Hazel McHaffie

Thrillers – lessons learned

OK, with a pile of thrillers of various kinds now read and analysed, I’m a bit closer to refining my own choices for the current novel. What have I decided so far?

Main narrative thread
The issue must be one I personally care about. And I need to be clear who I’m trying to appeal to. A tale of individuals seeking personal justice or dealing with their own family dramas holds my interest more than stories about money laundering or righting organisational wrongs.

Main protagonist(s)
The lead doesn’t have to be likeable but the reader must care about his/her fate so the character needs to be carefully drawn and handled, with a plausible and intriguing backstory.
His/her motivation must be worthy so readers will root for him/her.
He/she must be up against tremendous odds.

Secondary characters
Too many tangential stories and secondary characters run the risk of losing narrative tension and interest. (Or am I a wimp when it comes to holding umpteen names and storylines in my head?)

Short sentences and staccato prose can help build tension but lose impact if used too often. Sentence structure, length and complexity need to be varied.
Grammatically incomplete sentences also need to be used with caution; they can hold up the pace of a story.

The psychology of the characters must be authentic and plausible. (See writers like Jonathan Kellerman who’s a psychologist himself and uses a psychologist to help solve crimes, or Linda Fairstein who was a prosecutor focusing on crimes of violence against women and children and really understands police procedure.)

If the story includes historical reality or geographical locations, the facts must be spot on accurate.

So, with that foundation, I’m now concentrating on fleshing out the profiles of my own characters.

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