How to Move Forward by Going Backwards

An interesting thought occurred to me recently whilst pushing on with getting a first draft of my new novel down. The thought was that whilst I was trying to get my first draft down as quickly as possible new ideas and plot points kept occurring to me. Although I write with a kind of outline – especially for the first half of the book, so I do not get stuck - I also like to leave myself open to new directions as I write. And writing as fast as possible for first draft seems to be best for me.

Some of the ideas that occurred to me were good ones that seemed to have come up epiphany-like from the ‘girls in the basement’, but should I stop and incorporate them? I wanted to do just that but it meant going back and introducing something much earlier in the draft in order for it to make sense. Which, in turn, meant that I wasn’t actually moving the story forward. But the extra material did add more depth (or a subplot) to the story. Great you might say…

But doing this kind of toing and froing took time (when I was trying to write fast) and it also risked me becoming confused as to where I actually was in the story.  Plus, although I had a fair idea of where the plot would eventually end up, I had no clear idea of the ending so introducing more story lines could potentially jeopardise my entire plot if I wasn’t careful. So, what to do?

I read somewhere that a good idea was to keep a revision sheet alongside you as you write so that you can jot down the idea as it occurs to you. Also to make a note of where the material needed to be introduced (approx.) and then continue to write the draft as if the plot point was already incorporated. Lately I have been trying this method with my present book and it is surprisingly easy. I know I will have much more work to do in second draft but once I have the main story down I don’t feel the pressure to rush through that. In fact I like to take my time and re-consider everything that has gone into the story.

Anyway this is my best tip of the year!

Do you have any good tips to pass on to others to try?

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?

Black Death and Other Nasties

E – Epidemic

Natural disasters and man-made ones make for brilliant thriller reads, I find. The age-old ‘race against time’ to save innocent lives and – occasionally - the whole human race is the ultimate in ‘edge of the seat’ drama if done well.

Some of the best stories I have come across in the genre of thrillers, involve the use of the word ‘epidemic’. To most people this word is scary as it is the world of science gone wrong and nasty things happening to unsuspecting people. But I suspect the scary part is more about our lack of control over such tiny (usually unseen) microorganisms that can and do kill us indiscriminately.

We can easily imagine catching a nasty disease and the thought that something can spread like wildfire and wipe out an entire population – well, we know in our heart of hearts that it could just happen…

To add to the tension and drama there is usually a time element to these stories and so it is not so difficult to build in a page turning tension. A sceptic (often a politician) who does not take the threat seriously is generally built in to provide the opposition to the main character and - voila – a readymade thriller plot!

I don’t mean to sound as if this is so easy but there is definitely a theme to these stories, and we all know it, but it doesn’t seem to stop readers wanting these kinds of stories.

I love these books and I have used the motif in my own novels a little. My latest thriller (unpublished as yet) does have a plot strand where a type of plague is released into a small community.

Have you considered using an epidemic ( or the threat of one) to heighten tension and create extra conflict? Have you read a great book/story using an epidemic?

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?



Wicked is as Wicked Does!

By the Pricking of my Thumbs...

Wicked!

I just love that word. It conjures up images of witches and wizards for me and I always think of Ray Bradbury‘s brilliant novel “Something wicked this way comes”. He took his inspiration from Shakespeare’s Macbeth, of course.

Nowadays it is used by young people as a replacement for the word ‘brilliant’ or something similar. It is also associated with the word ‘cool’ – as in something or someone being ‘hip’ or current. Language is definitely a living, breathing, changeable entity!

Anyway, I digress. What I mean to talk about is the original proper use of the word. When I looked it up in my dictionary it said it meant evil or sinful. But then there was a whole host of harsh words from ‘abominable’ to ‘abased’ to ‘shameful’ and ‘vicious’. In fact over fifty similar words! Many of which I have used time and again in my own supernatural thriller writing.

But nothing says evildoer quite as succinctly as ‘wicked’. It goes best with villainous characters and horrific deeds. A good word like this can be as helpful in horror/thriller writing as love is in romance writing. But it can equally be much overused and abused.

Do you have favourite words that you feel inclined to use more often than not?

Stories with an aura about them...

Auras

When I was writing my last book I thought it would be interesting to play around and use this Paranormal-type phenomenon. I was quite surprised when my research turned up the fact that it was not strictly true that it is entirely a paranormal/supernatural occurrence.

My dictionary defines an aura as “an atmosphere or quality of air considered as indicative of a person or thing” but I think that meaning is not quite the same thing. After all, I think we can all recognise that an angry person can exude a certain aggressive-kind of vibe. This person could be said to have an aura about them.

The other meaning of auras is to forewarn of impending epileptic attacks or migraines etc. These auras indicate the brain is signalling to the sufferer that it is about to happen. These auras can take different forms such as certain smells, sounds or tastes that are experienced by the individual. So an aura in this case can be an important early warning system.

 But the kind of aura I am talking about in supernatural thriller writing is the kind of aura where a person is said to have a luminous radiation of light or energy around them that can actually be seen by people who have special powers. There is lots of controversy about this phenomenon but in the land of the paranormal it is exactly the kind of thing that adds flavour and mysticism to a story. And allows a great deal of license in designing credible plot line… I think I used it to good effect when my character – who had a measure of supernatural power – could see a very dark aura around a character.

There are said to be 7 layers to an aura with each layer relating to different human characteristics, and each layer has different colours and different frequencies. So the light wavers and changes colour. Attributing characteristics or using the aura to highlight true motivation is also a useful plot device. For instance an aura could be red signifying suppressed anger or blue signalling calm and rationality. It could be orange for health and vitality or yellow for inspiration and intelligence. Black, of course, would be about evil intention or death… These are simply suggestions but I’m sure you can see how it could be used for good effect. Or maybe not…

In real terms, it seems that we all have an aura – even worms and insects have them – for they are simply magnetic energy fields. It’s just that most people cannot see these fields with the naked eye.

Makes for juicy story lines, though… Don’t you think?

When not to add the kichen sink

 Premise - a promise in disguise!

Like many writers, when I am fired up by ideas and excitingly plotting a story, I tend to go overboard at first, and the kitchen sink can end up in there – not literally, of course. But I do, however, find I can very easily veer away from my main plot if I’m not careful and end up stumbling around, disenchanted and confused as to where my exciting first ideas have disappeared to.

This is where I find story premise a most helpful guide if used properly. It took me a while to fully understand this important tool but now I use it, quite easily, as a road map to stay on course during the working out of my plot and then the actual writing of my story. The very last thing a writer wants, I think, is to end up piling up thousands of words but wandering so far from the original plotlines that you end up having to cut much of it or, worse, changing the plot to fit what you’ve written! In my opinion that’s a recipe for a mish-mash that even the most astute reader cannot fathom.

Premise comes down to thinking about what the story is really all about? And that takes some figuring out sometimes. It’s about deciding what you are trying to say with your story – what is the message? For instance, is it about strong human emotion? Are you trying to say that no matter what, love can overcome all obstacles and lead to happiness? Or that hate leads to self destruction? Or that jealousy can lead to obsession and loss? (Just a couple of examples – I’m sure you can think of many of your own!).

The job of the thriller writer then, is to prove that premise by working out a plot, with all the pitfalls, obstacles and setbacks for the main characters as can be imagined. Not forgetting rising tension and suspense and adding subplots where necessary - these can all enrich the story… But, ultimately, the premise must rule and everything that happens in the story should contribute in some way to the premise being unequivocally proved at the end of the story.

You cannot start a story by deciding it is about love conquering all and end up with it being about a vengeful deed which succeeded. The reader will feel cheated because you promised one thing at the beginning and then delivered something else.

For me, reading James N Frey’s book (‘How to write damn good fiction’), in which he talks about premise, has been the most helpful regarding this important, in my opinion, aspect of writing fiction.

Do you agree that premise is important or not? Many writers do have a premise which is unstated but nevertheless they instinctively do stick to it. Are you one of these? Or do you just write and see where it takes you?

Are You Scared Yet?

“There is no fear in a bang, only in the anticipation of it.” Alfred Hitchcock.

That is sooo true! But how do you build that anticipation?

How indeed...

Why, by creating the best suspense and page turning quality that you can. This is the basic ingredient of all good thriller stories and certainly the foundation for any scary story.

I have to say that scaring people is one of the satisfying aspects of my writing life!!

Sorry about that uncivil statement but it is true… I get a real kick when people tell me they were scared reading my stories. It is such a difficult thing to get right, I think. After all you want definitely want readers to be scared a little - but not so much that it overcomes their inclination to read on.

Raising the hairs on the back of my neck or causing me to break out in goosebumps is scary enough for me. Blood and guts kind of scary is not my cup of tea – although I know it does it for plenty of other readers… So how scary is scary for readers of paranormal thrillers?

For me, it is setting the imagination in play. A few well placed suggestions can get readers wondering and if they wonder then all things are possible. Witness a group of people quietly playing cards late at night. One says, “shush - did you hear that?” Everyone stops and listens carefully. Then another person hears a noise and someone else says it sounds like the creak a coffin lid opening might make…. Suddenly everyone’s heart beats a little faster. Then the lights go out… Now one of the players screams as he imagines something touched him…

But what has actually happened here? A fuse has blown and a door creaked slightly as it moved in a draught. But what has really happened is the imagination has exerted its full force and - as perceptive as we humans are – such things as atmosphere and sensing fear from another person is as infectious as laughing and yawning. We are all victims of our own imaginations in the right circumstances. It is this fact that all paranormal thriller writers trade in and has given rise to some of the scariest stories ever without spilling a single drop of blood!

I must apologise for the clichéd scenario but I’m sure you get my drift…

Do you use fear subliminally? Without being as clichéd as this, of course…

Can you be scared by the use of suggestions and atmosphere?

Nightmares, Darkmares and Demons

The Stuff of Nightmares

Nightmares, Darkmares and Demons

What a wonderful, fascinating  place the world of dreams appears to be. But an even more extraordinary place is the world of nightmares.

For the stuff of nightmares - or night terrors, as they are often called in children - is where many horror/supernatural stories appear to emanate from.  Of course, the scientists amongst us know perfectly well that nightmares or bad dreams are simply the subconscious mind making sense of scary, worrying things that happen to us. They are no more a precursor of bad things to come nor an evil sign of impending doom than dreams about fairies or paradise are harbingers of marvellous happenings. Ah, but here’s the rub – no one can actually prove that and so the workings of the subconscious mind remain a wonderful fertile ground for paranormal thrillers.

Nightmares in and of themselves are basically bad dreams that often can and do cause much distress. But the nightmare has it’s origins in folklore. The night part is easily explained but what of the other word mare? What is that? In Norway the Mare is a female shape shifter who can take the form of an animal or dwarf and who can change into a wind that can slip through windows and keyholes to get to intended victims whilst they are sleeping. By day the Mare is a normal woman but at night the urge to find and control victims is strong. The Mare enters a person’s bedroom and sits on their chests, causing tightness, troubled breathing and horrible dreams. In American folklore this Mare spirit eventually became the nightmare of which we are all familiar.

For myself, I used this motif in my latest unpublished book but called the nightmare a ‘darkmare’ as the character was not only troubled at nighttime.

Have you ever used folklore/mythology to garnish or deepen your stories? Have you ever used nightmares as a major part of your story?

Write A 'Roller Coaster' Novel

Murderous Climaxes and Thriller Endings.



If there’s one thing that annoys me more than anything else when I’m reading, it is the climax that flaps about like a fish out of water and then a ‘so what’ stupid ending. I feel particularly disgruntled when I have spent many hours patiently reading (page by page and sentence by sentence) a book that seemed to promise a breathtaking climax, only to find the writer chickened out and produced a  wet firework instead of an explosive high point.

Endings and climaxes are two different things, I do realise, but they should both produce a feeling of satisfaction if the reader is to feel the story was worth reading.  In thriller writing the climax is the point at which you should feel excited (thrilled) to finally be getting to the high point of the story and you can’t wait to see how it all comes out! Steadily working your way to a building climax could also be compared to an exciting ride at the fair, I think. The roller coaster builds tension as it appraoches the very top of the ride and then plunges downward to produce thrilling gasps from the passengers. It seems to me that reading a thriller should be somewhat like this? ( Or maybe you disagree...)

In thrillers, one of the best (and most used) climaxes is when someone’s life is threatened or someone is about to be killed and the hero finally succeeds and overcomes the threats - often in some kind of high octane action scene. Building up to this point in a proper believable way, however, needs to be appropriately handled according to the story.

The ending is somewhat down river of this high point but it too should produce a feeling of satisfaction that all has turned out as it should. The ending should also fulfil and answer the original story question posed at the beginning of the book. All loose ends need to be tied up at this point and the reader should know it is the end of the story. Not turning the last page to see if there is any more…

So are your scenes properly built up so the reader is thrilled/excited ( like the roller coaster reaching the precipice then dropping headlong down to the ending)? Do your endings reward the reader and give a sense of 'no unfinished' business?

Visit my website http://www.patricianewcombe.webnode.com/ for samples of my own thriller writing or download my latest book 'The Witcheye Gene' from amazon kindle.

"To Be or Not to Be" - Immortality

Rest in peace or not?

Immortality

“I shall not altogether die”, Horace 65-8 BC

In writing about death (yet again), I am aware that many may be a tad concerned at my fascination with the ultimate end game! (But there again, I am a thriller writer…) And as someone once said the two things you can depend on in this life are death and taxes!

In fiction writing, life extension or immortality has been a popular topic. It would seem that it is the ultimate goal of many a villain, one way or another. But immortality is one more step into the realms of fantasy. I guess it’s because none of us actually knows what lies waiting for us at the end and for lots of people it is still a fairly scary (if not taboo) subject. The origins of striving for immortality go right back in the annals of story epics – in fact in the Epic of Gilgamesh which dates back to 22 BC,  there was a quest to become immortal.

Many religions have, as their foundation, a belief in the existence of an ‘Afterlife’ and it is a popular subject in supernatural fiction. Wraiths, Spirits, Ghosts, Vampires and Zombies all use the plot device of actually dying at a particular point and then returning to some kind of life.

The other interesting point with all these supernatural characters is that they all have a (according to their genre’s) a weakness. Otherwise they would have taken over the entire universe by now! So to make decent adversaries for our stories they must have an Achilles heel.

In the case of vampires, for example, they may be killed by sunlight, burning or decapitation. Their bodies have an absence of heart rate, breathing etc but somehow they continue living (although needing to imbibe blood to do this). This requires the reader to suspend belief to step into this vampiric world.

Wraiths and Spirits can pass between this world and the next but their weakness is that they grow weary and long for everlasting peace.

The Undead (Zombies) are similar to Vampires, in that they appear to be alive but are not. They have no soul so cannot experience emotions of any kind. Stakes through the heart seem to be the way to do for many of these – or basic dropping off of body parts!

All of these creations make for fascinating fiction and whilst the whole genre is make-believe there are certain rules that genre writers tend not to break. It is almost as if these beings were real ‘people’ in the first place!!

So , are you a fan of this kind of fiction? Do you expect the characters to conform to rules about immortality?

Near Death Experiences

Out of Body or Near Death Experiences

Not quite ready yet?

From time immemorial people have claimed to have had out of body experiences – many at the point of death (or almost dying). Having some kind of experience is acceptable to those in the scientific community but the significance of it and why or what is happening is the central argument.  

It is an area that fascinates and confounds science and there are as many disbelievers of the ‘out of body’ part of it as there are believers. Amongst the disbelievers I count myself as one. I certainly had an experience of some kind when I a life threatening event happened to me some years ago but I put it down to my body shutting down at the time. See, I am a natural born cynic and do not believe anything that cannot be proved scientifically speaking. For a long time afterward I pondered the incident but my medical background came up with ways for me to dismiss what I experienced.

However I can and do use the phenomena in my writing. Because I am a writer and work in the world of story and suspension of disbelief! It is exactly the notion that one cannot completely dismiss these ideas that prove such fertile ground for thriller/horror writers. And there is no shortage of people who can attest to the fact that strange things have happened to them. The crazy truth is that we can neither prove nor disprove the existence of life after death – it is purely a belief thing – so we can never know whether the ‘light at the end of the tunnel’ is really what happens or whether distressed bodily functions are to blame for hallucinations.

But there is the essence of the dilemma and that makes for intriguing supernatural thriller writing!

High Stakes & Potent Plotting

Step into my World? 

Intrigue and Supense - Chiller Plotting?

All the steps in creating a plausible plot in thriller writing (in my opinion- but feel free to disagree!) must come from the premise of an antagonist (villain) wanting one thing and a protagonist (hero) wanting the direct opposite. This, I believe, 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. As far as I can see, all the really good thrillers of recent times seem to be written this way. And it is this potent mixture of forces set one against the other that is the engine behind a rollicking good story.

The stakes in a thriller must also be very high so that 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. The plotting for a novel like this may start fairly worryingly but then the plot (or story arc) should rise to epic proportions and stakes go higher and higher as more danger and conflict is piled on and more people realise the gravity of the situation. A frantic race against time is also often used as a plot device to ratchet up the tension and create even higher drama.

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 this case the best way to raise the stakes is for the reader to strongly identify with the characters in peril and so worry for their safety. Every thriller plot cannot be all about action. Suspense, good character development and rising tension can do the job of raising stakes equally well in even the most urban of thrillers. And engendering empathy is integral to the plot too.

In my writing, when I have a basic premise for a novel, I set about developing strong characters with a full back story and personal history that makes them the person they are in the story. The Protagonist and the Antagonist are compared side by side to ensure they will clash and want opposite things and that then sets the story in motion, I hope... I start to design the scenes with conflict and tension and maybe add subplots (which will eventually tie into the story line) to create more obstacles for the protagonist - many will come from the antagonist, of course - that he/she will need to overcome to succeed in their quests.

I try to see the story outline as a whole graph of rising problems which get ever worse until the final climactic scene. Then it is all downhill to the resolution and, hopefully, satisfying ending.

This is just a quick snapshot of how I go about plotting. But how do you do it? Do you do something similar or maybe not plan at all?

Demons, devils and other deadly spirits...

The Devil's in the detail.

“Willingly, I too say Hail! To the awful unknown powers which transcend the ken of understanding.” Ralph Waldo Emmerson

Demons are subversive spirits. They exist in the folklore of every society on earth so whatever your religious convictions there are many ordinary people who think that in the natural world there are things which defy explanation. What a rich source of material for a fiction writer to mine!

This unknown quantity (and a belief in greater powers we know little about) has led some to believe in all sorts of mythical creatures. In this scientific day and age, those beliefs are less common than they were centuries ago but they still thrive today on every continent in the world.

Fiction writers – and especially horror, supernatural writers - have used those beliefs to good effect in their writing. If you cannot disprove a belief then you have to acknowledge that there is always the slim chance that the belief is true! Enter the world of ‘what if’! A world of fairies, angels and demons.  These kinds of scenarios are common in tales of horror

A demon/evil spirit of some kind may be wreaking havoc in a story or it could even be that a demon is the main protagonist. Or perhaps a demon is simply a messenger - the henchman of the devil, carrying out his will. These kinds of scenarios are common in tales of the supernatural and, indeed, horror in general.  

Throughout the history of the world, demons have been held responsible for every natural disaster that ever befell humankind. Whatever a demon is or does there is a certain categorisation of them in folklore that may be worth looking at. Every demon has their own relevant characteristic according to patterns and habits and what they stand for. For example there are demons associated with water, mountains, deserts, buildings etc. They are as invisible as bacteria, slipping inside people’s minds and commandeering their will. They are full of trickery and deceit and can be vengeful and destructive.   They are also used as a signpost for morality – underlining the fight between good and evil.

In the traditional story telling of ancient times the demon was usually the villain of the piece. Nowadays, we are a bit more discerning and take a rather more cynical view of such things but if we appeal to the deep subconscious part of our minds the primal fear of demons and all things evil are still there.

In my opinion, to write about such things as demons, evil spirits or similar entities and to construct a tale so powerful that readers will suspend disbelief and enter your story world, is a thrill indeed. This is the challenge for writers of the supernatural thriller.

Do you read these kinds of stories? Do you find them a bit too much?

Rabbits in Headlights

We have nothing to fear but fear itself. (Roosevelt)

This was said by F D Roosevelt and it is never a truer saying. Fear is one of the strongest emotions and it creates a powerful response; it is a fail safe for humans to alert them to danger and ready their bodies for ‘fight, flight or freeze’. You can see where this comes from in prehistoric man - when faced with a threat they either had to run for their lives, stood and fought, or froze to make themselves invisible to predators (rather like rabbits in the headlights).

The hormone responsible for this mechanism is adrenalin and we produce it whenever we feel scared or afraid. It readies our muscles for action ( wobbly legs and shaking), it revs up our heart pump ( pounding pulse) and increases our breathing rate ready to supply extra oxygen to the large muscles of the legs. Our eyes open wide ready spot the danger and our brains and senses become extra sharp. Skin tightens and pales as blood is diverted away to the major muscles and our stomachs contract down so as to not interfere with the process. All major organs of survival go on high alert. Adrenalin can even make the bowel and bladder muscles relax involuntarily so the body is primed and ready to go!

Fear is so powerful that it can be totally disabling in the wrong circumstance i.e when the body is not under threat but nevertheless the emotion is running amok and irrational fears are born.

It is also true that people can become addicted to adrenalin. They love the ‘high’ it produces and search for ways to initiate this response, for example, putting one’s life at risk by participating in dangerous sports.

But for most people, the way they get their thrills is by watching a high action/scary/ movie or reading a book that is full of jeopardy and danger. They can imagine themselves in the risky situation and that is enough to produce the adrenalin response. This is why people watch and read thrillers – that is the thrill – but in a safe way. In other words people want to be scared!! But then to feel extreme relief that it is not real and not them.

The fiction writers job then, is to increase suspense and ratchet up the tension to produce that feeling of fear, usually empathising with the main character. So the reader is in a steady state of fight or flight waiting for…. Whatever!
As Alfred Hitchcock said, “There is no terror in a bang, only in the anticipation of it.”

So, what do you think? Are you scared when you read a good thriller? Do you feel the thrill?

Making the supernatural natural?

Turning the supernatural into the superbelievable? That, as I see it, is the challenge to all paranormal thriller writers.

Making supernatural elements fit into a thriller story so seamlessly that the reader accepts them without question, is not easy.

After all the vast majority of readers who enjoy this kind of fiction are perfectly reasonable sane individuals who do not necessarily believe in ghosts, spirits and things that go ‘whooo’ in the night. But just like sci-fi readers, they want to wonder and ponder the unanswerable questions. Just for the time it takes to engage with the story readers will willingly believe if we give them a good reason to.

That’s not to say that once the book is read the reader will believe any of it but just for that book the reader suspends disbelief. This, of course must happen with all stories but it is so much more difficult when dealing with the paranormal.

Of course making the world the characters inhabit detailed and colourful and having the characters themselves rich in human traits and emotions (even if they are spirits or whatever) helps. If the people in the story believe in the other-worldly elements and do so right from the beginning as a matter of course, then the reader will too. Events follow in a normal and accepted way and lo! - the supernatural becomes the natural for that story.

For me the furthest I will go into using the supernatural is to introduce elements of ‘what if’ into a story. What if someone’s soul/spirit does not die with them but carries on in someone else’s body? What if a spirit wilfully inhabits someone else’s body and makes them do things they would never normally do? What if someone has the power to read certain people’s minds? What if this power is hereditary and a child is unaware they have it? What if someone believes that if they preserve a person’s body after death they will gain power over life and death and eventually become immortal themselves? What if a person really does have a double and the double/doppelganger bends the person’s will to make them murder their own child?

I know, I know. All of these have been done before but not by me and my imagination. I had fun with these stories and will continue to use similar scenarios in my writing. But apart from the paranormal additions my plots have conflict, suspense and follow normal storytelling rules and my imagination, with the help of my muse, adds width, depth and a sprinkling of magic – at least I hope it does…

Happy Writing!

So what do you think? Do you have a favourite genre? Do you read paranormal thrillers?

For a sample of my writing visit www.patricianewcombe.webnode.com

Chiller Thriller Friday. Err... Saturday??

Okay so here's my friday post - a day late, I know but it was re-launch day yesterday and my post was all about that! So I think I could be forgiven??

Chiller Thriller Friday ( oops Saturday?).

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 charcters still need to connect with us, the readers.

Do you agree? What makes a good thriller for you?

For samples of my books - http://www.patricianewcombe.webnode.com/

OMG! a brilliant book on social networking

I just finished Kristen Lamb books on social networking and OMG my eyes have been opened! I have bumbled along with blogging, tweeting etc for a while, learning as I go and making tons of mistakes only to find someone made most of them before me and I could have saved myself a heck of a lot of time! ( that most precious of commodity)
Her books? 'Are you there blog? it's me writer.,' and 'We are not alone: The Writer's guide to social networking.'
It's not often that I read a non-fiction book so voraciously that I stay up all night but this one (We are not Alone) - it had me entranced. It's written so well too with lots of lighthearted bits that will make you smile.
I was learning in a very pleasant way. And it all made sense!
A must have book for all writers who want to move with the times and develop their social networking platforms.
Stop Press! This blog will be changing soon - please come by and visit again...

For samples of my thriller novels please visit http://www.patricianewcombe.webnode.com/