Mystery, crime and thriller genres are often lumped together or confused for one another. This is kinda like cars, some people don’t know the difference between cars and will just go by colour. While it’s true that they often overlap, there’s a distinct difference: in a mystery there is a puzzle to solve, in a crime there is a crime to solve after it has occurred (although there may be others committed later in the story), whilst a thriller is all about knowing that a crime is going to be committed and the story details the prevention of it.

In an article on Writer’s Digest, Zachary Petit put forward a list by Brian Garfield. He called this the 10 Commandments of thriller writing, because you can’t have a thriller if someone isn’t breaking some rules.

The 10 Commandments of How to Write a Thriller

Start with action; explain it later. TA: I especially agree with this point. I’m sick of “thrillers” that take the first half of the book to set up the action.
Make it tough for your protagonist.
Plant it early; pay it off later.
Give the protagonist the initiative.
Give the protagonist a personal stake.
Give the protagonist a tight time limit, and then shorten it.
Choose your character according to your own capacities, as well as his/hers.
Know your destination before you set out.
Don’t rush in where angels fear to tread.
Don’t write anything you wouldn’t want to read. TA: You know, like street directions and descriptions of flowers and home renovations.
For the full piece, “10 Rules for Suspense Fiction” by Brian Garfield, click here.

At the 2008 Maui Writers Conference, bestselling thriller writer Gary Braver (Skin Deep) said that dread drives thrillers. You know who the good guys and bad guys are. Dull moments will lose an audience, and writers can’t afford to lose an audience, even for one page. To captivate an audience (and agents and publishers), Braver offers these 10 essential ingredients for a successful thriller.

A friend made the comment to me recently that a film we had both watched was merely a rip-off of another film. Rip-off is a bit harsh in my opinion. If we think hard about all the books and films we’ve ever watched and then break them down into their general plots you start to see a lot of patterns. Boy meets girl. Girl meets boy. Buddies team up to do something awesome. Odd couple team up to do something awesome. When all said and done, it is hard to identify anything truly original.

As a result, people often say that there are only a certain number of basic plots and that any story is really just a variation on these plots. Depending on how detailed they want to make a “basic” plot, different writers have offered a variety of solutions. An article I found lists these: 

1 Plot:

Attempts to find the number of basic plots in literature cannot be resolved any more tightly than to describe a single basic plot. Foster-Harris claims that all plots stem from conflict. He describes this in terms of what the main character feels: “I have an inner conflict of emotions, feelings…. What, in any case, can I do to resolve the inner problems?” (p. 30-31) This is in accord with the canonical view that the basic elements of plot revolve around a problem dealt with in sequence: “Exposition – Rising Action – Climax – Falling Action – Denouement”. (Such description of plot can be found in many places, including: Holman, C. Hugh and William Harmon. A Handbook to Literature. 6th ed. New York: Macmillan Publishing Co, 1992.) Foster-Harris’ main argument is for 3 Plots (which are contained within this one), described below.

3 Plots:

Foster-Harris. The Basic Patterns of Plot. Norman: University of Oklahoma Press, 1959. Foster-Harris contends that there are three basic patterns of plot (p. 66):

1. “’Type A, happy ending’”; Foster-Harris argues that the “Type A” pattern results when the central character (which he calls the “I-nitial” character) makes a sacrifice (a decision that seems logically “wrong”) for the sake of another.
2. “’Type B, unhappy ending’”; this pattern follows when the “I-nitial” character does what seems logically “right” and thus fails to make the needed sacrifice.
3. “’Type C,’ the literary plot, in which, no matter whether we start from the happy or the unhappy fork, proceeding backwards we arrive inevitably at the question, where we stop to wail.” This pattern requires more explanation (Foster-Harris devotes a chapter to the literary plot.) In short, the “literary plot” is one that does not hinge upon decision, but fate; in it, the critical event takes place at the beginning of the story rather than the end. What follows from that event is inevitable, often tragedy. (This in fact coincides with the classical Greek notion of tragedy, which is that such events are fated and inexorable.)

7 Plots

7 basic plots as remembered from second grade by IPL volunteer librarian Jessamyn West:

1. [wo]man vs. nature
2. [wo]man vs. [wo]man
3. [wo]man vs. the environment
4. [wo]man vs. machines/technology
5. [wo]man vs. the supernatural
6. [wo]man vs. self
7. [wo]man vs. god/religion

20 Plots:

Tobias, Ronald B. 20 Master Plots. Cincinnati: Writer’s Digest Books, 1993. (ISBN 0-89879-595-8)
This book proposes twenty basic plots:

1. Quest
2. Adventure
3. Pursuit
4. Rescue
5. Escape
6. Revenge
7. The Riddle
8. Rivalry
9. Underdog
10. Temptation
11. Metamorphosis
12. Transformation
13. Maturation
14. Love
15. Forbidden Love
16. Sacrifice
17. Discovery
18. Wretched Excess
19. Ascension
20. Descension.

36 Plots

Polti, Georges. The Thirty-Six Dramatic Situations. trans. Lucille Ray.

Polti claims to be trying to reconstruct the 36 plots that Goethe alleges someone named [Carlo] Gozzi came up with. (In the following list, the words in parentheses are our annotations to try to explain some of the less helpful titles.):

1. Supplication (in which the Supplicant must beg something from Power in authority)
2. Deliverance
3. Crime Pursued by Vengeance
4. Vengeance taken for kindred upon kindred
5. Pursuit
6. Disaster
7. Falling Prey to Cruelty of Misfortune
8. Revolt
9. Daring Enterprise
10. Abduction
11. The Enigma (temptation or a riddle)
12. Obtaining
13. Enmity of Kinsmen
14. Rivalry of Kinsmen
15. Murderous Adultery
16. Madness
17. Fatal Imprudence
18. Involuntary Crimes of Love (example: discovery that one has married one’s mother, sister, etc.)
19. Slaying of a Kinsman Unrecognized
20. Self-Sacrificing for an Ideal
21. Self-Sacrifice for Kindred
22. All Sacrificed for Passion
23. Necessity of Sacrificing Loved Ones
24. Rivalry of Superior and Inferior
25. Adultery
26. Crimes of Love
27. Discovery of the Dishonor of a Loved One
28. Obstacles to Love
29. An Enemy Loved
30. Ambition
31. Conflict with a God
32. Mistaken Jealousy
33. Erroneous Judgement
34. Remorse
35. Recovery of a Lost One
36. Loss of Loved Ones.

It is therefore inevitable that it is all just a little bit of history repeating.

More examples: The Seven Basic Plots summary and Google answers.

Have you found Jesus?
First of all, I didn’t know he was missing. So I did a bit of checking, turns out Jesus is the reining world hide and seek champion, 33AD to present. Given how many people are now out door-knocking, trying to find him, it must be only a matter of days before Jesus will be found and people will stop knocking on our doors.

Are you happy with your telecommunications provider?
It seems odd that none of the telecommunications providers offer a service that stops you being bothered by marketers trying to get you to switch providers.

Would you like to donate to a good cause?
I love donating to good causes. Sadly I’m often lacking in cash on hand and none of the donation collectors seem willing to accept sperm bank cheques.

Our ball went into your backyard….
As long as there has been neighbours there have been kids deciding their backyard is too small for the games they play. Thankfully children are very useful for household chores  like hand weeding my backyard in order to find the lost ball that may, or may not, have found its way inside with the dog.

We’re from the Church of Latter Day Saints, could we come in to speak to you?
Religious people are interesting, going out and visiting everyone and wanting to have a chat about their religion. How do they coordinate their visits so that all the religious people aren’t all out door-knocking so no-one is home to talk about religion with them? I wonder how many Mormons (or others) have been invited in so they can help with the filming of the low budget home movies that are popular on the internet.

I’m campaigning for the local member of parliament.
You really have to wonder how these people manage to avoid the bear traps I set in our front yard. Thankfully our dog enjoys chasing down fair game.

We’re going door to door to see if anyone saw or heard anything?
Do the police actually get much useful information out of this? Won’t most people who heard or saw something be out at the crime scene taking pictures on their phone? Sometimes it is very tempting to reply with, “No, I was too busy going all Dexter on my neighbour. “

We need to read your meter.
Why?
So we can bill you the correct amount.
Wouldn’t it better if I don’t let you read my meter and have you not charge me?

More of Debbie’s stuff here.

I could post a bunch of statistics and the data from various countries, but instead I’m going to post  The Daily Show’s three part series on the topic.
1

2

3

Now, I don’t like the idea of making it illegal for people to be able to be involved in the sport of shooting, nor making vermin control prohibitive. I think in some respects that Australian gun laws are probably a little too restrictive. I also think that the figures on how effective our gun control measures have been are a little overstated, as law enforcement had already made inroads into lowering gun crime prior to the new laws in 1996. But overall, in my opinion, Australia doesn’t have much of a gun problem now. Making sure gun owners are responsible people who are involved in the sport of shooting and not a disgruntled time bomb going unnoticed until they start shooting people, seems to be a good thing.

Earlier this week comedian Stephen Colbert was able to make a tragic event funny, touching and uplifting, all in the same monologue. For that moment the world was a little brighter. Then I accidentally clicked on a Steven Crowder Youtube video and I immediately despaired for humanity that this man could call himself a comedian. He is to comedians what Norman Bates is to hotel/motel owners. In the interests of the interwebz, I’m compiling a list of “comedians” whose performances may cause lasting damage to your sense of humour.

Steven Crowder
His only funny moment was when he tried to pretend he didn’t pick a fight with a union rep at a rally.

Dane Cook
I’ll be fair to Dane, he has turned in some halfway decent acting performances (E.g. Mr Brooks). Pity he can’t act like a comedian. Even his Twitter feed ‘jokes’ make you question why he isn’t limited to less than 140 characters.

Adam Sandler
I’ll admit it, I have a copy of one of his comedy CDs. Of course, jokes about peeing your pants and lunch ladies have an expiry date of seconds after the joke is told.

Jay Leno
The unanimous decision of the interwebz is that Coco is the comedian, not Jay. A real comedian, Bill Hicks, had some interesting things to say about the Jay Leno Show.

Carrot Top
Ranggers already have a tough time in this world, Carrot Top made it worse.

Dave Hughes
The funniest thing about Dave Hughes is that he has managed to forge a career as a comedian in Australia.