Tag Archives: thriller

Writing Tips: It Is Okay to Change Paths, by Tess Gerritsen

Long before I became a doctor, I was a writer. At the age of seven I wrote my first suspense novel, about a blue zebra named Mickey who was warned never to go into the jungle. Naturally, Mickey went into the jungle. I bound the pages together with needle and thread and proudly announced to my father that I had found my future career. I was going to write books! My father said that was no way to make a living. And that’s how I ended up in medical school in- stead. Although it delayed my childhood dream of becoming a novelist, I never once regretted studying medicine. I’m fascinated by science. I enjoyed meeting people from all walks of life — doctors treat every- one, from bankers to the homeless. But my passion to write never left me, and when I went on maternity leave and finally had a chance to complete my first novel, I realized that writing was what I was really meant to do. Even though I’d made an occupational detour, those eleven years of medical training turned out to be the best education a writer could hope for.
I finally used my medical knowledge in my tenth novel, the medical thriller Harvest. To my surprise, Harvest hit the New York Times bestseller list. Up till then, I had assumed that readers didn’t care if medical scenes were realistic, but Harvest taught me that, yes, readers are interested in what doctors do and think. My literary agent told me: “Readers want to know secrets.” They want to peek behind the O.R. and autopsy room doors. They want to know what doctors won’t tell them. All the years I’d spent learning to be a doctor meant I could write with the level of authenticity readers are searching for.
Since then, I’ve tried to provide just those details. Have you ever wanted to know the physics be- hind why a plane or car crash kills you? I revealed that secret in Gravity. Ever wondered if you could buy your way to a higher spot on the organ transplant list? In Harvest, I revealed how it’s possible. In The Bone Garden I described how to amputate a limb without anesthesia; in Ice Cold, I described death by nerve gas; and in Playing With Fire, I explored the baffling behavior of patients with partial complex seizures.
Over the years, as I’ve described autopsies, E.R.s, crime scenes, and even resuscitation in space, I’ve exhibited the doctor’s point of view. I know how panicked a doctor feels as a life drains away beneath his hands, and the thrill of hearing a silent monitor suddenly start to beep with a renewed heart- beat. I also understand the logical manner in which doctors approach problems, how they must sift the subjective from the objective, and try to tease out the facts from the emotions. In my Rizzoli and Isles crime series, medical examiner Dr. Maura Isles gives us the doctor’s point of view. When she and Jane investigate a murder, no matter how disturbing the crime scene may be, Maura thinks like a doctor. Like a surgeon faced with an exsanguinating patient, Maura must suppress her horror and get to work. Others may think she’s cold- blooded or robotic, but that’s how Maura stays in control: by staying focused and doing her job. I no longer practice medicine, but when I sit down to write a novel I sometimes imagine I’m once again donning a doctor’s gloves and white coat, this time as Maura Isles, my alter ego. Over the course of eleven books, I’ve grafted much of my own personality onto Maura. She and I are fascinated by science, we graduated from the same universities, and shared the same major. We both play the piano, drive the same car, even favor the same wine. In a world that’s far too chaotic and unpredictable, we both search for logical explanations.
In fiction, at least, Maura can find them. Explore Tess Gerritsen’s books here!  

Interview with Tara Isabella Burton, author of SOCIAL CREATURE

Tara Isabella Burton’s Social Creature is on so many summer reading lists for good reason. It’s a fast-paced contemporary thriller focused on a twisted friendship between two young women in New York City. Full of bizarre and luxurious parties, crime, sin, pretense, and social media, it’s a smart and addictive read.  We spoke to Burton on the phone and talked about her influences, dandies, and more. 
 
You initially wrote a novel that you abandoned because it wasn’t working, but you brought the characters back in this book. What changed in this iteration?
Originally the book I’d written was a Daphne du Maurier’s Rebecca knockoff and it was very dated, it could have been set in 1960, it was on a Mediterranean cruise ship. It was stilted and everyone was overly dramatic. But despite that, I liked the idea of having these two women who were obsessed with each other, this man playing the role of the femme fatale character, and this fourth character, a kind of harlequin type who likes to cause chaos. The four of them, I wanted them to live! But at nineteen, I didn’t have the insights or life experience do do anything interesting with them.
I’m from NYC but was in University of Oxford from eighteen onward, so I’d never really been an adult in New York. I started coming back to NYC in about 2013, developing intense relationships with women and close friends-  the experience was an incredibly frenetic New York life. Around that time I became more and more fascinated with ways in which the internet is a canvas for people to explore their identities. How you create a literary poetic language around the internet and technology and these things that are very real in people’s lives but are not necessarily “literary”.
I wanted to write this story more about the female friendship, and being set in this New York with that frenetic feeling gave the novel it’s atmosphere. Originally no one had cell phones, I kept technology out because I wanted to write like Daphne du Maurier. But it turned out that I liked finding out how to write about someone texting and  and still keep that literary, lyrical register. The characters got reborn in a much better book for them.
You had this great twitter-thread talking about how self-creation via the internet is interesting and artistic, not frivolous. Some press surrounding the book makes it seem like it’s a scathing indictment of social media – but that’s not what you’re going for!  
No! I’m excited by it! But I see why some people would think that. So, a little bit of backstory – my doctorate is in theology but specifically about the idea of self-creation in 19th century dandies. Basically my thesis was about how in Paris, people were exploring how to create yourself as a work of art. What does it mean to create your own identity? So I think social media is fascinating! The technology is new but the instinct to create yourself is not new – it’s as old as humanity. Particularly when it comes to women online, women posting selfies, there’s a tendency to dismiss one’s social media presence as a form of artifice that has nothing to do with reality. And I find that shockingly simplistic. This is just a whole avenue to explore our identities. Is it fictional? Yeah, partly, but no more than putting on makeup or smiling when you don’t feel like it or dropping references to books you haven’t actually read.
 
 It was super interesting to hear you studied French decadent literature – the excess, the over the top social circles absolutely come through  – can you tell me about crafting that atmosphere?
Pretty much every incident in the book is something I’ve seen or experienced. I wanted to create a world that is not at all a one-to-one representation of a particular New York group, but instead a stylized pastiche of Brooklyn lit bros, finance bros, vintage club kids etc. None of these people necessarily hang out together – I wanted to create a New York scene in order to create a sense of timelessness that you don’t get by portraying just one group. The New York I created was rooted in my experience of coming back in my twenties, but very much designed not to map onto one social group.
 
Can you tell me about the two main characters’ power dynamic? Neither one is innocent, neither one is fully appealing, you can’t wholly identify with either. 
If Lavinia and Louise had been born in each other’s bodies and met, the exact same story would have played out. They’re very very similar; they appear as opposites, but the way in which they are opposite is a function of privilege and money and upbringing. Fundamentally they are just two women who lack a solid sense of self – they are constantly looking to define themselves through other people. I think their relationship is toxic and interesting because Ido think they love each other, I think they are in love with each other – for me there was no doubt there was a sexual and erotic attraction. But they are so obsessed with themselves that they can’t have any intimacy with any other human being, because every interaction is just to fill this black hole of “who am I”. Both of them have power in every moment.
 
Are there other complicated and obsessive relationships in literature that you love?
One of my favorite toxic relationships is the literalization of the trope that the most toxic relationships are when you’re two sides of the same person. So I think Fight Club is the perfect example of that. It does incredible job of making literal this metaphorical truth that the people who get inside your head are you or are as close to you as possible.
Also Henry James – one of my favorite writers. He’s hugely influential in regards to how I approach dialogue and he’s such an incisive writer about petty little social codes and class and money. Wings of the Dove has a relationship between two women that’s so mediated by outside power structures that it’s impossible for them to authentically relate to each other.
 
When friends ask you for book recommendations, is there anything new or old that you always mention? 
My favorite book of the year is The Collector which is incredibly terrifying story of am who kidnaps a women as though she’s an object.
i love latest book “based on a true story” which is another toxic female friendship. it follows a french novelist and a ghostwriter who mysteriously floats into her life.
I also used to make all my old boyfriends read D.H. Lawrence’s Women in Love which is another story about very messed up people having deep conversations and glowering at the landscape. I like books with lots of intense conversation and big symbolic scenes.
 
Check out SOCIAL CREATURE!

9 Writing Techniques to Keep Suspense Alive Until the Last Page

This article was written by Carolyn Hart and originally appeared on Signature Reads.

In Ghost on the Case, Bailey Ruth Raeburn, an emissary from Heaven’s Department of Good Intentions, returns to earth to help a young woman who receives a terrifying phone call demanding ransom for her sister. What can Susan Gilbert do? What will she do? What is going to happen to her sister?

I use the following techniques to create suspense: action, empathy, threat, tension, puzzle, danger, deadline, challenge, and surprise. Gretchen works in the family café in a small town on Highway 66 in northeastern Oklahoma in the summer of 1943. Action: The dust from the convoy rose in plumes. Gretchen stood on tiptoe, waving, waving.          A soldier leaned over the tailgate of the olive drab troop carrier. The blazing July sun touched his crew cut with gold. He grinned as he tossed her a bubble gum. “Chew it for me, kid.” Empathy: Gretchen turns away, thinking of her brother Jimmy, a Marine in the South Pacific, her mother who works at the B-24 plant in Tulsa, and the troop convoy as she walks toward her grandmother’s café. She still felt a kind of thrill when she saw the name painted in bright blue: Victory Café… There was a strangeness in the café’s new name. It had been Pfizer’s Café for almost twenty years, but now it didn’t do to be proud of being German… Empathy and threat: Now the reader has a personal stake in Gretchen, understands there is pain and uncertainty in her life. Her grandmother avoids speaking in the café because of her strong German accent. In the café, Gretchen sets to work, cleaning, serving food. Customers include Deputy Sheriff Carter. We learn Carter likes to do crossword puzzles and thinks about money. In another booth two military officers from nearby Camp Crowder discuss the Spooklight, a famous and mysterious light that mysteriously appears after dark among the rolling hills. The Army uses night searches for the Spooklight to train troops. Gretchen’s grandmother brings out a fresh apple pie. Threat: One of the customers jokingly accuses her of buying sugar on the black market. “Lotte, the deputy may have to put you in jail if you make any more pies like that.” Grandmother is upset, explains the pies are made with honey. One of the officers speaks to her in German. The deputy turns hostile. Tension: He glowered at Grandmother. “No Heinie talk needed around here . . .”          Gretchen takes trash to an incinerator. As it burns, she climbs a tree. She sees Deputy Carter enter the cemetery. He looks around surreptitiously. Puzzle: Back by the pillars, the deputy made one more careful study of the church and the graveyard. He pulled a folded sheet of paper from his pocket and knelt by the west pillar . . . She leaned so far forward her branch creaked.          Danger: The kneeling man’s head jerked up… The eyes that skittered over the headstones and probed the lengthening shadows were dark and dangerous. The deputy hides the paper in the pillar. After he leaves, Gretchen finds the paper, reads and replaces it. The message leads her late that night to an abandoned zinc mine. She watches the deputy and a soldier unload an Army truck and hide gasoline tins in the mine. Deadline: She overhears plans to sell the gasoline Thursday night. The next day she asks her grandmother what it means when people talk about gasoline on the black market. Lotte explains how important gas is, why it’s rationed, and that even a little bit can make a big difference in the war. Gretchen thinks about her brother fighting in the Pacific. She asks Lotte who catches people in the black market. Challenge: “. . . I don’t know,” she said uncertainly. “I guess in the cities it would be the police. And here it would be the deputy. Or maybe the Army.” Gretchen thinks about the deputy and about the Army searching for the Spooklight. At the café that afternoon, she asks the young officer if they are still searching for the Spooklight. He says yes and she tells him she’s heard the light has been seen at the old Sister Sue zinc mine. Gretchen enlists the help of a friend, Millard, whose brother Mike is in the 45th fighting in Italy. They put pie tins in the trees near the mine to reflect flashlight and draw the soldiers. Challenge: . . . she moved out into the clearing. “What’s wrong?” He was panting. “It’s the Army, but they’re going down the wrong road. . . . They won’t come near enough to see us.” Surprise: Suddenly a light burst in the sky . . . Then came another flash and another . . . Millard lobs lighted clumps of magnesium with his sling shot and draws the Army to the mine where the tins are found, along with a crumpled crossword puzzle in the deputy’s handwriting which Gretchen took from a café booth. The puzzle leads to his arrest and the arrest of a sergeant in the motor pool. No one ever knew about Millard and Gretchen’s efforts, but Gretchen didn’t mind. The final sentence links the reader to Gretchen: What really mattered was the gas. Maybe now there would be enough for Jimmy and Mike. Readers offered action, empathy, threat, tension, puzzle, danger, deadline, challenge, and surprise will keep turning the pages. Cover detail from Ghost on the Case by Carolyn Hart