J. F. Penn is one of indie publishing’s mega-stars.
by James Scott Bell
@jamesscottbell
James Scott Bell
@jamesscottbell
Nancy J. Cohen
How do you fit romance into a non-stop thriller? These genres are not mutually exclusive. Look at your movies for examples. Romancing the Stone with Kathleen Turner and Michael Douglas, and The Librarian: Quest for the Spear with Noah Wyle and Sonya Walger are two of my favorites. What recent thrillers have you seen where a romantic relationship is involved? How did the film get this across to viewers?
Here’s how to start with your own story: Give your characters internal and external conflicts to keep them apart. The external conflict is the disaster that will happen if the villain succeeds. The internal conflict is the reason why your protagonists hesitate to get involved in a relationship. Maybe the heroine was hurt by a former lover and is afraid of getting burned again. Or she has a fierce need for independence. Why? What happened in her past to produce this need? Maybe your hero doesn’t want a wife because his own parents went through a bitter divorce, and secretly he feels unworthy of being loved. Or maybe he feels that his dangerous lifestyle wouldn’t suit a family. Keep asking questions to deepen your people’s motivations.
Your characters will be immediately attracted to each other through physical chemistry. This pulls them together while the inner conflicts tear them apart. Soon the benefits of a relationship begin to outweigh the risks. Perhaps they have to work together to rescue a hostage or to escape the bad guys. As the story progresses, they become emotionally closer as they progress through the stages of intimacy. In a thriller, this might happen at a faster pace than other genres. But even thrillers need down times from the tension.
Here’s an abbreviated version of the stages of intimacy:
1. Physical awareness: Your characters notice each other with heightened sensitivity.
2. Intrusion of thoughts: Your character begins thinking about this other person often.
3. Touching: First, it may be an arm around the shoulder, lifting a chin, touching an elbow. They come closer until the desire to kiss is almost palpable. Rising sexual tension is the key here, not so much the consummate act. Your couple can have a stolen moment when they’re being chased by the villain and are forced into close proximity, for example. Even if it’s a momentary diversion, you’re advancing the level of awareness.
4. Kissing
5. Touching in more intimate places
6. Coupling: Focus on the emotional reactions of your characters. Avoid clinical terms or use them sparingly. This is lovemaking, not just sex. For it to be romantic, think “slow seduction”, not “slam bam, thank you ma’am”, unless the scene or characters warrant this behavior. If a sex scene doesn’t fit into the story’s pacing, leave it out. Or maybe all they have time for is a quickie. In that case, let’s see the emotional aftermath. Maybe the hero acts out his concern for the heroine’s safety after they’ve been together.
When all seems to be going well, throw a wrench into the relationship. Perhaps it appears as though the heroine betrayed the hero. Or he walks out on her because he fears his own vulnerability. Finally, they both change and compromise to resolve their differences by the story’s end.
Keep in mind that I’m writing this advice from a female viewpoint. Also, I write romance in addition to mysteries, so I have the mindset for that genre.
I used to read spy stories and men’s adventure in my younger days. Those were guy novels with a woman of the week. None of those relationships were meant to last. I suppose this is what makes the difference. If you don’t care about your two characters ending up together, then the woman may merely serve as a sex object. And that might not endear you to your female readers (who happen to buy more books than men).
As for series, people read ongoing series for the characters and want to see them grow and change. Giving us relationships we care about is what will encourarge readers to buy your next book. So think about your purpose before going into the story. Where do you want these two people to go? Why can’t they get there? What do they have to overcome in order to be together? And if they don’t end up as a couple, then what purpose does their relationship serve?
Here’s an example from Warrior Rogue, my next release. The hero and heroine have just met when they’re involved in a mid-air terrorist attack aboard their private business jet. This is from the heroine’s viewpoint. They’ve landed on a beach on a remote Pacific island.
“Come on, we can’t waste time.” Paz signaled to her from the open hatchway.
She staggered toward him. Peering outside, she was glad to note they didn’t need the emergency chute. They could easily jump the short distance to the ground. Holding her long skirt, she leaped after Paz onto the beach.
He caught her in his muscular arms and gently eased her down. His tousled hair, determined jaw, and ocean blue eyes had never looked better.
“Thank you. You saved our lives.” On impulse, Jen rose on her tiptoes and kissed him.
She’d only meant it to be a brief expression of gratitude, but Paz’s gaze intensified. He swept her into his arms and gave her a passionate kiss that left her breathless.
“We’re safe now.” He broke away with a regretful expression. “At least, for the moment. But we shouldn’t linger.”
“For the moment? What does that mean?” The memory of those ugly men who’d attacked them returned with full force. “You know who assaulted us, don’t you? When are you going to tell me what’s going on?”
“Let’s summon help first. I need to put my comm unit back together. If we can hook it into a local network, you can call your people.”
“I have my cell phone.” She patted her purse.
His hand clamped onto her arm. “We should scout around. Our landing probably attracted attention, and we don’t want the wrong people to find us.”
Note how their level of intimacy advances in this short scene. If you’re writing from the male viewpoint, when Paz catches Jen, he could get a whiff of her scent.
So how do you work romance into your fast-paced thriller?
By Joe Moore
Next week I head to NYC for ThrillerFest — what many consider summer camp for thriller writers. ThrillerFest is really 3 events bundled into one general heading: CraftFest, AgentFest and ThrillerFest. This year, in addition to the 27 bestselling CraftFest instructors including Doug Preston, Michael Palmer, David Morrell, and our own TKZ blogmate John Gilstrap, the great Ken Follett will be teaching a course called “How Thrillers Work”. Taking a class from a guy who has 130 million copies of his thrillers in print ain’t too shabby.
AgentFest has grown to over 60 top New York agents and editors waiting to hear book pitches and look for that next big seller.
And ThrillerFest boasts two days of panels and interviews by some of the biggest names in the genre. As an added bonus, representatives of the CIA will be on hand to answer all those spy novel questions. And the conference ends with the naming of the 2011 Thriller Awards winners and the celebration of R.L. Stine as this year’s ThrillerMaster. There’s still time to register if you can make it.
On Saturday (July 9), I’ll be on a panel called “Are there must-haves in Thrillers?” My fellow panelists include Karen Dionne, Mike Cooper, William Reed, Larry Thompson, Norb Vonnegut, and F. Paul Wilson. It should be a great discussion.
I believe, as I’ve discussed on this blog before, that there are a number of elements commonly found in most thrillers. So to get in the spirit of my ThrillerFest panel next week, here are 6 general must-haves that I think can and should be found in most contemporary thrillers.
First, let’s define a thriller and how it differs from a mystery?
Although thrillers are usually considered a sub-genre of mysteries, I believe there are some interesting differences. I look at a thriller as being a mystery in reverse. By that I mean that the typical murder mystery usually starts with the discovery of a crime. The rest of the book is an attempt to figure out who committed the crime.
I see a thriller as being just the opposite; the book often begins with a threat of some kind, and the rest of the story is trying to figure out how to prevent it from happening. And unlike the typical mystery where the antagonist may not be known until the end, with a thriller we pretty much know who the bad guy is right from the get-go.
So with that basic distinction in mind, let’s list a few of the most common elements found in thrillers.
1. The Ticking Clock. Without the ticking clock such as the doomsday deadline, suspense would be hard if not impossible to create. Even with a thriller like HUNT FOR RED OCTOBER which dealt with slow-moving submarines, Tom Clancy built in the ticking clock of the Soviets trying to find and destroy the Red October before it could make it to the safety of U.S. waters. He masterfully created tension and suspense with an ever-looming ticking clock.
2. High Concept. In Hollywood, the term high concept is the ability to describe a script in one or two sentences usually by comparing it to two previously known motion pictures. For instance, let’s say I’ve got a great idea for a movie. It’s a wacky, zany look at the lighter side of Middle Earth, sort of a ONE FLEW OVER THE CUCKOO’S NEST meets LORD OF THE RINGS. If you’ve seen both of those movies, you’ll get an immediate visual idea of what my movie is about. High concept Hollywood style.
But with thrillers, high concept is a bit different. A book with a high concept theme is one that contains a radical or somewhat outlandish premise. For example, what if Jesus actually married, had children, and his bloodline survived down to present day? And what if the Church knew it and kept it a secret? You can’t get more outlandish than the high concept of THE DA VINCI CODE.
What if a great white shark took on a maniacal persona and seemed to systematically terrorized a small New England resort island? That’s the outlandish concept of Benchley’s thriller JAWS.
What if someone managed to clone dinosaurs from the DNA found in fossilized mosquitoes and built a theme park that went terribly wrong? You get the idea.
3. High Stakes. Unlike the typical murder mystery, the stakes in a thriller are usually very high. Using Dan Brown’s example again, if the premise were proven to be true, it would undermine the very foundation of Christianity and shake the belief system of over a billion faithful. Those are high stakes by anyone’s standards.
4. Larger-Than-Life Characters. In most mysteries, the protagonist may play a huge role in the story, but that doesn’t make them larger than life. By contrast, Dirk Pitt, Jason Bourne, Jack Ryan, Jack Bauer, James Bond, Laura Craft, Indiana Jones, Dr. Hannibal Lecter, and one that’s closest to my heart, Cotten Stone, are all larger-than-life characters in their respective worlds.
5. Multiple POV. In mysteries, it’s common to have the story told through the eyes of a limited number of characters, sometimes only one. All that can change in a thriller. Most are made up of a large cast of characters, each telling a portion of the story through different angles. Some thrillers are so complex in their POVs that you really need a scorecard. But even with multiple POVs, it’s vital to never let the reader lose sight of whose story it is. There should be only one protagonist.
6. Exotic Settings. Again, in most murder mysteries, the location is usually limited to a particular city, town or locale. But a thriller can and usually is a globetrotting event. In my latest thriller, THE PHOENIX APOSTES, co-written with Lynn Sholes, the story takes place in, amount other locations, the tomb of an Aztec emperor, Sao Paulo, Brazil, the sub-basement burial vaults of Westminster Abbey, Red Square, the Bahamas, a small island off the coast of Panama, and the Paris catacombs. Exotic locations are a mainstay of the thriller genre.
Like any generic list, there will always be exceptions and limitations. But in general, these are the elements you’ll usually find in mainstream commercial thrillers. But the biggest and most important element of all is that a thriller should thrill you. If it doesn’t increase your pulse rate, keep you up late, and leave you wanting more, it probably isn’t a thriller.
Are there any characteristics of a thriller not on my list? What do you look for in a good thriller?
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THE PHOENIX APOSTLES is “awesome.” – Library Journal. Visit the Sholes & Moore Amazon Bookstore.
By Joe Moore
The waiting is over. THE LOST SYMBOL by Dan Brown hit the store shelves yesterday. Love him or hate him, this is a big deal in the world of publishing.
First there was the long 6-year delay. Then the street talk that Brown would never write another book. Then the possible title: THE SOLOMON KEY. Then the revealing of the anticipated cover. And now the day has come. It’s here—all 5 million, first-print-run copies. Now the big questions are: Will it sell as many copies as THE DA VINCI CODE(80 million)? How long will it sit in the number one slot of every bestselling list on the planet? And is it as good as TDC and ANGELS AND DEMONS? Here are two advance reviews:
The Los Angeles Times calls it “. . . like any roller coaster – thrilling, entertaining and then it’s over.”
The New York Times calls it “sexy” and “impossible to put down.”
So what does this publication mean for us thriller authors? The way I see it, if all of us are ships in a naval battle group, THE LOST SYMBOL is the admiral’s flagship aircraft carrier pulling us in its wake, setting the course, and identifying the potential destination. When TDC came along, it created a whole new cottage industry of thrillers that contained secret societies, lost treasures, relics, scientific and religious conflicts, and other like-minded themes. I know that for me, it helped build interest in four of my novels. But in the bigger picture, it created a hunger. Just like Indiana Jones movies renewed an interest in the dark side of the 1930s-1950s, the Nazi, religious antiquity, and archaeology, Dan Brown and his books have continued to feed that hunger. A hunger that will potentially spill over to other books and writers. Because, once readers finish THE LOST SYMBOL, hopefully they’ll be hungry for more. The void must be filled.
Here’s an example from Library Journal where one of my books is mentioned.
I’m excited not only for Dan Brown, but for all thriller authors. This guy is shooting full-court 3-pointers, but the thriller team is ultimately the winner.
Do you plan on reading THE LOST SYMBOL? Do you consider it a thriller genre-boosting event or just another high profile novel by a famous writer?
By Joe Moore
It’s going to be a short post today because there’s little time to spare. Like any great thriller, the clock is ticking. My co-author Lynn Sholes and I are in a death match with none other than Dan-da-Vinci-Code-Brown. And we’re determined to win.
Don’t get me wrong, I like Dan Brown. At least I like his books. I’ve never actually met him, but I’m sure he’s a great guy you’d want to have a beer with. But today there’s something called the May Madness Thriller Author Smackdown over at a website/blog called Megalith. So a potential Brown-Sholes-Moore warm & fuzzy beer fest is not in the cards right now. This is serious smackdown stuff.
Each day of this month, the Megalith blog is matching up two thriller authors (or teams) to go head to head. The final round and championship will be on May 31. But today, we need your votes.
I mean, when you get right down to it, aside from a small difference of 80 million or so copies in sales, just like Dan’s, our thrillers have secret societies, ancient religious relics, angels and demons, globe-trotting heroes and villains, secret codes, seat-of-the-pants action, inside the Vatican cool stuff, creepy tunnels, dusty tombs, scary castles, and apocalyptic threats galore.
So call your family and friends, use names off headstones and the Chicago voter rolls—whatever it takes. Just get over to Megalith blog and vote. It’s a smackdown, and the future of the thriller world is in your hands.
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Coming up on our Kill Zone Guest Sundays, watch for blogs from Sandra Brown, Steve Berry, Robert Liparulo, Thomas B. Sawyer, Paul Kemprecos, Linda Fairstein, Oline Cogdill and more.