- Start with a bang. Your opening paragraphs are your best sales opportunity. If these paragraphs grip readers, they buy. If not, they don’t. I just glanced at a couple of thrillers in which the opening paragraphs detailed the vital statistics of key characters – height, weight, etc. One glance and I moved on to another book.
- End with a bang. Need an example? Consider how Mozart ends Don Giovanni. A statue of one of the Don’s victims, the Commendatore, comes to life and drags the Don down to hell, amidst a chorus of demons. Hot stuff! Just substitute your hero or heroine for the Commendatore. In one recent thriller the villain is chasing the heroine up some auto-wrecking equipment. He slips, falls and breaks his neck. Slip and fall? I couldn’t believe it. In another, the villainess is electrocuted by faulty wiring. Arf! Endings like this drive away readers.
- Don’t tack on an epilogue. You’re writing fiction. Let the reader’s imagination connect the rest of the dots. If you need a final bit of explanation, slip it in but don’t call it an epilogue. Similarly, don’t call your opening a prologue. “Prologue” sets the wrong tone.
- Limit the number of characters. Too many names confuse readers. If characters are not critical to the story, give them generic names: the cop, the two shoppers, the little girl, etc.
- Don’t preface chapters or sections of chapters with notes on the time and location unless the information is really critical – like Ten Years Later.
- Rev up the speed as you move along. Your readers should be on the edge of their seat turning the pages lickety-split. Reading a good thriller at a relaxed pace is like taking a slow ride on a roller coaster. It doesn’t work. In revising your thriller, eliminate unnecessary words, people and scenes. They just slow the pace.
- Don’t waste a lot of time on romantic scenes or elaborate character development. Readers who want romance can find plenty elsewhere. If you’re writing taut suspense, you might want to show how your protagonist changes under the pressure. But generally too much focus on character development simply slows the pace.
- Don’t brood over your cover art. Harry Dolan’s recent covers, for Very Bad Men and Bad Things Happen, are what you might call minimalist. But the stuff between the covers is great. So he’s a bestselling novelist. Bottom line: It’s what’s between the covers that counts.