Tag: subgenres

Categories
Mystery/Thriller/Suspense

The Mystery of Describing These Genres

mystery suspense thriller

Ever heard someone say, “I love a good mystery!” That’s more likely than hearing
“I love a good suspense story.” What they may mean is they love a good thriller. It turns out the technical definitions of what makes up a story categorized as mystery, suspense, or thriller can be way off from a reader’s understanding of the words.

So, who cares?

All authors should! A greater understanding of what your book means in the eyes of the greatest number of readers can make a significant difference to your sales.

From the industry and technical standpoint, each term has a definition, albeit not agreed upon by everyone. Here’s a stab at the definitions.

Mystery has a main character who may not realize there is danger ahead at first. Once they sense something, they are preoccupied with getting to the bottom of the truth about an event. This can be a murder, but not always. The reader is exposed to the same information as the detective or crime solver.

Thriller’s cause what the names says- supplying a thrill to the reader because the protagonist is in danger, usually from page one.

Suspense has the main character possibly unaware of the danger in the beginning, but the reader is clued in on things that are unknown to the protagonist. The reader may know someone is lurking in the home or see a bomb planted and live with the suspense of wondering what will happen. The argument could be made that suspense must be an element in most books, so the reader doesn’t close the book with a yawn!

After reading those simple definitions, you may strongly agree or disagree. Why? Your preference as a reader is bubbling to the top!

And, what about when the genres cross? This is especially true in mystery and suspense.

Another authority in the book world may have a different definition – the library. Some books with word counts under 75,000 automatically go to the mystery category.

What if you were forced to describe each category in six words or less?

Mystery: Solve the puzzle of what’s happening.

Thriller: Keep the heart pounding on high.

Suspense: Creating tension of what could happen.

What would your six-word description look like for each category?

The truth is, people read books because they like them, not because they understand the genres assigned by the publishing industry. One thing every author and reader can agree on is the need for pacing. Too fast, and you could lose your reader. Too slow, and you could lose your reader! Hooking and keeping your reader is crucial. Definitions become problematic when you think you’re one genre, but your readers use a different moniker to describe your books. This is more common between mystery and suspense. When that happens, readers rule!

To further complicate the genres, sub-categories such as the cozy mystery are a big hit. Usually more light-hearted, involving a small town and an amateur sleuth solving the crime opens up the door to more personal definitions. You know what that means. Soon there will be another new sub-category that doesn’t exactly fit the mold. Readers have a love-hate relationship with genre deviation, but when done well, they will get on board.

So, where are we left when it comes to solving the mystery of mystery/suspense/thriller writing? Right back where we started with everyone having their own opinion.

Here’s what we know for sure:

  • The industry can make definitions, but none of them is the definitive answer for everyone.
  • Be sensitive to what your readers are telling you are the “descriptive words” they like over time and adapt to what they say.
  • Good pacing, hooks, and writing will always keep readers reading no matter the category or labels assigned to a book.

So, go ahead, how would you describe these genres?

Michele Olson writes stories set on Mackinac Island in the Upper Peninsula of Michigan filled with suspense, romance, friendship, faith, and quirky characters. A top seller in Mackinac Island Fiction to the million people who make a trip to the island every year to experience life with no cars, amazing scenery, and the glorious Grand Hotel, she enjoys opening up this incredible island to even more visitors. Incorporating her work as an artist and a voice professional into her writing whenever she can, she enjoys creative endeavors of all genres and fueling faith with fiction.

Michele lives in the shadow of Lambeau Field in Green Bay, WI with her husband and thoroughly enjoys being a wife, mom, and “Gee Gee” to two adorable grandsons.

Visit her:

  • Website: www.LakeGirlPublishing.com
  • Facebook: facebook.com/lakegirlpublishing.com
  • Twitter: @modawnwriter
  • Instagram: Instagram.com/lakegirlpublishing
  • Linked In: www.linkedin.com/in/lakegirlpublishing
Categories
Mystery/Thriller/Suspense

How Dark Is Your World?

mystery suspense thriller

Most Mystery/Suspense/Thriller stories are set in the real world, but the realities of that world cover a wide spectrum from light, cozy and optimistic to dark, gritty and despairing. On the light end of the spectrum are cozy mysteries, where crime is an unexpected event that mars an otherwise pleasant world. On the other extreme are hard-boiled detective stories, where crime is rampant and the tough, cynical P. I. or cop sees the world as a harsh place.

Is your story world closer to the light or to the dark side?

The dark side is characterized by:

  • A story world that is a broken place with little hope for improvement, where crime and violence are a normal part of life. This is a tough world that requires tough characters.
  • An underlying assumption that society is basically flawed and there isn’t much hope things will get better.
  • An atmosphere that is dark, gritty, edgy, pessimistic, bleak, or cynical.
  • A flawed main character who fights a losing battle against crime but keeps striving to stave off total darkness.
  • Violence, harsh language, and gritty realism
  •  Murders and victims described in brutal detail rather than being glossed over

In contrast, the light side is characterized by:

  • A story world filled with compassion, forgiveness and hope, where crime and violence are the exception rather than the rule.
  • An underlying assumption that there is hope for redemption in every person
  • An atmosphere that is cozy, soft, gentle, humorous, or optimistic
  • A main character who hopes to solve the crime and restore order to her world. She believes order can and should be restored.
  • Little or no violence
  • Little or no swearing
  • A murder that often happens off the page
  • Limited details regarding the brutal realities of the murder

Obviously, most stories fall somewhere between these two extremes.

Where does your world fit into the spectrum? Do you know why you chose your setting worldview? Is it simply a reflection of your own worldview or did you intentionally choose it to fit your story?

Some considerations when choosing how dark to make your story world:

  • Does it fit the subgenre? Readers who prefer cozies don’t want gritty realism and readers of noir don’t want sugar-coated optimism. Know the norms of your subgenre before defining your world.
  • Does it appeal to your target audience?
  • What are the underlying assumptions of the characters regarding the world you have defined for them? What do they take for granted and how does that affect their choices and attitudes?
  • How does your world augment or conflict with the worldview of your main characters?
  • How easy will it be to show redemption at work?

Choosing the right degree of darkness will enhance your story and attract the right readers, so consider your choice carefully.  

Happy world-crafting.

Lisa E. Betz believes that everyone has a story to tell the world. She loves to encourage fellow writers to be intentional about their craft and courageous in sharing their words with others. Lisa shares her words through dramas, Bible studies, historical mysteries, and her blog about intentional living. You can find her on Facebook  LisaEBetzWriter Twitter @LisaEBetz and Pinterest Lisa E Betz.

Categories
Mystery/Thriller/Suspense

Mystery, Suspense, and Thriller Subgenres—What’s the Difference?

mystery suspense thriller

Are you writing a mystery or a thriller? Do you know how to tell the difference between suspense, thriller and mystery subgenres?

The three categories are related and often overlap. Mysteries often have elements of suspense and a thriller may involve a mystery.

However, experts advise writers to identify the primary subgenre before pitching a manuscript. A story may be clearly in one genre, or straddle two, but it can’t be all three.

The following descriptions will help you determine which category fits best.

A mystery is about solving a crime or a puzzle. The protagonist’s goal is to uncover the clues, solve the mystery and bring the antagonist to justice. Typically, the crime happens near the beginning of the story the identity of the antagonist (murderer) is not revealed until the end. See a list of common mystery subgenres below. Examples include Agatha Christie, Murder She Wrote and Psych.

A suspense novel is about suspense. The reader knows the protagonist is endangered from the start, but the protagonist may only gradually become aware of the danger. The suspense genre covers everything from romantic suspense to psychological suspense and horror. Examples include Nora Roberts, Lynette Eason and Alfred Hitchcock movies.

A thriller is about action and danger. The protagonist’s goal is to stop the bad guy’s evil plan from succeeding. The protagonist and/or others are in danger from the start. Thrillers come in a wide variety of subgenres, including: espionage, political, legal, eco-terror, disaster, treasure, and sci-fi. Big names include Tom Clancy, John Grisham, and Clive Cussler.

Common mystery subgenres

Amateur Sleuth—the protagonist is not a P.I. or employed in law enforcement, and he or she does not get paid for solving the crime.  Examples include Dorothy Sayers and the Hardy Boys.

Cozy—clever sleuthing without the gore, violence or naughty words. Miss Marple is a classic example. Modern cozies often feature a theme like cats (Lillian Jackson Braun) or cooking (Diane Mott Davidson).

Hard-boiled/Noir—crime fiction with a dark tone, plenty of gritty brutality, and tough-guy protagonists. Most definitely not cozy. Dashiell Hammett and Raymond Chandler are classic examples.

Historical—a mystery set in the past. The sleuth may be an amateur, a PI or a policeman. Examples include Anne Perry, Elizabeth Peters, and Miss Fisher’s Murder Mysteries.

Legal/Medical—the protagonist is a lawyer or doctor and the plot revolves around details of that profession. Usually written by medical or legal professionals. Big names include Lisa Scottoline and Robin Cook.

Police Procedural—the protagonist is a law enforcement professional, the solution involves detailed investigative techniques, and the story is more about proving guilt than discovering whodunit. Think CSI or Law and Order.

Private Investigator/Private Eye—the protagonist is a professional rather than an amateur sleuth. Like the police, solving crimes is how they earn their living. Think Sue Grafton, or The Rockford Files.

Psychological Suspense—these crime novels explore psychological issues, and typically feature a protagonist who is a psychologist or psychiatrist. Gillian Flynn and The Silence of the Lambs.

Romantic Suspense—a female protagonist is in danger, often while trying to solve a crime. In the end justice prevails and true love wins out. Authors include Terri Blackstock and Colleen Coble.

Categories
Child's Craft

Understanding Early Readers

A few weeks ago I started typing a new manuscript. I thought it was going to be a picture book. But, the story jumped off the screen and shouted, “I’m no picture book! I’m going to be an early reader, so get ready.”

Okay!

I’ve never written an early reader so I thought I should get some expert advice.

I first referred to my absolute favorite reference book—The Writer’s Guide to Crafting Stories for Children by Nancy Lamb. Chapter Three gave me brief definitions of various levels of early readers.

Then, I was off to meet another wizard of writing for children—Nancy I. Sanders. I ordered her book Yes! You Can Learn How to Write Beginning Readers and Chapter Books. I’m now reading, highlighting and digesting a bushel of useful information.

Today I’m sharing with you BRIEF definitions of various levels of beginning readers. Next month I’ll share information about a key element of beginning readers—reading levels and readability scores.

Sanders describes six levels of beginning readers including Hi-Lo Readers. We’ll talk about Hi-Los in another post.

All contain MUCH less art than picture books do. So the text carries the story alone.

With each level an increasing number of words are on each page, and in each book.

With each level print size decreases.

There are two different markets for early readers. Trade books sell at bookstores. School market books are sold to schools and libraries and must meet state or national standards.

Remember—every publisher has their own guidelines. Check with them for specifics BEFORE you write and submit your manuscript.

Now, on to descriptions of five levels of early readers.

  • Pre-emergent Readers have anywhere from 5 to 250 words and 8-32 pages. They use basic vocabulary and short, simple sentences. Scholastic and ABDO Publishing offer several series of these books.
  • Emergent Readers have about 250 words total and 16-32 print pages. Sentence length, sentence structure and vocabulary are on preschool to first grade level. Often each page introduces a new word. Scholastic’s Hello Reader! Series is an example of Emergent Readers.
  • Easy Readers contain 550-900 words and 32-48 print pages. These are sometimes called Level 2 or Level 3 Readers. Sentence length, sentence structure and vocabulary are for grades one through three. Random House’ Step Into Reading Step 2 books are examples of Easy Readers.
  • Advanced Readers are much longer. They usually have about 1500 words and 32-48 pages. Sentences are ten words or less in length. Various Level 4 readers are examples of Advanced Readers.
  • First Chapter Books contain 1500 to 10,000 words and 48-80 pages. They are written for grades one through three and contain separate chapters. On one level the chapters are separate stand-alone stories about the same characters. On the second level the chapters continue a running story and often end in cliff-hangers. Examples of First Chapter Books are Nate the Great, Junie B. Jones and Magic Tree House.

Other differences in the levels include the number of characters, the types of plots, the age-appropriate themes and the amount of dialogue.

Sander’s book Yes! You Can Learn How to Write Beginning Readers and Chapter Books is packed with every detail a writer will need to not only write these books, but to break into the markets.

I can hardly wait to pitch this series to my agent!

Next month I’ll share information about a key element of beginning readers—reading levels and readability scores. I’ll share a critical book for your personal library and an amazing website I discovered to help us succeed in writing early readers.

See you in June!

Jean Hall lives in Louisville, Kentucky. She is represented by Cyle Young of Hartline Literary. Her premier picture book series Four Seasons was recently signed by Little Lamb Books. Jean is a member of the SCBWI, Word Weavers International, and the Kentucky Christian Writers. Visit Jean at www.jeanmatthewhall.com, on Facebook at Jean Matthew Hall, and on Twitter as @Jean_Hall.