Below, I list a collection of thought-provoking tips on writing the thriller genre. It’s not that easy to pinpoint what a thriller is, because a lot of descriptions focus on the tone. But this doesn’t help writers much. From a writing point of view, the thriller must contain certain things, otherwise it’s not a thriller.
Thriller is a hybrid genre of mystery and horror with crime and action elements. Each thriller story will have its own balance of these things. This explains why we can still be surprised by a thriller, even though the genre conventions are so strict.
The thriller is difficult to write. You’re writing characters who don’t tend to act as people do in real life, yet the audience has to believe they could behave like that, given the same outlandish circumstances. So when writing a thriller you have to come with all the reasons why the hero doesn’t just call the authorities. Continue reading “All About The Thriller Genre”
When creating characters, storytellers draw a distinction between what Michael Hauge refers to as ‘identity’ (masks) and ‘essence’.
- Identity refers to the faces people present to the world, also known as masks.
- Essence is the (one) true self.
The underlying message of most stories is the same no matter the genre: It’s only when a mask (false identity) comes off that true happiness can be found.
Genre And Masks
The Love Genre
This distinction is important in the love genre. The audience is clued in about who is right for each other because even if the romantic pair start off fighting, they eventually get to know the other’s essence. All other romantic rivals never get past the ‘identity’ stage of knowing. Continue reading “Masks In Storytelling”
Where were you when you first watched The Silence Of The Lambs? I was about fifteen, mid-nineties. The film had made it to midday TV. It was a rainy, wintry day outside and my mother sat knitting in the recliner chair. I was on the floor making flashcards for high school Japanese, but as relaxing as I found this task, the film won out that day. The cosiness of my environs juxtaposed against the content of the film stands out in my memory.
Some years later, on a fine Monday morning, I was walking to work and saw a man struggling to put a sofa into a van. He didn’t accept my help as it happens, but I remember thinking to myself, “Don’t actually get inside the van.” Sometimes films do that to you. I can’t see a glass of water wobbling without thinking of Jurassic Park. I can’t see a man loading furniture into a van without thinking of Buffalo Bill.
The Silence of the Lambs mostly holds up to multiple viewings, and maybe even requires it. It took me a while to work out exactly how Clarice got to the right house before her colleagues did, and I’m still not sure I’m meant to know exactly what went wrong there. Here’s the thing about rewatching in 2017, though: It’s clear this film has not helped dominant attitudes towards gender non-conforming people. In 1991 the film-going public didn’t really know the difference between transvestite, transgender, gay and transsexuality. We certainly didn’t give that community a second thought. Continue reading “Silence Of The Lambs Film Study”