PART ONE
WHAT IS A THRILLER?
āNine million terrorists in the world and I have to kill one with feet smaller than my sister.ā
John McClane, DIE HARD
MARIE: Do you have any ID?
JASON: Not really.
THE BOURNE IDENTITY
āSmile, you son of a bitch.ā
Brody, JAWS
NATALIE: Whatās the last thing you do remember?
LEONARD: My wifeā¦
NATALIE: Thatās sweet.
LEONARD: ā¦Dying.
MEMENTO
āIām gonna save the motherfucking day.ā
Cameron Poe, CON AIR
DEFINITION OF THRILLER
Thriller has to be the most misunderstood genre in the spec pile. Despite getting the hang of horror, being clued-up on comedy and down on drama, screenwriters donāt always seem to understand that their thriller screenplays need to thrill. Such a small thing, yet it means everything. Iāve read hundreds, probably thousands, of screenplays that have sought to call themselves āthrillersā, yet very few bear any kind of resemblance to the thrillers I see at the cinema, on DVD or via streaming services like LoveFilm et al. Yet thrillers being āthrillingā is something we all demand at a grass-roots level, as noted in this straightforward (albeit rather non-illuminating) dictionary definition:
Thriller (noun)
1. A novel, play or movie with an exciting plot, typically involving crime or espionage.
2. A person, thing or experience that thrills.
Thriller is an incredibly broad genre, so attempting a thriller screenplay for the first time ā or, indeed, rewriting one ā may seem like a daunting task to screenwriters. The problem is immediately apparent: what is deemed āthrillingā to one person may make another claw his/her eyes out with boredom. Looking to produced movies in isolation may not help either, since everyone has different views on what makes a āgoodā film (never mind what makes thrillers āthrillingā!) and this includes the actual people who write and make them. Similarly, while thrillers have so many subgenres and cross-genres, not to mention various common elements, they nevertheless have lots to set them apart from one another (more about that in a minute).
So how can we look at the thriller genre, when it is so broad and complex? Jon Spaihts, one of the writers of Prometheus (2012), whose spec thriller Shadow 19 sold to Warner Bros in 2006, tweeted this excellent and concise summary of how thrillers work:
āIn thrillers the hero is reactive; a firefighter. The villain is the fire. The villainās plan is in some ways the soul of your story.ā
As a script editor and reader, I couldnāt agree more. Putting the villain or antagonist in the driving seat is what sets thrillers apart from all other genres, including horror. Making your protagonist/s work to foil the antagonistās āplanā (or similar) is the foundation of your story; all other elements are then piled on top of it, including subgenre, characters and even how the plot is executed, as illustrated by this very good Wikipedia entry on the thriller genre:
āThe aim for thrillers is to keep the audience alert and on the edge of their seats. The protagonist in these films is set against a problem - an escape, a mission, or a mystery. No matter what subgenre a thriller film falls into, it will emphasise the danger the protagonist faces. The tension with the main problem is built on throughout the film and leads to a highly stressful climax. The cover up of important information from the viewer and fight and chase scenes are common methods in all of the thriller subgenres, although each subgenre has its own unique characteristics and methods.ā
So whether your protagonist is female and fighting home invasion (as in Panic Room, 2002); or a male protagonist attempting to expose his mafioso bosses (The Firm, 1993); or a child, tortured by visions of dead people (The Sixth Sense, 1999); or an ensemble cast of doctors fighting disease (Contagion, 2011), your thriller screenplay must ensure that your protagonist overcomes all the obstacles put in their way by the antagonist/s, not to mention the situation at hand.
START AS YOU MEAN TO GO ON
āA thriller must thrill. And I would get that first thrill, the one that sets the tone, the one that starts the setup, to play out on page one.ā
ā Chris Jones, writer/director (@livingspiritpix)
Before we really put the thriller genre under the microscope, stop! Forget all you know ā or think you know ā about thrillers. Forget about those cool set pieces you want to write in the second act; forget about your brooding heroes or your haunted heroines. Forget about ārefragmenting the narrativeā or āvertical writingā or ārising actionā or whatever the cool screenwriting buzz phrases of the moment are. Think instead about your storyās identity.
Arguably the biggest issue I see in thriller screenplays is that they donāt āfeelā like thrillers in the first instance. The reasons for this can be varied and complex but, generally speaking, the writer has neglected to set the tone and the rules of the story world we are dealing with. More often than not, the writer believes erroneously that we must be introduced to the characters first, THEN the story. Theyāll frequently attempt this via dream sequences, flashbacks and early morning/getting ready for the day montages (all three if the readerās *really* lucky!).
First, remember: tone is everything. How do your favourite thrillers begin? What do we see? Is there a prologue? How do the characters interact? Are they happy, oblivious? Or do they have other problems? What is the āfeelā of the piece? Is it unstable, threatening from the outset? Or are we plunged from a happy home into a living nightmare? Whatever the writers and filmmakers choose ā and writing and filmmaking is about choices: this is a craft, not magic ā the audience must be left in no doubt about the tone and the story world they are entering.
BEGINNING, MIDDLE, END
āKeep the script lean and pacey, donāt get bogged down with unnecessary set up, scene description and (especially) exposition. Structure the action around exciting set-pieces; donāt let the story slow to a grind with introspective character studies or indulgent dialogue scenes.ā
ā Danny Stack, script editor & writer/director (@ScriptwritingUK)
Structure. An element of screenwriting that never fails to have people gnashing their teeth with frustration and rage. All manner of accusations are levied at it, from the notion itās horribly formulaic, through to its even being responsible for killing oneās creativity. Generally, I tend to think of structure as the three acts described by Aristotle in Poetics, simply because it makes the most sense to me and because the industry (as Iāve experienced in meetings and similar) tends to talk about āactsā.
Before I go further, however, it should be noted I am not a purist. I believe whatever works for the individual screenwriter is valid, be it three acts, five acts, Syd Fieldās Paradigm, John Trubyās 22 Steps, Chris Sothās Mini Movie Method, Blake Snyderās Save The Cat! Approach, or something else. As far as Iām concerned, all a story really needs is a beginning, middle and end (and not necessarily in that order). Iām a passionate believer in the notion of story counting above all else, which is why I always stop short of āpage countingā for turning points, etc, preferring instead to rely on āintuitive script editingā, i.e. does a particular moment in the story āfeelā as if it is in the ārightā place?
So, those disclaimers...