High Anxiety

 By Thomas Kies

When writing a thriller, I’ve been told that you need to keep ramping up the stakes, turn up the heat, and escalate the danger.  But throughout your story, you need to leave some room for your reader to take a breath and rest a moment or you run the risk of exhausting him or her to the point that they have to put your book down. 

We felt like we were at that resting point sometime over the summer.  My wife and I had gotten our vaccinations and the world seemed to be opening up again.  I was able to hold a couple of wildly successful book signings, attend some great functions, and even emcee a couple of events. 

Just seeing people again was exciting.  Back in April, I’d been asked to be the auctioneer at a school fundraiser at a local country club.  Before my part of the evening, we ate dinner and my wife asked, “What’s wrong?  Why are you so quiet?”

I glanced around the room and with a slight shrug I answered, “I’m not used to being in a room with all these people. The last time we were at any kind of event, it was over a year ago."

I managed to shake it off, ham it up, and we raised a ton of money for the school and for the kids.  On the spot, they asked me to come back in 2022.

Things were looking so rosy by October that I signed up for the Suffolk Mystery Writers Festival in March, Malice Domestic in April, and Thrillerfest in June. My wife and I booked a cruise to Alaska in May.

We were vaxxed and boosted and it seemed like the pandemic crisis had abated.

Then the omicron variant showed up.  

The stakes have ramped up, the heat is on, and the danger is escalating.  All bets are off.

It’s like those damned apocalypse movies you see on Netflix.  If everyone would just do what they need to do for self-preservation we’d all be better off.  But with every story, there must be a lunatic fringe.  

I have a reporter friend who had a trip booked for Europe in a few months and he bemoaned what was going on in the world now that omicron was the dominant strain.

I just said, “Plot twist.”

He asked me, “Would people believe all this if you had written it into one of your novels?”

Probably not.

This blog is blessedly brief because I’m writing in on Christmas Day and I really should be downstairs in the kitchen putting together coq au vin for dinner for tonight.

I’m wishing you a belated Merry Christmas and a Happy New Year with the hopes that our plot twists be few and trivial.

Recipe for a Thriller No One Will Believe

 Let’s put together a recipe for a kick ass thriller, shall we?

Hmmm…the time should be an election year.  The setting should be a polarized nation in the throes of unrest in the streets, protests against systemic racial injustice.  Let’s throw in some ultra-right-wing white supremacists wearing camouflage and carrying weapons. And the ultimate backdrop is a pandemic that has effectively dismantled the economy and killed more that 200,000 Americans. 

That should catch the reader’s attention.

Let’s not stop there.  When you’re writing a thriller or a mystery, you have to turn up the heat.  Let’s not let the reader get too comfortable.

A much-loved Supreme Court justice has passed away only weeks from the election.  Even better, mail-in ballots have started coming in. In effect, the election is already underway.  Over howls of protest, one faction of the Senate pushes to confirm a justice, even though four years before, they denied confirming a judge under another president they didn’t like. 

Ah, good, now the clock is ticking.  But how can we ratchet up the tension?

How about if the current president introduced his pick for supreme justice in the Rose Garden of the White House and hardly anyone in the audience wore a mask and sat shoulder to shoulder.  Remember…this is in the middle of a pandemic.

Hmmm…I wonder if that would stretch believability.

Well then how about a debate?  While the two candidates square off on stage, one candidate’s family and friends sit shoulder to shoulder and aren’t wearing masks.  Plus, get this, the debate goes off the rails. One of the candidates turns the evening into a hectoring mess of lies and insults. Even the moderator can’t get it under control.

I’ll bet my publisher would say, “That would never happen.”  

Now the plot twist that the readers should have seen coming a mile away.  The president, his wife, many of his staff, and guests at the Rose Garden event are now infected with the virus. Two of them are senators on the judicial committee who will be critical to confirming the next supreme court judge. 

The president is flown to Walter Reed Hospital.

No, I don’t know how this thriller ends.  It hasn’t been written yet. 

But if I WERE the author, I’d start over.  It’s just too damned crazy. 

Writers Gotta' Write

Hello and welcome to my first blog. I’m extremely excited and honored to be joining the Type M for Murder family.  If you have any thoughts or suggestions about what you’d like me to write, please let me know!

Since the beginning is the best place to start, let’s do that. I’m going to make an admission, it took me 20 years to get published. When Cindy, my wife, and I were dating, and I was a single dad, she said, “Okay, your life is a do-over. What is it you want to be more than anything else?”

My reply was immediate. “I want to be a novelist.”

She quickly wrote it down on a cocktail napkin (we were at a holiday reception) and handed it to me. “Never lose this. This is who you are.”

Well, I lost it. Who keeps old cocktail napkins?

But I kept the dream.

Because I was still at the newspaper in Norwalk, Connecticut and raising my daughter, I could only write part-time. But write I did. My first attempt at a novel was entitled Crossbones. It was a historical novel about pirates and the destruction of Port Royal in Jamaica by an earthquake and tidal wave. I quickly discovered that historical novels are not my genre. It was awful.


By the way, NBC aired a television series by the same name in 2014. Not their genre either.

My second attempt at a novel was a mystery/thriller set in Connecticut called Pieces of Jake. I managed to land an agent from New York and I thought I was ready for the bestseller list. However, I discovered that this agent had little patience if one of the major publishing houses in Manhattan didn’t buy the manuscript. When we didn’t get a contract, he dropped me like a bad habit.

I had a chance to review the rejection comments from the editors and they primarily talked about the lack of character development. That’s when I started work on Providence and Random Road. Initially, the book was in two first-person voices. Two protagonists, one a male, the other a female. Then I discovered that the most interesting of the two was the female and opted to write the entire novel in the voice of Geneva Chase. I still couldn’t manage to get an agent interested. But I thought the character development was miles ahead of anything else I’d written.

Moving on, I tried my hand at horror. Also, not my genre.

Then a straight-out thriller. So bad my own wife wouldn’t read it.

Back to Providence and Random Road. I had a good feeling about it, I liked the main character, Geneva Chase, and felt the story had good bones. I shortened the title to Random Road and rewrote the hell out of it. Then, rather than take the shotgun approach, I painstakingly researched agents. I started by Googling and using the criteria: literary agents, debut authors, mysteries.

About thirty agents popped up. I learned about each one, who they represented, what they were looking for, and tailor-made the query letter to each. I made certain that if they were looking for 50 sample pages, I sent 50 sample pages. If they were looking for a synopsis (which I hate doing), I sent a synopsis.

I got four requests for the entire manuscript! To make a long story short, I signed with the incredible agent, Kimberley Cameron, and I’m working on my third Geneva Chase mystery for Poisoned Pen Press. In September, I’ll be on a panel at a Mystery Conference in Scottsdale honoring Ian Rankin and then at Bouchercon, I'm on a panel entitled “In the Papers—Journalists in Fiction.”

Recently, I gave a talk to about 50 people and I told the story about how it took 20 years to finally get published.  Someone in the audience asked, “Wasn’t it hard to write all those books over all those years and not get published? Didn’t you ever feel like giving up?”

My answer was, “A writer’s gotta’ write.” And my wife, Cindy, wouldn’t let me give up.

I might not have physical possession of that cocktail napkin, but I have what was written on it tattooed on my memory. I want to be a novelist.

Finding a Character's Achilles Heel

In the mythology of Archaic Greece, Thetis, a sea goddess, marries the mortal hero Peleus. To give their son, Achilles, immortality, she – in one version of the myth – dips the infant into the Styx, the river of Hades. But she holds him by his heel, and that part of his body remains vulnerable.

Although Achilles becomes a legendary warrior, he is killed by Paris with an arrow to his heel.

I have been thinking about Achilles and his heel. I've also been thinking about the "tragic flaw" that is the undoing of Shakespeare's heroes – Othello's jealousy, Macbeth's ambition, Hamlet's indecision. I've been thinking about vulnerabilities because of the two main characters in my 1939 historical thriller. I have an upright, highly moral hero who right now would be chewed up and spit out by my villain. I have a villain who is vile and despicable, who will not hesitate to do what is required to achieve his goal. My hero is a black college-educated sleeping car porter and son of a Southern Baptist minister. My villain is a white New South business man, the son of a doctor and grandson of a Civil War general. Right now, I'm finding my hero's minister father and my villain's father, the doctor, a lot more interesting than hero and villain.

Something's wrong. And I know what it is. My thriller is a big story – moving through the real life events of 1939.  But my hero isn't up to the task. Easy enough to have him discover that something is a-foot. But not at all believable right now that he would pull together his own team of men to pursue the villain and his co-conspirators. Right now, I can't imagine my sweet, idealistic hero doing battle with my villain at the end of the book. My hero must grow. I need to find what it is that would push him to do the things that he can't imagine doing – taking charge, going after the bad guys, taking them down. Idealism will only get him so far.

And then there's my villain. I need to get him out of that black cape – not that he's wearing one. In fact, he seems to be a amicable, cultured, man of integrity. But in my head, he is wearing a black cape and twirling his mustache. I don't like him. But I need to know him. I need to find the Achilles heel, the tragic flaw (from his point of view) that will make him vulnerable. What will shake my villain? What will make him hesitate or make a questionable choice? He will have all the advantages in this game, but I need him to have an Achilles heel.

I've been thinking about these characters for a while, and I had hoped to know them better by now. I've never tried to write a thriller, but I know that the kind of thriller I want to write requires characters who are both three-dimensional and bigger than life. My villain has a plot of epic proportions. He has the money and the knowledge and the access to carry it off. But the question is why would he? Making him a mad man is too easy. I need him to be a zealot, a believer in his cause, a man who thinks he is can do this and get away with it. I need him to at the same time be a son and a friend and a man who is in love. I need to use what is "good" about him to make him three-dimensional. And then I need to give him an internal conflict. He needs to be a man bent on a course, but something makes him stumble or overreach or get careless.

As for my hero – my poor, sweet, kind hero – what is going to fire him up? The book will only work if he is who he is. Right now, I can hear his voice, but it's a voice that is so alien to me that I'm resisting letting him be who he is. I think my only solution is to dig deeper in my historical research and understand him better. College-educated, working as a porter, saving money to go to law school – about to take on a task that he could never imagine. Why? Because he is who he is and can't turn to the police or the FBI with his suspicions. But he's still not up to this. He is smart enough, but not determined enough. He believes in justice. He is optimistic about the future. Now, I need to have him believe that the future he imagines for himself and his country is in jeopardy. He needs to believe as passionately as my villain does that he needs to do what has to be done.

My hero, my villain, and I have a long way to go before the final confrontation. But writing this post has helped me see what I need to do. I need to believe in this story that I want to tell. I have a plot. I have characters. One more dip into research and then I need to start writing and see what happens. Sometimes a writer needs to take a leap of faith.