Chiller Thrillers for humans!

Chiller Thrillers to die for.

Intriguing plots, suspense, dreadful predicaments, breakneck pace, ‘out of this world’ events even... These are all elements of a good fiction thriller novel. Of course, you can also break thrillers down into lots of sub genres and start including spy/terrorist, swash-buckling adventure, horror, and supernatural. Maybe the key ingredient of thrillers is that they should have you breathlessly hanging onto your hollyhocks to see what will happen next. The stakes are high and layer after layer of ‘can it possibly get any worse?’ is superseded only by the hero/heroine’s attempts to come good, which conversely just gets him/her into further disasters... I just love these plots…

But wait there is more to it than this...

As a thriller writer I’m always fascinated by human behaviour in extremis. When the chips are down (forgive the cliché) all bets are off! Because, much more than the exciting plot lines, there must be a strong human interest that readers can relate to. And that, I believe, is what makes a thriller story so believable and engaging. It is the hero/heroine suffering and struggling and yet overcoming adversity – eventually - that makes readers empathise with them.

One of the main faults I had when I first started writing thrillers was that I did not understand the power of empathy. I focused on the multi-layered plot making it as full of chills and frights as I could. I made my main character a bit of a bitch and apart from overcoming the threat to her and her family I never made her particularly likeable. After this criticism of my story came from more than a few quarters, I looked afresh at other stories, comparing them to my own and realised they were right. Mostly main characters should be likeable even if they do some not so good things.

None of us know how we’d react if we were put in a life or death situation or were faced by a dreadful choice but we can’t help but wonder how we’d cope and that emotion – empathy - is the engine of all good fiction, not just thrillers. Of course it does mean that the heroine/hero characters must be likeable so we can root for them to succeed. Even superheroes and star trek characters have to have some human frailties for us to feel for them.

Thrillers may be fast paced, exciting reads but they still need to conform to basic story telling rules and the main characters need to connect with us, the readers.

Do you think empathetic charcters are key ingredients in good fiction? 

Ruling Passions - Yearning and Learning!

Y – Yearn

For this word we can interpret – for story purposes – what a character wants. The main driving force of good story telling is having a protagonist actually wanting something and if that character wants (or yearns for) something badly enough it can propel the whole story to its logical conclusion.

Character ‘wants’ was something I struggled with quite a bit early on in my writing. I never quite understood it for some time. But the when the penny finally dropped - what a difference it made to my story telling. For when a character is driven by a desperate need they will find extra determination to overcome obstacles and find inner strength where they did not know it existed.

‘Yearning for something’ is a stronger phrase than just ‘wanting something’. In my mind it even borders on desperation. Everyone has wants and needs but the character who yearns is usually so wrapped up in his longing that he will do almost anything to attain his goal. And that’s the kind of character I like in my stories!

Of course yearning for something is used as a main character tool in all stories (and in romance it is often used as a means of setting up tension when the love interest is unrequited) but for me, in writing thrillers, it is the ruling passion of what a character is striving to do or attain in the course of that story.

A great word, don’t you agree?

The 'What if' (and other W's) Factor

W - What if, when, who why, where...

I was reading some old writing articles the other day and came across the 'write about what you know' advice. I think it should be amended to 'write about what you'd like to know' and what others might like to know...
The former overused adage, I believe, can easily block a writer and tie him/her to the mundane things in life - a perfect reason for a reader to become bored and put a story to one side.   People read to learn something or be entertained and unless you can add an element of difference, they will soon be unengaged.
The latter phrase 'write about what you'd like to know' may encourage a writer to think more about what makes interesting reading and may help to stop the same old tired plot lines being re-hashed.
After all, stories about futuristic scifi, vampires and ghosts would have never been written if we steadfastly stuck to 'what we know'. And writers like Stephen King and Dean Koontz would be drawing unemployment checks!
Readers want to be taken out of their normal everyday worlds whatever the genre - whether it be soap stories, romance, adventure, mystery, or thriller. These genres still need some 'out there' plotlines or at best some exageration (or almost unbelievable aspect) of everyday life.  Even the soaps, meant to be a representation of ordinary folk and ordinary life, stretch our sense of credulity to the limit. 
Of course, introducing fanciful aspects is where the imagination comes into play. And this leads directly away from the 'write what you know' adage and invites you to ask the 'what if' question. For me this is the most exciting part of writing - allowing imagination to soar to the heavens.
I believe the 'what if' question should become the most asked question by fiction writers, whatever genre they write in.We need to make our stories as different as possible if they are to be noticed.
Asking the other 'W' questions also helps to add spice to a plot. Whenever I am planning a story they are the questions I constantly ask myself, but the 'what if' question is the most fascinating as you can let your imagionation run away with you and maybe turn a plot totally on it's head!
Having said that, readers do still need some elements of familiarity and stories still need to be believable - i.e. could it really happen like that? So 'write what you know' should still be in the mix.   I mean, what's wrong with setting 'kitchen sink dramas' in a futuristic world peopled by aliens?? What if that could really happen....

What do you think? Do you ask that question to get something different from your stories?

The Journey is key...

J – Journey

“It is good to have an end to journey toward; but it is the journey that matters, in the end.” Ursula K. LeGuin.

I chose the word journey for this post but I was unsure whether I was going to refer to the personal journey that I have made since started putting my thoughts down on paper, or whether I was going to refer to the journey that my characters undertake in my thriller writing. On reflection, I will save the personal stuff for another time.

The idea of a journey is one that is familiar to all writers of fiction, in that the main character always has some kind of journey, even if it is purely in the mind. Characters undergo change of some kind from beginning to end of a story otherwise it is a more of an essay or anecdote.

But then, I think if a character has an actual journey – possibly one they didn’t really want to undertake in the first place - then that adds tension and  suspense in the way of a ‘will they, won’t they’ get to journey’s ( reach their goal) end? I suppose you could say the whole thrust of a good story is a journey from the opening sentences to the final last words. And in that respect, the final words need to leave the reader feeling satisfied that the journey was worth it and the character got there in the end!

A good writing book that details much of the way that fiction is traditionally done is “The Key” by James N frey. When I read this book all became much clearer for me, in terms of using mythological motifs that we all recognise, but probably never thought that much about. In this book Frey talks about myth –based fiction and one of the things that happens in the beginning of all these kinds of stories is the hero is called to his journey.  This is just the beginning of a universal plot structure that works for almost every story since Homer. And it applies – in modern terms – to almost all my own writing.

So, do you use the power of myth in your writing? And do your characters go on journeys?