Welcome to my blog,
VIEW FROM THE TREEHOUSE
Celebrating the creative life and all that feeds it.

I stated in my author greeting (see Home page) that I don’t write crime, I don’t write mystery, I write suspense. So what do I mean exactly?

While there are always some overlapping elements, to me, in their purest form, crime, mystery, suspense, and even thrillers are distinct genres.

Mystery

The classic mystery is about solving the puzzle. It’s largely an exercise in deduction and the pay-off for the reader is intellectual.

The mystery protagonist is usually trained in some way – a police detective, private eye, forensic expert, medical examiner, profiler, etc. Even the amateur sleuth has qualities that elevate him above the other story characters.

Whatever his training, the protagonist in a mystery is the one in charge and is usually one step ahead of the reader, showing the way and uncovering clues with his superior knowledge, training and insight.

Crime

Crime fiction is similar to mystery in that it focuses on the investigation. I once heard a publisher say at a conference, ‘With crime there’s a body on the first page and the rest of the story is about finding the killer.’

As with mystery, the crime protagonist generally possesses some kind of training. While he or she may come into danger and suffer setbacks, it’s the mental challenges of solving the case that take center stage.

So again, the pay-off for the reader of crime is mostly intellectual.

Suspense

Suspense on the other hand is all about emotion. The protagonist has little special training and is unprepared for the dangers they face. Their journey through the story involves personal growth. To survive their ordeal and defeat the bad guys, the suspense protagonist must reach deep inside him/herself to find courage and strength they never knew they had.

In suspense the reader knows things the protagonist doesn’t which helps generate tension. What gets the reader to the edge of their seat is knowing the killer is hiding in the closet when the hapless protagonist goes to open it.

The pay-off for the reader of suspense is emotional.

Thriller

Thriller is a term loosely used these days but to me a true thriller is suspense on steroids, meaning some element of the plot is beefed up or taken to the next level.

Fast pacing is sometimes enough to earn a novel the label ‘thriller’ but more often it involves elevated stakes. In suspense the protagonist and his loved ones are usually the only ones in danger, whereas in a thriller the threat is to a wider community – cities, countries, even the whole world.

International Thriller Writers based in New York, groups all these genres under the heading ‘thriller’. American bookstores have them shelved together in their ‘mystery’ section, and Australian bookstores group them under the umbrella of ‘crime’. But that is simply for ease of marketing. To fans (and writers) of each of these genres they are distinct.

So why do I love suspense above the others? It’s the under-dog element that gets me.

In most mystery and crime novels the villain and hero are equally matched. In suspense, the protagonist is the clear under-dog, their skills and training no match for the bad guys.

In fact I like taking things one step further and giving my protagonists some deep flaw or past trauma that makes them even less likely to succeed.

My protagonists don’t even know themselves what they’re capable of until they’re tested by events in the story. And it’s usually because of their love for someone else that they find the courage to meet the challenge.

For me there’s no struggle more compelling than that.

When I first joined my local writing group (over twenty years ago now!) I thought writing to a prompt was a lazy, hit-or-miss approach to getting a story. I thought, if you're a 'real' writer, you should have so much to say about life, you'll have stories bursting out of you. 

I've since come to change that view. It seems to me now that writing this way is like going fishing - with the prompt as your bait. You throw out your line and hope for a nibble. If you get a bite and it's something interesting, you 'reel it in' by writing more about it, going deeper, exploring what's there.

This method works not because writers lack ideas but because they have far too many. Our choices for subjects are truly infinite. It's like asking someone, 'What do you feel about every event, every situation and every person you've ever encountered, real or imagined?' That is literally what every author has to work with. Hard to not be overwhelmed - where do I begin?

A writing prompt gives me something to focus on. How do I feel about the colour green, or a specific scent from my childhood? It's taking a single drop of water from an endless ocean and examining under a microscope. There might be something there or there might not. And sometimes we writers don't even know what we think about a subject until we write about it.

Don't get me wrong, ideas still come to me out of the blue. Stories and characters waking me at night, wanting to be written. But every now and then it's good to go off and do a little fishing on the side.

It's the first day of our winter writing retreat here in Port Lincoln, South Australia. I arrived at our campsite at 8 am and spent the morning all alone setting things up for the others who'll arrived later this afternoon.

The wind was, and still is, ferocious, driving sheets of rain across the water. We rarely get waves in this sheltered bay but the ocean is boiling, the sky like pewter.

To me this is heaven. Sitting in my chair by the window, a candle burning, the fire roaring, sheltered and warm as I write in my journal with the storm raging outside.

Pretty soon I'll have to start dinner, to have everything ready when my friends arrive. A week of writing and laughter is ahead of us. Life is good.

A moment's insight:  The thing about writing is you can't do it for what it will give you. You can't write for money. You can't write for fame. The only true way you can write is for the love of it. Anything less is a waste of your heart.

 

Publishers like a sure thing and who can blame them. They’re in business to make money, not give chances to struggling authors.

When a fiction genre starts to do well, publishers are quick to jump on the band wagon, bringing out more and more books of that kind, riding the wave till the trend is exhausted.

The problem for authors NOT writing in the chosen genre is that this creates a bit of a cycle. When publishers narrow the playing field, readers don’t have the option of ‘reading around’. And if readers aren’t exposed to a genre, how will they know if they like it or not?

There are 2 ways this cycle can be broken. The most notable is when a new book suddenly breaks out big time, igniting interest in a formerly less-popular genre. Harry Potter is the classic example. Before Sorcerer’s Stone, children’s fiction was in a slump. After that? The rest is history.

But there’s a second way to raise awareness of any genre that isn’t currently the flavor of the month. Long-term steady exposure.

If you write in a genre that’s currently on the less-popular list, your chances of being picked up by a major publisher are greatly reduced. But that doesn’t mean you can’t get your books out there.  

If you write great books and consistently make them available to readers by self-publishing, they WILL eventually get noticed. It might take longer than the breakout scenario but if you give your readers a fantastic ride they’ll return for more.

If you love writing in a particular genre, have faith that there are others out there who enjoy reading it. You just have to gear yourself for the long haul.

Each reader you please with your current book will come back for the next one and hopefully bring a friend or two with them. If those friends like what they read, they’ll check out what else you’ve written and buy your first book. Repeat this over several books and your fan base grows.

So as far as writing to the market goes, I prefer to follow Jim Carey’s advice: ‘Give them you until you is what they want.’

I'm happy to announce that I'm currently running a pre-release giveaway of my latest domestic thriller, HIT AND RUN.

The giveaway will run until March 20 and is open to U.S. and Canadian residents. (Aussie giveaway coming soon!)

For your chance to win one of 20 copies, click on the link below.

https://www.goodreads.com/giveaway/enter_choose_address/226201?utm_medium=api&utm_source=giveaway_widget

I’m a domestic thriller author. I love writing about ordinary people thrust into danger who discover within themselves the courage to be heroes.

The type of characters I most like to write about aren’t the FBI agents, or criminal profilers, or forensic experts. Not the protagonist with all the training, but the Sarah Connors, the Paul Sheldons, the Mark Sways, the Newts and the Suzys (the blind heroine in Wait Until Dark.) Young people. Vulnerable people. People with no professional training that still somehow manage to outsmart the villain.

I like writing about damaged characters but not the kind so twisted with bitterness they lash out at anyone who looks at them sideways. I find far more to admire in the person who, despite all they themselves have been through, can still step up and help someone else in need.   

While there’s always the element of danger in my stories, when it comes to graphic violence I’m a firm believer that less is more. I believe that, like a good striptease, far more tension can be rung from a scene by purposely leaving some things to the imagination.

By far the best example of this I’ve ever seen is in the Hitchcock movie, Lifeboat. After their ship is sunk by a torpedo, ten people take refuge in a lifeboat, one of whom is badly injured. As the story progresses so does the infection in his leg, to the point where it must be amputated – no doctors, no instruments, no anaesthetics.

In the hands of a less skillful writer a scene like that would be unbearable – at least to me. But Hitchcock handles it perfectly in my mind. First there’s an agonizing built up to the moment. Everyone knows what’s about to happen and all gather round to watch the poor victim drink a flask of brandy, each in their own way offering comfort.

When the moment comes, we see only the backs of the other characters as they close in tighter around the patient. Until one of them turns and drops the man’s boot aside.

The sound of that boot hitting the deck punctuates the horror of the scene in a way no amount of violence or gore could ever match. Hitchcock truly is my idol in this regard and I always strive to emulate him when handling violence in my stories.