Thriller: Stories To Keep You Up All Night

www.mirabooks.co.uk

This book is a trailblazer on two counts. It’s the first short-story anthology of thrillers ever done, and it’s the first publication of a new professional organization: International Thriller Writers, Inc.

By nature writers tend to be loners, happy with their work, their families and a few close friends. But we also yearn occasionally for collegiality. For years we’ve all said to one another, “Why don’t we organize?” Then in June 2004, Barbara Peters, of the legendary Poisoned Pen bookstore in Scottsdale, Arizona, held the first-ever thriller conference in the United States. She invited six writers—Lee Child, Vince Flynn, Steve Hamilton, Gayle Lynds, David Morrell and Kathy Reichs—and one editor, Keith Kahla, of St. Martin’s Press, to give presentations about the various aspects of writing and publishing thrillers. Clive Cussler spoke at the luncheon.

With only two weeks to publicize the event, Barbara thought she’d be lucky if a hundred people registered. In the end some 125 attended and, to everyone’s surprise, not all were there to learn about writing. Many were readers who wanted to meet some of their favorite thriller authors. Here for the first time was concrete evidence of what most of us had long suspected: there was a demand among fans for a thriller writers’ organization, too. If we held conventions, readers would likely attend, as well as us. And if we awarded prizes—there have never been awards specifically for thriller books, stories and films in the English language—that interest would only grow.

On the last day of the conference, in the sunny restaurant at the Biltmore Hotel in Scottsdale, several of the attendees stood around talking. Gayle Lynds, a highly accomplished thriller writer, mentioned that she thought the conference indicated the time had come to create an association for thriller writers. Adrian Muller, a journalist and freelance conference organizer, pointed out that the association should not be limited to the United States. Barbara Peters said she’d be willing to hold another, larger convention. Realizing that she’d almost committed herself, Gayle quickly announced, “I can’t organize this alone, though.” Her husband, the incomparable Dennis Lynds, added, “She’s right. She can’t.” Barbara merely smiled and said, “Pull in David Morrell. He’s perfect.”

And that’s what happened.

Adrian Muller volunteered to send out e-mails to every thriller author he could find to see if there was enough interest among writers to form a group. A few days later, Gayle and David had a long telephone call, discussing their workloads and a potential thriller organization that would be international in scope. They agreed to jointly head the effort, and over the summer of 2004 Adrian, David and Gayle talked and exchanged e-mails. Adrian arranged with Al Navis, who was orchestrating Bouchercon 2004, the great congregation of mystery readers and writers, to assign a room in which the thriller authors could meet.

The response to Adrian’s e-mail was impressive. Author after author said that an association was a great idea. A meeting was held on October 9 in the Metro Toronto Convention Centre and, after many discussions, International Thriller Writers, Inc. was born. In November 2004, members were solicited. That response was likewise incredible. Currently there are over four hundred members, with combined sales exceeding 1,600,000,000 books.

This is all quite astonishing, and fitting because thrillers provide such a rich literary feast. There are all kinds. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. The list goes go on and on, with new variations constantly being invented. In fact, this openness to expansion is one of the genre’s most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. By definition, if a thriller doesn’t thrill, it’s not doing its job.

Thrillers, though, are also known for their pace, and the force with which they hurtle the reader along. They’re an obstacle race in which an objective is achieved at some heroic cost. The goal can be personal (trying to save a spouse or a long-lost relative) or global (trying to avert a world war) but often it’s both. Perhaps there’s a time limit imposed, perhaps not. Sometimes they build rhythmically to rousing climaxes that peak with a cathartic, explosive ending. Other times they start at top speed and never ease off. At their best, thrillers use scrupulous research and accurate details to create environments in which meaningful characters teach us about our world. When readers finish a thriller, they should feel not only emotionally satisfied but also better informed—and hungry for the next riveting tale.