Guide to Writing Mystery Thrillers
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Horror vs. Thriller: Fear vs. Suspense
The main difference between thrillers and horror is the effect it has on the reader. Yes, both genres are meant toĀ āscareā the reader, but with a thriller, the ending is less predictable. Itās about the building tension that comes with the unknown. The writerās goal is to unsettle the reader, make the fear of the unknown be the main aspect and make their heart rate rise steadily over the course of the plot. Horror is repeatedly scaring the reader, though the tension is lesser because a horror story is one of inevitable doom. Itās not so much about if, but rather when and how. Thriller is about that sweet, slow dribble of ice water down the readerās back, while horror is splashing them repeatedly in creative and shocking ways.Ā
With the tension being the most important element in a thriller, you must balance this carefully and you can do so by utilizing the mystery aspect. You can build the tension with events and the steady state of unknowing, but you can also use the mystery to relieve or ramp up the suspense. Mysteries introduce time-sensitivity into the plot, as well as identifiable risk and payoff, but it also preserves that feeling of unpredictability. You need to be careful to keep the tension thick enough that the plot twist is surprising, but not unexpected. Readers should expect a dramatic shift in the trajectory, but they should be completely shocked at what it actually is.Ā
Mysteries and thrillers do not have the luxury that thriller does of a reader coming in with their sense of what is and isnātĀ ārealisticā being thrown out the window. Readers of the mystery thriller genre expect an air of credibility and when their predictions and deductions are thwarted for something completely illogical, it isnāt a pleasant surprise. The suspension of disbelief comes in the details that may or may not be stretched for fictional purposes, but the meat of the story, the mystery and all the steps within, do not have that wiggle room. Exercise deep, critical thought when developing the plot development and the characters themselves because the reader is paying attention.Ā
Choose the Right Antagonist
Antagonists in mystery thrillers are a great opportunity for creative freedom. Yes, readers expect the antagonist to surprise them or be clever, but your job isnāt to fool the reader, itās to impress them with how cleverly you masked or built up the reveal of the antagonist; the result of their sleuthing. You donāt always have to choose some minor, seemingly insignificant character to be the antagonist at the end. Thereās so many roads you can choose, such as making the protagonist the murderer, a family member the thief, the romantic partner the deceiver, etc. Donāt try to avoid cliches in this part of the plot, because itās impossible. Every possible ending has been done in some way or another. Try to be original in the way you reveal them and be clever about developing the antagonist to have as much impact on the reader as possible.Ā
Death isnāt as rampant in thrillers as in other suspenseful genres, but itās still important to note that all death should have a purpose and a consequence. It should always serve the plot, and it should always have an observable effect on the characters. Killing characters (especially main characters) to build suspense or stakes doesnāt work and it reads as lazy. Keep the purpose and consequence in mind, and be open to death and where it takes the story.Ā
~ How do you create a good mystery thriller plot?ā¦ It depends on what you like about the genre. If you prefer to have the majority of the story surround the actual mystery and the development of its nuance, then focus the plot around that and sprinkle the suspense throughout. If you want the mystery to be the catalyst for a bigger, more complicated emotional conflict, then structure accordingly. Itās really about what you want to say and how you would want to hear it.Ā
~ How do you balance a subtle build up without making the twist look like it came out of nowhere?ā¦ Action and reaction. Every twist and turn should be traceable to a series of identifiable events throughout the previous chapters. Your readers should be able to see the breadcrumbs when they read the story a second time. Thatās how you know the subtlety works, rather than dropping two or three breadcrumbs throughout 16 chapters and then drop the whole remaining loaf in chapter 17.Ā
~ How do you create a spooky, thrilling atmosphere?ā¦ Writing style. Itās all about writing style, I promise. Utilize some of the staples, like shorter sentences leading up to an explosive moment, visceral vocabulary about something seemingly mundane, etc. Over-describing things to have thatĀ āthis normal thing doesnāt seem so harmless anymoreā or under-describing things that the reader would assume requires more focus. Either turn up the volume or turn it way down. These little aspects in the vocabulary and structure you use add up and work wonders for tension and suspense. Also:
A Guide To Tension & Suspense
~ How can I make the reader like the villain, despite their actions?ā¦ I have a couple resources for this, which you may find helpful:
Villains with good intentions
How To Write A Good Plot Twist
Flipping Character Traits On Their Head
Calculating Emotional Reactions
Keeping Characters Realistic
Tips On Writing About Mental Illness
Character Whoās Smarter Than You
Making Characters Unpredictable
Including More People of Color In Your Story
āMale characters are more relatableā
Showing Vulnerability Without Death
Character Driven vs. Plot Driven Stories
Resources For Crime/Mystery/Thriller Writers
Tips on Writing Pyschological Thrillers
Resources For Writing (Global) Period Pieces : 1900-1939
Resources For Writing (Global) Period Pieces : 1940-1969
Historically Accurate Dialogue
Tips on Introducing Backstory
Resources For Writing The Mafia
Guide to Story Researching
Commentary on Social Issues In Writing
Resources For Writing Sketchy Topics
On Writing About Sensitive Topics
Avoiding The Romanticization of Mental Illness
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