How Not To… Write a Thriller
In the next part of our ‘How Not To…’ series, Lindsay Rumbold, author of brand new cold war thriller Banshee, reflects on how not to write a thriller.
‘Thrillers are among the most popular genres of fiction. Why? Perhaps it’s because they’re entertaining, escapist, and exciting; they give us glimpses into another world. So, with my tongue firmly in my cheek, I wondered – what wouldn’t make a thriller?
The mundane:
Let’s be honest. Real life is often not very exciting. Would anyone read a so-called thriller that follows the protagonist through a normal day, where the only unexpected occurrence is an emergency trip to the supermarket because the milk went off? Probably not. Why? Because we know what that’s like, and it’s more irritating than dramatic. As the cliche goes, familiarity breeds contempt.
The low risk:
Thrillers usually feature some life-or-death dilemma, or at the very least some risk and jeopardy. Perhaps someone could lose their job, be convicted of a crime they didn’t commit, or their loved ones are in danger if they don’t do the thing. If the only threat in the story is someone doesn’t get their cup of tea and breakfast the next morning, that’s not really high stakes. Annoying, yes, but not critical; no-one will be at risk if there’s no bread available for toast at breakfast.
The inconsequential:
Similarly, the consequences in thrillers are big. Who murdered the lawyer? Why? What were they covering up? What will happen if they succeed? Will the world end in a catastrophe if the protagonist doesn’t stop the baddies? If the only possible consequence of someone not getting their tea and cereal the next morning is a mild grump with the protagonist, that’s not really a compelling reason to read on. Make the consequences big – and make them matter to more than just the protagonist.
(Now, if the failure to provide breakfast might lead to someone wanting to commit a crime … then you might have something.)
The straightforward:
Thrillers may have a simple premise, such as the protagonist has to save the world, but they’re rarely simple stories. Most have layers and twists and turns aplenty. Unexpected betrayals, surprise alliances, hidden agendas, and perhaps a red herring or two, keep us turning the pages, eager to find out what happens next and if our protagonist succeeds. Would we read on, if by the end of page 5 we could already see exactly how the story would end on page 300? I’m not sure we would.
The unlikeable:
For any story, we have to care in some way about the characters we follow: whether we love them and want them to succeed, or hate them and want them to fall flat on their faces. There are loads of resources online about fleshing out characters, with many different approaches and ideas on how to do it. Ultimately, we should try to write characters people will like, or at least empathise with. If the only feeling our characters and their situation provokes is indifference, then that’s not going to keep anyone reading to the end.
If anyone has any other thoughts, I’d love to hear them.’