KIng! Long Live the King!

The click is mightier than the pen - they say...

I once put pen to paper (literally) and wrote.

Now I click, tap and navigate. What a huge change to the way we all communicate. I can’t even remember when I last received a hand written letter.   I am not a bright, young thing (although I’d like to think I’m still reasonably bright!) but I know many others of a similar age group who are also very au fait with computers and indeed to some degree, social networking.

For me the keypad is quicker than the pen when it comes to getting tumbling thoughts and ideas down on paper. Free writing engages the creative right side of the brain and not the analytical, logical left brain. I believe getting something, anything, down on a blank sheet is the best way to avoid writers block and so I often use free writing to help me think and get going on a project.

Using the keypad rather than the pen gives me a quicker easier way to use this stream of consciousness writing and make some sense of it. In longer pieces (and especially at the beginning of a novel when my thoughts may be a little muddled anyway) it’s far easier for me to rush on knowing I can come back and sort it later. Editing with pen and paper just leaves me with a confused mess of crossings out and no sense of what I am really trying to say.  Having said that, I have friends who continue to write in longhand – at least initially. They still cherish the feel of pen on paper and love to fill the blank white pages of a notebook.

Just occasionally I write something longhand – maybe a rough draft of an article or something short. However I do find the writing tends to end up almost note-like with no proper sentences. I guess that’s because my hand cannot keep up with my brain! No, wait… That can’t be right! My brain is definitely a slowcoach… (Thinks….)  Or maybe not…

Long live writers of all kinds!

So do you still write longhand occasionally or are you a total keyboard convert?

ESP - what can we see?

C - Clairvoyance

In supernatural thrillers and horror stories one of the parapsychologies will usually figure somewhere along the way.  Clairvoyance is one of these.The dictionary says clairvoyance is ‘the ability to perceive things that are usually beyond the range of normal human senses’.  But I think many people associate it with the power to ‘see’ into the future.

Second sight or ESP is one area of clairvoyance and it can be a particularly helpful plot device; remembering, of course, that we are talking about fiction and a willingness on the part of a reader to suspend disbelief.

The idea of being able to ‘see’ (or sense) something that is not within the bounds of normal is not a new one. It has been used from the early beginnings of the written word and tales from the classics and mythology are steeped in them.

The main areas of second sight seem to be Remote Viewing, where a person can ‘see’ something that is happening a long way away, Precognition, where a person can ‘see’ and foretell something that is about to happen, and Visions where a person simply ‘sees’ something (it may only be a flash image) but has no idea if it’s from the future, past or present.

Telepathy, premonition and telekinesis are also closely related to second sight.

Of course the scientific community does not accept any of this stuff as it requires proof that is just not available. The various researchers into the area are of the view that most of it is fraud, self-delusion and guesswork. But that doesn’t stop the believers and it certainly doesn’t stop the notion of second sight being fertile grounds for the imagination in fiction writing.

I used the notion myself in my latest book 'The Witcheye Gene'. (Now available on Amazon kindle) The main protagonist had a latent hereditary gift of second sight.

One does not have to believe these things to enjoy a good story that uses any these ideas. If you asked the population in general how many believed in the paranormal you would get a much lower number than those who read the fiction books and watch the films. This is what suspension of disbelief is all about; in that, just for the period that you are immersed in a good story, you are willing to step into a universe where all things are possible. This is the nub of all good plots and fiction in general. How else would we enjoy Harry Potter and The Lord of the Rings?

The other interesting thing for me is that if you have one character who believes in the paranormal and one that doesn’t then that sets the story up for even more conflict and tension, quite naturally without having to work at it.

What do you think? If you make a world ‘real’ enough for the reader, can you suspend disbelief?



Cook Book Look At Genre

Recipe for a good tale?

I was recently asked, by a well-meaning friend, what kind of stories I wrote.

“Thrillers,” I answered.

“Oh, not romance then,” the friend said, plainly dissapointed.

“Oh no, there is romance in my stories as well,” I responded.

It got me thinking about the question of genres and the categories we all use.

So, exactly what kind of writer am I, I ask myself? I call myself a thriller writer – mainly of the supernatural genre. But when I think hard about categories, I realise my novels may well feel like everything but the kitchen sink added in!

You see, I think of a plot as a cooking recipe. For a good story I mix together certain ideas and form them into the basic story-line for what I need. I then add in extra ingredients to, hopefully, make my story stand out.  Not to overdo it, of course, otherwise the main story line can become obscured.

To that end, when I examine my plots, I find they are usually Manichean (good against evil) and often the main character is unwilling at first but then is in a desperate race to get something. My recipe usually includes the raising of stakes for the main character and rising tension throughout the story. Rather like baking a cake, methinks? Well there you go, more cooking analogies!

I find I nearly always add a love interest, (the genre of romance?) a ‘what if’ element (maybe it could be horror?), a ‘whodunit’ bit (mystery story) and usually some kind of race against time (a thriller caper). And then again, I also try to add subplots that intertwine with the main story. My recent book also had a time-slip element to it so I could call it historical too.

Maybe other writers don’t have to fight with themselves when they realise they want to add further spice to their stories but I always do. I would happily mix genres even more if I let my muse loose for long enough…  Like a good cake recipe, you need to know when the mixture is just right. Sometimes less is more…

So I reign myself in and try to stick to the main category I enjoy – supernatural thriller writing. But it doesn’t stop me adding a bit of spice here and there…

Do you tend to mix things up or are you totally faithful to your own genre?