For many readers and librarians, the genre classification Thriller is synonymous with the

Espionage stories so popular in the 1970s and 1980s. Many types of books share similar
characteristics and fit under the Thriller umbrella, however, as they combine fast-paced action
and adventure with traditional heroes and an abundance of technical details. For example, Robert
Ludlum, John Grisham, and Michael Crichton are linked for fans by their pacing, as well as the
nature of their heroes and the obstacles they face, even though their stories focus on disparate
subjects. This chapter will explore a wide range of Thrillers—Political/Espionage, Legal,
Medical/Scientific, Corporate/Financial, and Crime/Caper. Each type offers an insider’s look into
a field of expertise or profession and addresses the perennial question posed by titles in the genre
and among Adrenaline titles in general: Whom can the hero trust?

A Definition

The size and diversity of the Thriller genre make it difficult to define in a straightforward
fashion. Basically this genre focuses on a particular profession—espionage, medicine, or the law,
for example—and tells an action-packed story that reveals the intricacies of that profession and
the potential dangers faced by those involved in it. The details supplied, their authenticity and
their scope, are key to reader satisfaction. Although important to a good story, the character of
the hero is generally secondary to the action and detail. Readers can easily distinguish the good
from the bad among these stereotypical characters.The Thriller genre shares elements with the
Adventure, Suspense, and Mystery genres. As an Adrenaline genre, Thrillers demand the
breakneck pacing that drives Adventure, Romantic Suspense, and Suspense novels.Thrillers also
require an element of suspense, but it is not the focus of the book. Readers of Thrillers follow the
action step-by-step, and, in the best, participate intellectually and emotionally in the unraveling
of the plot. complications. Here, however, the physical, emotional, and mental dangers faced by
the hero are not ubiquitous and constant; they are simply a part of the picture. Intrigue and the
solving of a puzzle, appeals borrowed from the Mystery genre, figure prominently as well. All
these elements add layers to titles in this genre, but the distinguishing feature in a Thriller is the
frame of the story, the details of the profession, and the way in which the hero uses his skill and
knowledge within that profession to extricate himself from a dangerous situation. For example,
in a Legal Thriller, it is the hero’s knowledge of the law that allows him to succeed and escape
the dangerous situation in which he finds himself, and it is the presentation of these often arcane
details from the legal profession—an insider’s insights—that enthrall readers.

What, then, is a Thriller? It is a gripping, plot-centered story, set in the detailed framework of a
particular profession, which places heroes or heroines in dangerous situations from which they
must extricate themselves. These books are a cinematic blend of adventure, intrigue, and
suspense. Although characters may not be in life-and-death situations, they always face danger of
some kind, certainly from a conspiracy if not a physical antagonist. Twists of plot play a major
role and keep the reader guessing, not necessarily about the outcome, but about exactly how the
triumph will be effected. And although justice is the end result, the means of achieving this may
not always be strictly by the letter of the law. These are satisfying reads, with the good guys—
usually the underdogs—victorious and the bad guys punished, although the victory never comes
without cost and pain. The general characteristics in figure 5.1 amplify this bare-bones
definition.

Characteristics and the Genre’s Appeal

Pacing

As is the case with all Adrenaline genres, pacing drives these books, and readers are hooked in
the first pages, compelled to read as quickly as possible through the convoluted stories to the
very end and the satisfactory denouement. Nonfans may wonder how one can possibly allege
that an

1. Thrillers move at a rapid pace, driven by the danger or threat of danger faced by the
protagonist. Although some are densely written and the action may be more cerebral than
physical, their building intensity makes them compelling page-turners.

2. Extensive details and technical language related to each occupation are vital, and they are
woven into the story in a way that does not detract from the pacing. They offer the reader an
insider’s view of that profession.

3. These cinematic stories center on the plot and the action generated by the intricately involved
narrative. There is often a political focus with either national or international ramifications, and
hot topics from the news are frequently explored. Conspiracies thrive here. Protagonists face
frightening perils, physical and emotional, and violence or the threat of violence propels the story
line.

4. Protagonists are usually strong, sympathetic characters, whether heroes or antiheroes.

Secondary characters are less well developed and may even be caricatures. Protagonists often
operate alone, as theycan never be certain, in their worlds of betrayal and deception, whom they
can trust.

5. The tone of Thrillers is often dark, and gritty details contribute to this mood. Spoofs may
produce a lighter but still menacing tone.

6. The language of Thrillers reflects the jargon of each profession. Styles range from elegantly
literary to more informal and conversational.
850-page book, full of carefully researched details about military hardware, for example, is fast-
paced. The answer seems to be that the books are compelling reads; they pull the reader in with
the sympathetic portrayal of the hero and his plight, and the action as well as the detail keeps the
reader turning the pages, since readers understand that key plot elements can depend on these
intricacies and details. The more cerebral Thrillers of a literary stylist such as John le Carré or
Alan Furst seem just as compelling as the action-packed dramas by Gayle Lynds, because the
reader is drawn into the hero’s moral dilemmas, as well as into interpreting the shades of gray
that pervade his story. Engrossing is a term often applied to this genre, and the books are often
what readers want when they request page-turners. These gripping stories hook readers early on
and keep them satisfied as the intricately twisted plot unfolds. We keep reading to find out what
will happen next. These books have the feel of fast pacing, even though they may not actually
read quickly.

Frame/Setting

As will be underscored throughout this chapter, the details and the jargon of each profession are
vital. These must be profuse and accurate. Readers anticipate being immersed in the legal or
medical professions, for example, and they expect their lawyers and doctors to sound just like the
ones they know—or see on television. In fact, if the details are good enough, it does not matter
for some readers how exciting, or even plausible, the plot or how realistic the characterizations.
Although some readers may skim the technical details in Tom Clancy’s Techno-Thrillers, for
example, the most fervent fans of this type see these as the core of the book.These books also
provide an insider’s view of the profession. Readers of Legal Thrillers expect to explore the fine
points of law and courtroom procedures, while fans of Medical and Scientific Thrillers relish
details about the operations of the hospital or research lab, medical procedures, and the nature of
the disease or virus that precipitates the action. Readers expect these details to be presented in an
understandable fashion, rather than as dry, and perhaps overwhelmingly incomprehensible, facts.
This is not to say that the view of the profession is always positive. In fact, Thrillers often point
up the problems—and certainly the dangers—associated with it. In Legal Thrillers, for example,
the legal profession does not necessarily come off well. These are books that are enjoyed by
lawyers as well as by those who claim to dislike lawyers and the legal profession. Our insider’s
perspective allows us to see that the corruption and greed the lawyer fights are as often within
the profession as without. The protagonist is the white knight, strong enough to wage a battle
against the corruption wherever he encounters it. This story line opens up endless variations on
questions of moral and social issues, and no venue—from the White House to the boardroom—is
safe from the investigative talents of our knight on his quest. Historical settings also make a
popular frame, primarily in the Political Thrillers, with tales of spies in times past. Topicality is
important for many Thrillers, but currently World War II backgrounds are especially popular.
Alan Furst’s dark dramas of espionage in the 1930s and 1940s set the standard. Atmosphere
dominates in these moody tales featuring world-weary spies involved in complicated
conspiracies, and they sometimes end badly for the protagonist. The World at Night offers the
claustrophobic feel of wartime Paris.1 Anne Perry writes a dark, moody World War I Thriller
series, beginning with No Graves as Yet, and several authors have standalone titles worth
exploring, particularly Joseph Kanon (The Good German) and Mark Frost (The Second
Objective).

2. In Linda Fairstein’s series featuring sex crimes prosecutor Alexandra Cooper, historical details
of New York City locations and buildings add another layer to the complex stories of modern-
day crimes. Fans of Thrillers with historical settings demand rich and accurate backgrounds, as
do Historical Fiction readers, who may also enjoy these novels.

Story Line

Story lines in Thrillers tend to be complicated, with frequent plot twists that surprise protagonist
and reader alike. Power is often at the heart of the action: The antagonist plots to gain power for
his own ends, and the hero is out to stop him or her. There is violence or the threat of violence,
and a sense of constant movement, which increases the pace of the story. The emphasis of the
story line is on action and conflict, namely the prevention of the power-hungry villain from
gaining control. Ultimately, the hero triumphs over evil and survives—although there may be a
price to pay.

Thrillers cover a broad spectrum—law, politics, crime, medicine, business and finance—but the
story lines share several characteristics. First, these stories are cinematic, and many books have
become the basis of television shows and movies. Colorful details, black/white/gray characters,
intricately woven stories, and provocative issues lend themselves to the small and large screen.
One need only consider the success of movie versions of Elmore Leonard’s criminal romps (Get
Shorty, for example), Tom Clancy and John le Carré’s political dramas (The Hunt for Red
October and other Jack Ryan tales and The Spy Who Came in from the Cold, The Tailor of
Panama, and more) to understand their appeal.

3. Movies have been made

from the books of most major Thriller writers—David Baldacci, Grisham, Scott Turow, and
Robin Cook, to name a few.

Thriller plotlines are provocative, introducing a wide range of social and moral issues, and
examining them in the story line. From the international (Israeli/Palestinian relations and their
geopolitical tie-ins in Daniel Silva’s fine series starring art restorer/spy Gabriel Allon) to the
more personal (John Rain’s efforts to leave his job and reputation as a contract killer in Barry
Eisler’s introspective series), these books raise a wealth of issues.

Legal Thrillers address abuses of the law and often pit a David against the Goliaths of corrupt
lawyers, legal firms, and justices; Medical and Scientific Thrillers fight the dangers of Big
Medicine as well as mad scientists; Political Thrillers pit terrorists, spies, and governments
against each other, both currently and historically; Financial Thrillers attack big business, big
government, and megalomaniacs controlling influential power blocs; and Crime Thrillers
uncover abuses within police departments as well as in organized crime and the criminal
underworld. Hot topics from the news always find their way into intriguing Thriller plots. This is
where we learn the dangers of the latest virus (medical and computer) and meet conspiracy,
corruption, and nefarious machinations of every sort. Authors of Medical Thrillers, especially,
skillfully manipulate the plot and characterizations to play on our worst fears. Assassinations and
conspiracies flourish in these pages, as do financial schemes that could take down a government
and throw the world into chaos.The topicality of subjects, that ripped-from-the-headlines
immediacy, may cause some Thrillers to date more quickly. Still, those that transcend the specific
event described remain classics in the genre. A good example is Frederick Forsyth’s masterpiece,
The Day of the Jackal, written in 1971. 4Vivid details of the Jackal’s preparations for his attempt
to assassinate de Gaulle dominate the story and linger in the reader’s mind. These step-bystep
preparations and the concomitant details—the breaking down and transporting of his weapon
across borders, the elements of his disguise—keep us reading, as we simultaneously follow the
race to catch him. The wealth of details makes the story very real and all the more frightening,
and even though it is tied to a specific event, it feels timeless and universal, as if it could happen
again tomorrow.Thriller fans cherish convoluted plots—the more intricate the better—and these
twists are a hallmark of the genre. Nothing is ever as it seems in a Thriller, and one never knows
whom to trust. Readers of Thrillers expect the unexpected, the out-of-the-ordinary, and situations
that change frequently and in unanticipated directions. These are layered puzzles, and for many
readers, the more complex and intricate the puzzle and the more elegant the execution of the
solution, the more satisfying the story. Labyrinthine describes these plots; double crosses are
essential, and a final twist near the end often completes the story—and surprises the reader.
Betrayals, secrets, conspiracies, and revenge make up many story lines. David Baldacci’s
complex Political Thrillers provide an excellent example. They often feature multiple,
interwoven story lines; complex plot twists; and investigations on several levels. Try his Camel
Club series to sample his style. In the first, The Camel Club, a group of misfits and conspiracy
theorists, living mostly off the grid in Washington, DC, witness a murder and are threatened by a
dangerous cabal propagating a conspiracy that threatens the fate of the world.5 Violence and the
threat of violence figure prominently in this genre.

High body counts seem to be the norm in almost all publishing currently, and Thrillers tend to
drive up those numbers. This may be troubling for readers unfamiliar with the genre, but for
most fans the page-turning pace at which they read means that the violence sometimes goes
practically unnoticed, unless it is unusually descriptive. Violence remains an integral part of the
stories in this genre, and they are probably not our first suggestion for a reader who prefers
Gentle Reads and others that feature less graphic and dangerous story lines. On the other hand,
the violence plays an important role in underlining the dangerousness of the situations.
Calculated violence and even torture run through Daniel Silva’s critically acclaimed Political
Thrillers starring Mossad agent and art restorer Gabriel Allon. These thoughtful tales of the
struggles between Israelis and Palestinians demand this authenticity.

Characterization

As do most Adventure heroes and private investigators in the Mystery genre, Thriller
protagonists often seem to operate under their own personal moral codes, which may be at odds
with the law or common practice. Any reader of the genre also recognizes that these heroes are
faced with a serious dilemma: Whom among the characters who surround them—and often
appeal to them for assistance—can they really trust? This dilemma creates moral questions and
drives the plot, often even turning the hero away from the police or anyone in authority as a
possible betrayer and forcing him to use his own skills and knowledge to overcome all obstacles
Min his way. Heroes may be male or female. Unlike the Adventure genre, which is dominated by
men, Thrillers, Legal and Medical especially, often feature strong female protagonists. More
important than gender is the fact that the reader relates to the hero and his or her plight. Our
involvement with these characters draws us to these stories and keeps us reading to discover the
fate of the characters we have embraced. Sometimes there is a cast of characters, as in Lisa
Scottoline’s series featuring an all-female legal firm in Philadelphia. Each novel stars one of
these lawyers, and we learn of their careers, their pasts, their relationships with others in the
firm, and their dreams. Everywhere That Mary Went is the first in this long-running series. In
Silva’s Political Thriller series, we discover Allon’s tragic past as the series progresses, and, as in
some Mysteries, his personal story can be as much of a draw as his professional activities. In The
Kill Artist, the Mfirst entry, Silva introduces us to his complex, haunted hero and gives us a
glimpse into his past and motivations as he must stalk another kill artist, na professional assassin
almost as skilled as he Although we expect likeable and sympathetic protagonists, albeit
Mmoften flawed and very human, this genre also offers another twist—Crime Thrillers that star
dangerously flawed and even amoral heroes. As criminals or part of the underworld, they are not
always characters with whom we can comfortably sympathize. This l000signments and deals
with the everyday annoyances of his life,

The “hero’s” chilling amorality creates an extraordinarily disturbing and compulsively readable
collection.On the other hand, many of these protagonists have a genuine allure. Who can resist
the wacko creations of Carl Hiaasen and Laurence Shames ?or Elmore Leonard’s appealing low-
life characters? Authors at both ends of the spectrum from noir to comic offer a range of
irresistible bad guys.

From Donald Westlake’s hapless Dortmunder gang, which has bungle more operations than
anyone deserves, to Mario Puzo’s sinister Mafia family, protagonists run the gamut.Secondary
characters and villains fare less well, except in Crime Thrillers, where the villain is frequently the
protagonist. Often characterizations are black and white, with the hero portrayed as very good
and the antagonist very bad. Readers generally have no doubt which are the good guys and
which the bad, although, as will be seen below, in some (especially in Political Thrillers) there
are more shades of gray among the characterizations, and the threats to the hero may come from
inside his organization or profession as well as from without. Terrorists thrive in this genre,
usually as secondary characters, whose mission and politics are threats that must be sought out
and disarmed. Occasionally authors will play with this convention; characters who appear to be
terrorists are actually the protagonists, deep under cover. Then the dilemma of whom to trust
becomes even murkier, as the “good guys” suspect these heroes and their motives, but these
terrorist/heroes know that danger lurks for them in both camps. Recently, Frederick Forsyth in
The Afghan and Alex Berenson in The Faithful Spy have spun this twist to critical acclaim.

Series characters figure prominently across the Thriller genre as well as every other. In fact, only
a few best-selling Thriller writers—John Grisham, Ken Follett, Forsyth, Joseph Finder, Joseph
Kanon, Brad Meltzer—have yet to create series characters! Many write series and standalone
novels, often alternating between the two to keep series fresh but also to explore new directions.
Series characters ensure sales, as readers follow their adventures from title to title. Among
popular series today are

Legal Thrillers by Fairstein (Alexandra Cooper) and John T. Lescroart (San Francisco lawyer
Dismas Hardy and San Francisco Police Department’s Abe Glitzky); Stephen J. Cannell’s Police
Thrillers (Shane Scully of Los Angeles Police Department); Barry Eisler’s Crime Thrillers
(assassin John Rain); Medical/Crime Thrillers by Karin Slaughter (Dr. Sara Linton and police
chief Jeffrey Tolliver); Medical Thrillers by Robin Cook (Jack Stapleton and Laurie
Montgomery); Political Thrillers by Nelson DeMille (John Carey), Vince Flynn (Mitch Rapp),
Kyle Mills (Mark Beamon), and Daniel Silva (Gabriel Allon). While the pacing, details, and
story line may dominate, fans also read to discover more about the series characters, both the
secrets of their past and their future as it unfolds in the current episode.

Tone/Mood

With violence and danger dominating the genre, it is small wonder that the tone of most Thrillers
is dark. Even though the resolution is usually satisfactory, with the good guys triumphing over
evil, the tone is often bleaker than might be expected in books with this positive outcome. As
mentioned above, these victories are often not without cost, and no satisfactory ending is
completely without loss. Gritty details and the building of suspense and danger add to this
ominous mood. Political Thrillers, with their spy heroes, can be especially bleak, reflecting the
sense of alienation and paranoia that plagues these agents. All of the novels by classic Espionage
writer John le Carré exemplify this tone, as do those of Furst and Joseph Kanon. The best in the
genre also capture that claustrophobic mood and loneliness, the paranoia of the amateur who has
not yet learned whom to trust and of the jaded professional who knows he can trust no one. For
the most part, this is a world of one man or woman, operating alone, and with only a government
bureau, not a family, as backup. These are not bright and happy books, and even though these
characters are successful on their missions—and they have saved the free world once again—the
mood is generally uncompromisingly bleak. Le Carré provides the classic examples of this
melancholy tone. No one can read The Spy Who Came in from the Cold, for example, without a
deep sense of tragedy created by betrayal and double cross.

Crime Thrillers, too, are often edgier and darker. In Chuck Hogan’s Prince of Thieves, for
example, antihero Doug dreams of breaking away from his life of crime, but his addiction to the
high it produces drives this sympathetic character to a tragic end in this layered, provocative,
noir drama.

As always, there are exceptions. Newsman Jim Lehrer writes a series that features the one-eyed
lieutenant governor of Oklahoma, a crusader against corruption on a slightly less global and
dangerous level. Lehrer demonstrates that not all Thrillers have to be serious—although these
clearly find a different audience or an audience that reads them for different reasons. The series
opens with Kick the Can and throughout reflects both the characteristics of the Thriller genre and
Lehrer’s love of smalltown life and people in Oklahoma and Kansas.12 As do a number of
Thriller writers, Cannell leavens his Police Thrillers featuring Los Angeles police detective
Shane Scully with humor (often black) and smart remarks. This contrasts sharply with the
dangers and tough issues Scully faces, intensifying their effect.Capers make up the lighter side of
Crime Thrillers. These are the stories of Hiaasen, Shames, Leonard, and Westlake. They are
peopled by characters who delight readers with their outrageous disregard for law and practically
all other conventions. Marne Davis Kellogg’s charming series starring Katherine Day (Kick)
Keswick offers the female perspective on this theme. Cat burglar Kick is a classy lady of a
certain age, size, and style. She is skilled at creating fake jewels (which often reside among the
treasures of the rich and famous while the real gems rest safe in Kick’s personal vaults), and she
lives a life of leisure among the upper crust, enjoying the pleasures of good food and wine while
planning her next heist. Comedy—she marries an ex-Scotland Yard detective who has quirks of
his own—and endless name- and label-dropping frame this engaging series. Brilliant is the first.

Hiaasen, with his over-the-top skewering of life in south Florida, typifies Crime/Capers. His
enormous popularity has inspired imitators, and the south Florida scene is well covered by him,
along with Leonard, Shames, and Tim Dorsey. The typical Hiaasen Crime/Caper Thriller features
murder and black humor, over-the-top secondary characters and situations, an antihero
protagonist, corruption promulgated by those in authority, and labyrinthine plots. His venal and
often loopy characters seem destined to turn south Florida simultaneously into an environmental
disaster and a madhouse. Try Native Tongue to sample his work.14 Here, eco-terrorists threaten a
sleazy Disney-style theme park.

Style/Language

Certainly the distinctive jargon of each profession figures prominently in all these novels. We
learn the patois of spies and terrorists, the cant of thieves, and the specialized language of
medicine and science. The language must also fit the story and its characters. Some authors
develop distinctive cadences that immediately tell readers—or listeners to these novels on audio
—much about the story and characters. Leonard is a good example. His distinctive dialogue
identifies his cast of characters and sets the stage for the black humor and details in his urban
crime dramas. Some authors employ language and style to add a regional flavor to their Thrillers.
Greg Iles’s southern idioms and speech patterns underline the sense of place in the deep South.
William Lashner’s Legal Thrillers employ smart dialogue that reveals much about the tough and
cynical character of his second-rate lawyer Victor Carl and his background from the streets of
Philadelphia. For some authors literary style is important too, and Thrillers range from elegantly
written literary novels to informal and conversational glimpses into another world, depending on
the authors and the stories they tell. Since these are Thrillers and pacing is crucial, the best never
let details impede the pacing. They skillfully interweave detailed layers of information with the
story and characters. Like stories in the Suspense genre, these novels sometimes provide a
prologue that sets up the action. P. T. Deutermann’s The Cat Dancers opens with a dramatic
scene with a man dangling from a rope in the rugged North Carolina mountains, as he tries to get
a picture of a cougar, thought to have vanished from that area.15 Our curiosity piqued, we read
frantically, following Lt. Cam Richter of the county sheriff’s office as he investigates to discover
the secret of these cat dancer/photographers. Nelson DeMille’s Night Fall opens with a couple on
the beach watching jets taking off from JFK airport in New York.16 Did something strike TWA
flight 800 before it exploded? Their story gets pulled back into the investigation of a possible
terrorist plot that ends on the eve of September 11, 2001. Readers feel an extraordinary sense of
anticipation because they know what happens next, and the possibility that these events are
connected drives the pacing and the story line.

Key Authors

In such a big and popular genre, there are many names that could be brought forward as “key.”
Dozens appear consistently on the best-seller lists, and even more remain popular in our libraries.
A handful of best-selling and acclaimed authors—David Baldacci, Tess Gerritsen, Lisa
Scottoline, and Daniel Silva—are good examples to illustrate the range of the genre. Baldacci
continues to cover a lot of Thriller territory with his diverse plots. Big business (Total Control),
financial manipulations (the lottery in The Winner), abuse of power in the office of the president
(Absolute Power), and more recently, conspiracies (The Camel Club).17 Sympathetic characters,
high-tech and computer machinations, complex story lines with multiple twists make him a good
suggestion for many Thriller readers. Gerritsen, who usually features a sympathetic female
protagonist as well as graphic medical detail and more far-fetched plots, crosses between strictly
Medical and more Scientific plot emphases. Recent titles feature series characters who blend the
medical and investigative arenas, as Boston homicide detective Jane Rizzoli and medical
examiner Maura Isles join forces. Police and medical details fill these Thrillers, and the recent
Mephisto Club even adds an element of the paranormal.

With her series starring an all-women Philadelphia law firm, Scotto line has captured the Legal
Thriller market. She combines legal expertise (she is a former lawyer) with investigative details
and suspenseful woman-in-jeopardy tales, leavened with witty dialogue and a touch of humor, to
create compelling stories of female lawyers fighting for justice. Each novel focuses on one
lawyer, but others from the firm also appear. This series offers extensive character detail that also
attracts fans.Silva’s stylishly written, compelling stories of unlikely spies have given new life to
the espionage end of the Political Thriller. As mentioned earlier, his series character art-restorer
Gabriel Allon is a sleeper spy, an Israeli Mossad agent, employed against the most dangerous of
Palestinian agents, their enablers, and other anti-Israeli menaces. His tragic past and motivation
unfold layer by layer throughout the series. Classic Thriller writers John Grisham, Robin Cook,
and Michael Crichton remain popular. Grisham achieved fame for his David-and-Goliath tales of
the underdog lawyer fighting corruption and winning. In recent years, he’s expanded his scope to
include nonfiction as well. In fact several of his recent best sellers aren’t even Thrillers. When he
writes about the law, his books are now darker, with characters less black and white, issues more
provocative, and a happy ending not necessarily ensured. The Appeal, a recent title, combines
politics and legal issues in a provocative look at the practice of buying judges.

Cook continues to achieve best-seller status with his fast-paced Medical Thrillers, crusading
stories that raise questions of medical ethics as they offer details of the profession. In Cook’s
Thrillers, the doctors are usually the good guys (and gals), pitted against the soulless, greed-
driven health maintenance organizations, the hospitals, and the drug companies. Try Marker for a
recent example of his best-selling style, as his series characters battle the hospital administration
as they try to investigate unnecessary deaths, which almost have to be murder.

Crichton remains the master of Scientific Thrillers, with both Jurassic Park and Prey, for
example, reflecting the obligatory characteristics: crusading hero, story lines out of the news or
certainly within the realm of scientific possibility, and fast pacing, not to mention copious
scientific details.21 Dinosaurs brought to life from their DNA rule the former title and swarming
microcosms endanger life as we know it in the latter.
What We Know about Fans

What do these readers expect when they request a Thriller? Having thought about the genre, we
understand that most are not looking for novels with complex characters. They expect the plots,
with twists and unexpected turns, not the characters, to generate surprises. For the most part, they
expect characters to be heroes they can relate to and empathize with and villains they love to
hate. Although characters, especially villains, may be caricatures, many characters, good and
bad, are drawn from real life. They may be exaggerated, but they are easily recognizable from
television and the news.Pacing is generally fast in Thrillers, and that is another element readers
expect. When they request page-turners, these are among those books we suggest. As observers,
and perhaps even fans, we know intellectually that all Thrillers are not equally fast-paced.
However, we also know that

they may seem that way to their fans, as the writers pull the readers into the stories and keep
them turning pages. Plots in this genre should be complex—the more convoluted and surprising
the better. These are also stories in which the good guys win, despite the odds and the dangers.
Readers do not usually like an author to play with this formula, and we, in exploring the genre,
should make note of those who push the boundaries of the formula, so that we can alert fans.
Within this formula, readers expect the unexpected. They are

looking for frequent plot twists and rapidly changing situations—the outof-the-ordinary books in
which things never go according to plan, for the hero at least. They want to see how the author—
and the hero—will handle the problems that inevitably arise. Fans also expect that pulled-from-
theheadlines perspective on controversial and newsworthy issues. Thrillers explore many social,
political, and ethical questions, and readers like to see them from the insider’s point of view that
the genre provides.As we explore the Thriller genre—talking with fans and reading books and
reviews—we should also be aware of the pervasive violence. Readers often have a level of
violence beyond which they are reluctant to go. If I am aware of a particularly violent scene or
that a title tends to be more (or less) violent, I try to make a mental note so that I can share that
information with readers for whom it may be an issue. Readers also seek the frame, those details
that form the basis of each

of the Thriller types. They demand both jargon and procedures related to the professions. Maps,
illustrations, and intricate descriptions add to the appeal of these stories. Detractors may
complain about the melodramatic soap opera elements sometimes found in these stories, but fans
appreciate characters they care about, clear distinctions between good and evil, and cases in
which justice—although not always the law—is served in the end. Becoming familiar with
popular authors is a good place to start in preparing to work with readers. But reading almost
anything typical of the genre helps in making contact with readers. Fans of other genres might
try authors listed in figure 5.2. Since these authors overlap with other genres, readers (and
librarians) can choose a genre they prefer and find a Thriller author who might also satisfy them.

The Readers’ Advisory Interview

Discovering what readers enjoy about a particular author or genre is always difficult, but because
Thrillers, like all Adrenaline novels, are so cinematic and have often been made into movies,
sometimes we can more easily explore that format with fans. If they are unable to describe titles
or authors they enjoy, they can often tell us about movies and we can readily discover what
Thriller elements they appreciate. These may simply be subject elements—details of the legal or
medical professions—but fans also describe movies in the same way they describe books—by
pacing, characterization, story line, frame, tone, and style. We simply listen for those elements
and offer a selection of Thrillers that might meet that reader’s interests and mood. And when we
are standing at the book stacks with a reader and nothing comes to mind, or a reader asks us
about a Thriller that we don’t even remember seeing before, we should also remember that this is
that occasion when we can ignore the old adage: never judge a book by its cover. Because they
often reveal a great deal about the content of Thrillers, we should certainly make the most of the
covers—and titles—in identifying Thriller types. As Thriller/Adventure/Suspense expert
librarian Michael Gannon suggests, we do not even need much imagination to be successful. A
syringe indicates a Medical Thriller; a swastika, likely a World War II Espionage/Political
Thriller, while a government seal might suggest a more contemporary Political Thriller; and the
words “indictment,” “justice,” and “evidence” all suggest Legal Thrillers. What could be easier?
Remember too that Thriller is a catchall phrase, used across the board by publishers, reviewers,
and readers to indicate any of the Adrenaline genres or any fast-paced, suspenseful story. The
distinction between suspenseful Thriller and thrilling Suspense, for example, is a very fine one,
and frankly not one worth taking time over. Listen to how readers describe books and move them
across genres, matching the elements they most prize. The discussion of “Whole Collection
Readers’ Advisory” and figure will help with that process. Sure Bets Sometimes a good strategy
is simply to describe popular writers who fit generally within the Thriller genre, those Sure Bets
that appeal to a wide range of fans within the genre and without. All of the authors discussed in
the “Key Authors” section certainly qualify as Sure Bets. Others to be aware of include Greg
Bear and Christopher Reich. Bear, perhaps better known for his Science Fiction, has recently
written several Scientific Thrillers that appeal to a wide range of fans. Quantico mixes the
science of Michael Crichton with the political background of Frederick Forsyth’s novels for an
imaginative, futuristic tale of biological terrorism. Fascinating characters, intricately woven plots
laden with scientific details, a suspenseful mood, and a menacing villain add up to an action-
packed, cinematic Thriller. Reich combines the Political with the Financial in his smart Thrillers,
which give a sense of the direction of the genre since September 11. The action begins on page
one and never lets up, as plot twists, conspiracies, and puzzles lead the hero—and the reader—
through layer after layer before the final twist. His award-winning The Patriots Club opens as
Thomas and his girlfriend Jenny are attacked and Thomas kidnapped and questioned about
matters of which he has no knowledge.24 Then his world falls apart, as he is framed for sexual
harassment and murder—and goes on the run. The action and surprises are guaranteed to leave
readers breathless. Expanding Readers’ Horizons with Whole Collection

Readers’ Advisory Faced with readers who say they have read everything by an author or in a
type they love, we need to remember that the Thriller genre offers extensive crossover, both
within the genre and without. (See figure 5.3.)

Readers who choose Thrillers for their pacing might enjoy any number of fast-paced titles from
other Adrenaline genres, especially Adventure and Suspense. T. Jefferson Parker’s stand-alone
Suspense novels, Matthew Reilly’s high-octane political and military Adventures, or Ridley
Pearson’s Mystery or Suspense series would make good suggestions. Medical/Scientific Thrillers
contain elements of Suspense, Adventure, Mystery, and even Horror, and thus those genres also
offer titles that appeal. For example, Mystery writers Patricia Cornwell and Kathy Reichs offer
extensive forensic details that Thriller fans may appreciate. Readers may also find titles of
interest among novels dealing with environmental issues and biological or chemical warfare,
such as Bear’s Quantico or Kyle Mills’s Darkness Falls.

This is a popular topic today, and these titles are relatively easy to identify. Fans who used to
read Techno-Thrillers, with their extensive details of military hardware and transport, may also
enjoy many authors in the Adventure genre (chapter 2). The Adventure novels of Clive Cussler
and the Military Adventures of a fast-paced writer such as Patrick Robinson would also make
good crossover suggestions. Watch for the aircraft or submarine on the cover to identify
possibilities more easily. Readers of Legal Thrillers also read true crime and nonfiction accounts
of actual trials; Mysteries may appeal to these fans. Although there may be less emphasis on the
actual practice of law, the investigation figures prominently in both. Private investigators who
also happen to be lawyers or provide extensive legal details are good choices for Legal Thriller
fans. (For example, Kate Wilhelm’s Barbara Holloway series, beginning with Death Qualified,
appeals to readers who appreciate a good mystery with abundant legal details.)

Because of the character of most private investigators (P.I.s)—the white knight who operates
under his own moral code and solves cases, restoring order and justice to the world—many
Mysteries featuring P.I.s appeal to a wide range of Thriller readers, from Legal to Espionage.
Thriller readers may also appreciate any story in which the underdog wins against the giant
corporation (or other unfeeling, powerful entity), whatever the genre.
Trends

The last decade has seen the reemergence of the Espionage or Political Thriller as one of the
most popular types, along with the demise of the Techno-Thriller. As the Cold War languished,
so did Political Thrillers, but, unexpectedly, with the end of that era, these Thrillers have attained
new popularity. Some writers have mined historical periods but many others have capitalized on
current political unrest, especially terrorists, to breathe new life into this Thriller type. As more
and more technical elements became de rigueur in Thrillers and other genres, driven especially
by familiarity with computer hardware and gadgets, the Techno-Thriller emphasis was simply
incorporated into the structure of many Thrillers and indeed of many other genres. Since the rise
of Political/Espionage Thrillers corresponds directly with the fall of Techno-Thrillers, it seems
possible that the former simply subsumed the latter, with the military emphasis pulled into the
political arena.

Thrillers continue to merge with other genres, particularly Suspense and Mysteries, and within
the genre as well. The distinct boundaries that once seemed to exist between Legal, Medical, and
Political Thrillers, for example, have become so porous that it is almost impossible to talk about
them as distinct entities. Fans, too, follow favorite authors as they write and explore new territory
within and beyond the genre’s confines, and readers pick up on new Thrillers that address
contemporary topics that interest them. Thrillers remain topical if diffuse in their focus. Hard
though it may be to believe, even the Thriller genre has been affected by the current popularity of
the paranormal as it has infiltrated almost every fiction genre. Douglas Preston and Lincoln
Child’s Pendergast series has moved from Horror to Thrillers, to Supernatural Thrillers. Also
remember Tess Gerritsen’s Mephisto Club with its brooding, ancient evil and James Patterson’s
When the Wind Blows and The Lake House, scientific Thrillers that involve genetically
modified, winged children.

Combining elements of suspense, adventure, and intriguing puzzles with professional expertise
and jargon, these tales of lawyers, spies, doctors, and others are among the books readers often
seek when they ask for page-turners, those fast-paced novels that demand we read them at a
rapid rate. These books appear with regularity on best-seller lists; small wonder they are so
popular with readers since they feature the thrill of the chase, as beleaguered heroes and heroines
fight both to stay alive and to solve the puzzle that has put their lives in danger.