Writer’s Craft: VILE VOICES: DESCRIBING HOW THE KILLER SPEAKS by Rayne Hall

 

When a dangerous or evil person talks, make their dialogue short and to the point. The tighter their speech, the more intelligent and threatening it becomes. Wordy waffling would dilute the effect.

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Based on a True Story – How Can It Be Real? by Michael Allan Scott

How Can It Be Real?

As an author of supernatural thrillers, it’s a question I’ve heard a time or two before.

In my experience, the single most important aspect of good storytelling is what I call the “Reality Factor.” We’ve all read a book, seen a movie, that should have worked but didn’t. There are a ton of factors that may contribute to its failure, but at the core, I’m confident you’ll find a lack of reality as the main culprit.

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Crime Division: Medications as a Murder Weapon (in Fiction writing, Of Course) Joynell Schultz, PharmD, RPh

Hmmm… You have someone to kill. You need a creative way, and the old-fashioned gun, knife, rope, or Pillow Suffocation simply won’t do. Using a medication sounds intriguing. In the alphabet soup of drugs, which one makes the perfect instrument of death?

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Writer’s Craft: Cruel Claws: Describing the Killer’s Hands by Rayne Hall

 

To increase suspense in a scene where a dangerous person is about to do something nasty, slow down the pace and describe their hands. This is perfect for when the evil overlord signs the order to exterminate the children, or when the torturer readies his instruments.

 

This technique works especially well in thrillers. Show the killer’s (or the suspect’s) hands, especially when the point-of-view character is helpless to do anything. This will send creepy shivers across the reader’s skin.

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Q&A with Lis Wiehl Author of The Candidate

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Introducing the Newsmakers Series

 

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Writer’s Craft: Managing Tension With Peaks and Troughs by Rayne Hall

Tension is good. It makes the reader turn the pages. However,  constant high tension soon gets dull. The readers can’t sustain continuous scared excitement, and after a while, instead of roused, they become bored.

It’s like the waves on a stormy sea: the peaks are only high because of the troughs between them. If there were only continuous peaks without any troughs, the sea would be flat.

Your job as writer is to create not just the peaks, but the troughs which make the peaks look high.

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Interview with Rebecca Cantrell & The Joe Tesla Thrillers

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Welcome Rebecca!

 

Rebecca Cantrell’s Hannah Vogel mystery/thriller novels have won the Bruce Alexander and Macavity awards and been nominated for the Barry and RT Reviewers Choice awards; her critically-acclaimed cell phone novel, iDrakula, was nominated for the APPY award and listed on Booklist’s Top 10 Horror Fiction for Youth. She and her husband and son just left Hawaii’s sunny shores for adventures in Berlin. Find Rebecca Cantrell on Facebook, Twitter, and at www.rebeccacantrell.com.

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Interview and Q&A with Sandra Block

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DUP IS HERE! by Gavin Mills

 

 

‘Here’s my MTW review of Gavin Mills‘ adrenaline-rush of a thriller: Dup Departs…’

 

‘If you like thrillers involving gangsters, guns, drugs, corruption and action

this book is for you…’

 

These are comments on Dup Departs by two great writers for Mystery Thriller Week and I am blown away.

 

I am so glad people like Dup – because a lot of Dup is me, or was me …or something like that. But that’s not the point. Dup is like most anybody, just doing his best to lead an uncomplicated life and provide for his family. And things are not easy… There comes that time when one starts thinking whether he keeps pressing on or finds other cheese (sorry – had to borrow). Haven’t we all gone through that at some time? Is our life worth anything, are we doing what we love, …or are we missing out on life?

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What’s a Writer of Thrillers to do When Reality Outstrips Fiction? by Brian Greiner

What’s a writer of thrillers to do when reality outstrips fiction?
by Brian Greiner

The great fun in writing thrillers is playing with fascinating
technologies and concepts. The problem with thrillers is that eventually,
reality renders all that great tech obsolete—sometimes laughably so. So
how can a writer deal with the inevitable obsolescence of their
carefully-crafted worlds? One way is to simply ignore the problem and
treat the novel as something with a limited shelf life. The other way is
to focus on larger issues, with the technology simply serving as an
exemplar to highlight those issues.

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