Few myths capture the tension between freedom and domination as vividly as the story of Theseus and the Minotaur. At its core, it is not simply a monster tale—it is about how societies build labyrinths of power to contain chaos, and how individuals are forced to navigate them. In my novel A Spy Inside the Castle, I reimagine this myth as a metaphor for the modern world of surveillance, intelligence networks, and geopolitical intrigue.

The labyrinth, as both symbol and structure, becomes a way to explore how nations manage chaos. Every superpower builds corridors of bureaucracy, secrecy, and manipulation in the name of safety. But the deeper you go, the more you realize the Minotaur is not just an enemy—it is a reflection of the system itself.

Theseus as the Reluctant Operative

Theseus enters the labyrinth not by choice but by necessity. He is a stand-in for the citizen or operative drawn into a system larger than himself. In my book, Ethan Briar embodies this role: a reluctant private intelligence consultant pulled into the shadow world where truth is fragmented and loyalties are uncertain. Like Theseus, he does not set out to slay monsters for glory; he enters because not entering means abandoning others to the beast.

What makes Theseus compelling is not his sword but his string—the ability to trace a path back out. In political terms, that string represents memory, accountability, and the possibility of escape from systems that threaten to consume us. Without it, heroism is indistinguishable from futility. Ethan’s version of the string is his pattern clarity, a perception sharpened by his miraculous recovery from a near-fatal illness—a thread of insight he carries into the labyrinth.

The Minotaur as Power Unchecked

In the myth, the Minotaur is a hybrid—part human, part beast. In political terms, it represents the hybrid nature of domination: partly rationalized by law, partly driven by raw appetite. Every labyrinth has its Minotaur: the secret police, the predictive algorithm, the charismatic tyrant. Sometimes it cannot even be seen. It is the part of the system that feeds on sacrifice and fear, yet is justified as the price of order.

In my novel, the Minotaur becomes a metaphor for technologies like ARCLIGHT, a quantum supercomputer capable of modeling human behavior and helping the American intelligence community predict crises before they erupt. To its architects, it promises safety and foresight. To its critics, it is a beast that consumes autonomy, demanding citizens offer up their privacy and agency as tribute. Like the Minotaur, it thrives in darkness—untouchable, unaccountable, yet nourished by our compliance.

The Labyrinth as System

The labyrinth is not incidental to the myth; it is the essential stage. A monster in an open field can be confronted. A monster in a maze forces disorientation. The labyrinth represents bureaucracy, secrecy, and the complexity of modern states. Its purpose is less to contain the monster than to confuse those who dare to face it.

For intelligence agencies, labyrinths are built through layers of classification, compartmentalization, and deliberate obfuscation. The citizen who tries to see through the maze is quickly lost. Even those inside—the analysts, case officers, policymakers—often cannot see the whole. The system perpetuates itself by making navigation more important than resolution.

At the core of my novel lies the premise that only a handful of secret societies truly create and control this labyrinth. In the lore, they have operated since the fall of the Church in the 17th century and the birth of the modern world, pulling the threads of power behind the scenes.

Ariadne’s String: The Hope of Agency

The myth would be tragic without Ariadne’s intervention. Her string is the counterbalance to the labyrinth: a simple tool of orientation that restores autonomy. In fiction and in life, Ariadne’s string can take many forms: whistleblowers, constitutional safeguards, free press, or moral conscience. They provide a way back to clarity when the system seems designed only to entrap.

Ethan Briar, like Theseus, must decide whether to trust the thread offered to him—whether from allies, from his own sense of morality, or from something beyond politics. The question becomes not only whether he can defeat the Minotaur, but whether he can find his way out of the labyrinth without becoming part of it. His own Ariadne comes in the unlikely form of the female operative he is sent to expose as a mole, codenamed FOXGLOVE.

World Domination and the Mythic Echo

Why does this ancient myth still resonate in a world of satellites and quantum computers? Because the dream of world domination is not new—it has always worn the mask of order. The Athenians sent their youth as tribute believing it was the price of peace. Modern societies hand over data, liberties, and conscience believing the same.

The Minotaur is never fully slain. Every generation must re-enter the labyrinth, sword in hand, string in pocket. The danger is not just the beast, but the belief that labyrinths are inevitable and that power cannot be escaped. My novel uses the myth to show that the true test of politics is not whether we can build better labyrinths, but whether we can remember the way out.

Bringing It All Together

The Theseus and Minotaur myth offers more than imagery—it is a framework for thinking about politics, power, and personal agency. In the age of surveillance and global rivalry, the labyrinth has grown larger, the Minotaur more complex, but the questions remain the same: Who controls the maze? Who decides the sacrifices? And who holds the string?

Fiction allows us to dramatize these questions. Philosophy helps us wrestle with their meaning. And for writers, myth offers a wellspring of craft: archetypes and symbols that can be reimagined to reflect the anxieties of any age. The Theseus story reminds us that every narrative, like every labyrinth, needs both a monster to face and a thread to find the way through.

Check out M. B. Courtenay’s A Spy Inside the Castle here:

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(21 Popular Thriller Tropes for Writers.)

The allure of the political thriller, whether focused on presidential politics as in the classic Manchurian Candidate, or of the techno-thriller variety such as The Hunt for Red October, lies in its ability to combine authenticity—real locations, historical events, government agencies, espionage tradecraft, and technology—with the ‘what if?’ prospect of geopolitical catastrophe.

Whether it’s a lone hero uncovering a vast conspiracy, shadowy cabal plotting a coup, or a rogue intelligence agency manipulating global events, these stories resonate because they channel our anxieties about the forces that increasingly appear to control our lives. When crafted by a knowledgeable author with real-world experience, they offer a realistic glimpse behind the curtain of power, suggesting that the world is not as it seems, that hidden agendas and unseen actors are pulling the strings. This sense of unease, this suspicion that something is rotten at the core, is fertile ground for the political thriller to take root and flourish.

A good political thriller is rarely straightforward. The plot unfolds layer by layer, moving briskly through locations and sub-plots, while gradually revealing new information that enables the reader to connect the dots as the story advances toward its climax. It is also filled with moral ambiguity, as the characters themselves and the choices they face are often complex and morally challenging. When infused with real places, events, and personalities, this ambiguity adds depth to the story, forcing the reader to grapple with difficult questions about political power and how it is used to create or defuse a true geopolitical crisis.

A compelling political techno-thriller should withstand the scrutiny of national security professionals and avid readers alike. In my recent novel, The Moldavian Gambit, authenticity—accuracy and realism—were at the heart of a plausible and frightening nuclear conspiracy that was inspired by actual events. Having read techno-thrillers where the author got important details wrong, making their story less credible as a result, I tried to avoid those mistakes through extensive research into the many real-world elements of the plot. This sense of plausibility is crucial for suspending disbelief and engaging with the narrative. The line between fact and fiction must remain blurred. The “what if” scenario must feel like it could happen, made more real by the careful blending of truth with the author’s ability to shape the reality at the heart of the story.

Tom Clancy, the undisputed master of the techno-thriller, understood this power. His novels, while fictional, were meticulously researched, incorporating intricate details about military hardware, intelligence operations, and geopolitical strategies. This attention to detail gave his stories a sense of realism that resonated with readers, making them feel like they were privy to the inner workings of the national security apparatus. Clancy’s success spawned a legion of imitators, all striving to replicate his formula of blending fact with fiction to create thrilling and believable narratives.

Frederick Forsyth, another giant of the genre, took a different approach. His thrillers often drew inspiration from real-life events, such as assassination attempts or historical conspiracies. “The Day of the Jackal,” for instance, was based on the real-life attempts to assassinate Charles de Gaulle. Forsyth’s meticulous research and attention to detail gave his stories a chilling sense of authenticity, making them feel like they were ripped from the headlines.

With its edge-of-your-seat realism, a geopolitical thriller is also a more accessible way to write about national security and geopolitical threats, like the theft of a nuclear weapon by terrorists, or how a disinformation campaign can bring the world to the brink of a nuclear catastrophe. In the case of my novel, with its through-line to present-day events, the story is also meant to serve as something of a warning. The ever-blurred line between fact and fiction is key to creating the sense of urgency and timeliness that compels the reader to consider the real-world implications of the scenario unfolding on the pages before them.

This is true of many political thrillers that explore important political themes, prompting readers to think critically about the world around them. Novels like Robert Harris’s “Fatherland,” an alternate history imagining a Nazi victory in World War II, offers valuable lessons about the dangers of totalitarianism. Others, like John le Carré’s espionage novels, provide nuanced portrayals of the moral ambiguities of intelligence work.

In essence, a great political thriller creates a perfect storm of suspense, intrigue, and plausibility. It entertains, enthralls, and educates, grabbing the reader from the first page and not letting go until the very end. It is a rollercoaster ride through dark corridors of power, where truth and fiction intertwine, and the fate of the world hangs in the balance.

Check out Brad M. Meslin’s The Moldavian Gambit here:

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In this interview, Elom discusses how his experiences as an immigrant helped inspire his new political thriller, Blindspot in America, what he learned in the process of publishing the novel, and more.

Name: Elom K. Akoto
Book title: Blindspot in America
Publisher: Red Hen Press
Release date: October 1, 2024
Genre/category: Political Fiction
Previous titles: Ideal Companion ESL, level 1: Supplemental lessons and activities for English Learners; Ideal Companion ESL, level 2: Supplemental lessons and activities for English Learners
Elevator pitch: Blindspot in America is the debut political thriller by West African-American author Elom Akoto that powerfully depicts the struggle between the hopes and dreams vs. the harsh realities of the immigrant experience in America.

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What prompted you to write this book?

I wanted to write a story that explores different immigrants’ viewpoints and experiences of the American Dream. After living in the U.S. for close to 20 years, I came to realize that there are many things prospective immigrants are deeply unaware of until they have relocated to the U.S. But regardless of the many struggles that they face, there’s still hope and endless opportunity for everyone in this country.

How long did it take to go from idea to publication? And did the idea change during the process?

The story started building up in my head in 2017. I started writing it in 2018 and finished it shortly after COVID hit in 2020. The main plot didn’t change, although some elements that were considered unnecessary were removed during the editorial process. I ended up reducing the page count significantly, and I hope this resulted in a more compelling, fast-paced read.

Were there any surprises or learning moments in the publishing process for this title?

Yes, I would say! I encountered a lot of surprises during the publication process of this novel that made me a more understanding, patient, and compromising person, especially as a writer. Getting published can be just as hard as writing the book, if not a little harder. I’m better prepared to anticipate certain things during the publication of my future works. I’ve learned that getting rejected many times doesn’t necessarily mean that your writing is worthless and that you’re wasting your time. Perseverance is key, and once your work falls into the right hands, the plane for your success gets ready to take off. Being open-minded and willing to let go of things that you’ve grown fond of, like the original title you gave to your work, is also important.

Were there any surprises in the writing process for this book?

I came to learn with this novel that what makes a book great is not its volume, the number of pages, or word count, but the quality of the writing, how compelling the story is. As a writer, you must pay attention to the effect the story is having on you as you are writing it and anticipate the effect it will have on future readers. I remember my first draft was 104,000 words, and I had the impression of having accomplished something big, only to find out that it was a better story with 88,000 words, as I continued to revise it during the editing process.

What do you hope readers will get out of your book?

I hope that readers of Blindspot in America, have an “aha” moment when reading it. I hope they find a word, a phrase, a paragraph, a chapter, or a scene that makes them smile, laugh, shed a tear, put the book down and think for a minute. I hope they find something in this book that makes them feel happy for having read it.

If you could share one piece of advice with other writers, what would it be?

Practice being a storyteller as much as you practice writing beautiful sentences with good grammar, if you want to become a great fiction writer. 

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In this interview, Greg discusses how the current political climate and his personal battle made their way into his new thriller novel, Southern Man, his advice for other writers, and more!

Name: Greg Iles
Literary agent: Dan Conaway
Book title: Southern Man
Publisher: William Morrow
Release date: May 28, 2024
Genre/category: Thriller/ Fiction
Previous titles: 17 other titles
Elevator pitch: A young military hero makes a remarkable third-party run for the Presidency in 2024, as a polarized America begins to splinter along racial lines. Police misconduct in the candidate’s hometown throws Penn Cage—the hero of Greg Iles’s award-winning Natchez Burning series—and his Black physician mentor between white militia and power brokers and Black crowds wracked with grief and surging toward race war.

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What prompted you to write this book?

Our nation’s descent into dangerous polarization, with half of white America’s willingness to cast aside democracy in order to cling to power and privilege. I also happened to learn that more than 50 enslaved men were lynched in 1861 only a few miles from the house I grew up in, and I had never been told a thing about it. The true reason for this mass lynching over a short period of time is far from clear, even today. I had been writing fictionalized versions of Civil Rights cold cases in my area for more than a decade, and I didn’t know about that. So that set me digging …

How long did it take to go from idea to publication? And did the idea change during the process? Were there any surprises or learning moments in the publishing process for this title?

Four years. I almost never write more than one draft of a novel. I wait until I’ve “lived” almost all of the story in my head. Then I push myself into a sort of “peak state” of the kind you hear athletes describe, where I’m almost taking dictation at the computer, writing at light-speed for up to 18 hours at a time. Near the end, I write 24 hours straight, or even 30, on very little sleep. But this time, I actually completed the first draft, then threw 200,000 words straight into the trash can. Why? I had become so angry and frustrated by where Trump was taking the country that I had produced a novel that did not work as a thriller.

Then, I happened to see The Dead Zone late one night. And I realized that structurally I was missing a major character. I needed a Greg Stillson to make Southern Man work. Not a character like Stillson, because Trump was already in the book. I needed a dark mirror of Penn Cage, a guy you’re not sure in the beginning whether he’s a second protagonist or an antagonist. Once I had created that character, I was off and running. “Robert E. Lee White” became the dark messiah of my novel. But I was blind to that need for two years. Remarkable, really.

Were there any surprises in the writing process for this book?

Yes. I was diagnosed with incurable cancer during the writing of that first draft. I’d actually received my first diagnosis at age 36, but I’d outlived every prognosis while somehow keeping my illness secret. But about three years ago, my cancer “switched on,” and I had to make a choice. Get an immediate bone-marrow transplant or finish the book. I thought I could finish in about eight weeks. In the end, it took more than two years, all while enduring what they call “double chemo.” But now I’ve finished the book, and I’m glad I made the choice did. It made the struggle against my cancer much tougher, but it was the right thing to do.

What do you hope readers will get out of your book?

I hope I get some white Americans who otherwise might not question their own fundamental prejudices and beliefs to reconsider them. That holds true about the present as well as the Lost Cause perception of Civil War history. The truth is most whites don’t even realize the degree that the “textbook history” they studied was intentionally warped by the effort to inculcate historical lies in the minds of most white Americans—not just Southerners—after the Civil War.

I don’t have anything to teach Black people about Jim Crow that they don’t already know, although I have found when speaking about my Natchez Burning trilogy that younger Black people are sadly ignorant of many of some of the worst crimes that took place during the 1960s. By the same token, many white people are ignorant of those same crimes, even though they took place only a few miles from the homes those people grew up in. I was one of those white people, I’m afraid. The media did us a great disservice then, in a different way than they do now.

If you could share one piece of advice with other writers, what would it be?

Be honest with yourself about your talent. The business of writing is a tough one, and it doesn’t always make sense. A lot of bad books get published, and even sell, while some decent or even good ones never do. In general, though, if you have the goods as a writer, your work will get noticed and sell, at least to a publisher, if not to millions of readers. Cling to that as you go through the lean parts of waiting, but be ready when you get your chance. Give them a book no sane editor would reject. Make the ones who reject you go through the rest of their lives feeling like the record executives who turned down The Beatles.

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(7 Mystery Novels With the Best Twists.)

I was fortunate enough to interview 50 mystery and thriller authors with new releases in 2023. Here I’ve collected one piece of advice for other writers from each of them.

If you’re interested in reading the full interview with each author, just click their names. Enjoy!

“To always dig a bit deeper. The timelessness of the COVID period made me write slower, to stop and write downwards and not just fast ahead. I believe it improved my writing.” –Tove Alsterdal, author of You Will Never Be Found (HarperCollins)

“Edit, rewrite, repeat.” –Lorna Barrett, author of A Questionable Character (Berkley)

“I would say to outline as much as you want, but to always be flexible with it as you write. I don’t think you should hold onto anything too tightly in your first couple of drafts particularly, other than a sense of who your main character is and what they need from the book.” –Ella Berman, author of Before We Were Innocent (Berkley)

“This job is 99% perseverance, and the other 1% is probably self-awareness.” –Eliza Jane Brazier, author of Girls and Their Horses (Berkley)

“Beware of any piece of advice that tells you there is only one way to do anything. At a recent crime festival, the four well-known authors on the panel all had completely different ways they wrote their first draft from starting from a blank page, a handful of notes, right up to a full-blown Excel spreadsheet of all the characters and scenes in the book.” –Verity Bright, author of Murder by Invitation (Bookouture)

“Read widely outside of your preferred genre. Seeing how an author from a different genre weaves character, conflict, setting, theme, and plot can help you to reevaluate your methods, bring something fresh, and elevate your writing. As writers, we tend to stay in our own lane, but stepping outside of the familiar can stoke the flame of inspiration.” –Lindsay Cameron, author of No One Needs to Know (Bantam)

“When asked this question, I always tell other writers and authors that you should always write what you want to write—what moves you and what makes you excited. Not what you think you should write. Stay true to your vision and write, write, and write.” –Jennifer Chase, author of The Rose Girls (Bookouture)

“Figure out what makes writing fun for you and do that. If you know you want to write, but can’t seem to get into a groove, it doesn’t mean you’re a bad writer, or weren’t meant to do it. It just means you haven’t figured out your own process … yet. Be patient with yourself and keep trying different ways to write until you figure out how to have fun. The pleasure you get from writing is the only thing that will keep you doing it through the anxious and stressful bits (which, sorry to say, never go away completely). Easier said than done? Sure. Also, there’s the not-so-small matter of having the time and resources (read: money) to explore your own process. I would not be in the position right now of giving other writers advice if I hadn’t had the privilege of another earner supporting our family while I worked on my novel. There’s no easy one-size-fits-all solution, but I think most writers who keep at it do so because they’re getting a certain baseline pleasure from it. That has to be the reason, because there certainly isn’t enough money and fame in this business to go around!” –Lina Chern, author of Play the Fool (Bantam)

“Taking breaks from work is really important. If you feel like throwing out a project or abandoning it, taking a break of several months can be really useful and productive.” –Eliza Clark, author of Penance (HarperCollins)

“You have to push on through the self-doubt and keep writing. There will be days when you think your book is going well and days when you think it’s terrible and you feel like giving up. First drafts are never going to be perfect. Far from it! But once you have that first draft, you have something to work with. Then you must be prepared to look at the book with a critical eye and make the necessary changes.” –Emily Critchley, author of One Puzzling Afternoon (Sourcebooks)

“Be your own biggest fan! If you aren’t excited about your stories, how is anybody else supposed to be amped for them? Love your work, love the process, love the promotion, love talking about your book. I think it’s fine to have frustrating moments and parts that maybe aren’t your favorite, but on the whole, I highly recommend stanning your stories. And if that feels weird to start, make like Bea in Stone Cold Fox and fake it till you make it. I promise it’s way more fun than that whole tortured artist thing.” –Rachel Koller Croft, author of Stone Cold Fox (Berkley)

“When you tap into that one wild idea that seems too “out there” or strange, lean in. That’s probably the one you’ve been waiting for.” –Ren DeStefano, author of How I’ll Kill You (Berkley Penguin)

“Hopeful career writers can be a lot like people in denial about their mental illness. What I mean by that is, they’re deeply unhappy about the things they haven’t done, and they tell themselves that if they could only accomplish x—sell a short story to a stellar magazine, get a full request, get an agent, get a book offer—they could be happy. And speaking from personal experience—maybe you will be happy, for a moment, but it won’t last. It’s a lot like some addictions: no matter how good this triumph feels, any high you get is likely to be fleeting and plagued with future anxiety afterwards. The truth is that the only part of writing that can ever come close to fixing that big empty space is the writing itself. The only part that is actually real and true and that can sustain or stick with you is those hours you steal for yourself, where it’s just you, stumbling through your best efforts and trying to find your voice.” –Maria Dong, author of Liar, Dreamer, Thief (Grand Central)

“Writing is such an intense business; you are so absorbed with your own story and thoughts as you go along, that it can be so hard to have perspective. That for me is always the battle; to read what I’ve written objectively. Stephen King in On Writing suggests putting it aside for as long as you can after finishing a draft, but it’s hard if you are on a deadline, or, like me, too impatient. I’ve tried printing it out or changing the typeface, but the most effective method in my experience is sending passages as an email and reading it on your phone. Like the best cons, it’s simple, but very effective.” –Sabine Durrant, author of Sun Damage (Harper Perennial)

“Try not to get in your own head to the point where it impedes your writing. I think it can be easy to fall into the trap of worrying so much about whether people are going to like your book that you begin trying to write to please everyone, which is an impossible task. Write the book you need to write and let the results go.” –Amy Engel, author of I Did It for You (Dutton)

“Your reader’s time is likely limited. Attention spans are getting shorter. While you don’t need a cliffhanger at the end of every chapter, or a new revelation on every page, always make sure that at page level, there’s something to keep the reader interested. This may sound really obvious, but it’s quite easy to forget that you as the author know that there’s a great twist coming up in five chapters’ time, but your reader doesn’t know that, and they need to be intrigued the whole way through. Just a new piece of information is fine, maybe a different side to a character, but there needs to be something to keep the reader turning the page.” –Caz Frear, author of Five Bad Deeds (Harper)

“Don’t worry about how good you are. Worry about how much you are producing. If you generate pages, you will get better, and if you generate enough pages, you will get good. Quality will come and nothing else should matter except for the quality of your work, because that’s the only area where you have complete control.” –Mark Greaney, author of Burner (Berkley)

“Publishing is a tough business, and it is only getting harder to break in. But if you really want to be an author then my advice is to write relentlessly, develop a thick skin, and never give up!” –Laura Griffin, author of The Last Close Call (Berkley)

“Aspiring writers—all I can say is keep going. The industry as a whole is rife with rejection, but it will never mean you’re a failure. Publishing is a business first and foremost, and that’s a hard lesson to learn when everything we do is with passion first. There is rejection every step of the way, from agents to editors to film rights to reviews, so my best advice is to develop a thick skin. Hone your craft as best you can and try to surround yourself with uplifting people who are ahead of you in the process and can guide you. It’s invaluable, and I love that every day is still a learning experience. The knowledge and persistence will eventually pay off.” –Jaime Lynn Hendricks, author of I Didn’t Do It (Scarlet Suspense)

“Read widely, in and out of the genre you write. The best way to learn how to write is to read.” –Christina Henry, author of Good Girls Don’t Die (Berkley)

“You’re going to need a community. Start now, search online, maybe your local library or community center. Find other writers and start building. These are the people with whom you’ll exchange critiques, craft talk, cheer and celebrate. They’ll provide the support you’ll need as you embark on your writing journey. I wouldn’t be here without mine.” –Veronica G. Henry, author of The Foreign Exchange (47North)

“Never give up! Whether it’s the lonely journey to getting published, or that mid-first-draft lull where it feels like you need a snow-plough to get through, patience and perseverance will win through in the end.” –Cara Hunter, author of Murder in the Family (William Morrow)

“Read, read, read. Fiction is a conversation; you need to listen at least as much as you talk if you want to be good at it.” –Joshilyn Jackson, author of With My Little Eye (William Morrow)

“Read. Read critically. Deconstruct what you read. Analyze what worked for you and what didn’t. Think about what you might have done differently. The best way to become a good writer is to be a good reader.” –Bonnie Kistler, author of Her, Too (Harper)

“It’s not rejection, but redirection. Said another way: What’s meant for you will never pass you by. Sometimes we need to take a step back in order to go forward in the right way. I’m not saying it’s easy, or that it doesn’t hurt. But this is a lifelong career, and it’s OK to adjust so that you’re on the right path or accept that a path is not for you. Keep writing and growing and you will get there.” –Vanessa Lillie, author of Blood Sisters (Berkley)

“Be persistent! The first three books I wrote didn’t sell but I kept going and I’m so glad I did! Someone once told me ‘don’t quit five minutes before a miracle’ and that is so true. Rejections are hard, but each ‘no’ is bringing you closer to a ‘yes.'” –Margaret Loudon, author of A Deadly Dedication (Berkley)

“Attend conferences for writers. It’s expensive. It’s time consuming. It’s difficult for introverts. But it’s an investment in your future. I’ll provide an alternate piece of advice for those who have no way to travel (this was me when I had a newborn baby): Study the art and craft of writing any way you can, including books, podcasts, YouTube videos, and virtual classes. I spent five years doing exactly that before attempting my first novel. It paid off when I got a three-book deal on my first submission, and I’ve been published ever since. There are a lot of brilliant authors out there sharing their hard-won skills. Take advantage of any opportunity to improve.” –Isabella Maldonado, author of A Killer’s Game (Thomas and Mercer)

“I have to remind myself every time I sit at the desk to trust the process, something will come. For me the process is often fraught and full of anxiety. I worry will I ever be able to have an idea or write anything again, but I arrive at the desk and try and something always comes. It might not be very good, but I am in. And part of this is also to remember that first drafts are a clunky mess.” –Una Mannion, author of Tell Me What I Am (Harper Books)

“When I’m in the right frame of mind, I can write very quickly, and I really think that’s the best way to get things done. So I’d suggest that you set yourself a daily word count and stick to it. Don’t worry about the quality of what you’re writing—you will inevitably focus on that during the subsequent editing process. Instead, focus on getting your story down on paper from beginning to end. You can think about the rest later.” –Tom Mead, author of The Murder Wheel (Mysterious Press)

“Seek and accept feedback. Often, I see writers on social media who are so in love with their own work that they don’t accept constructive criticism. Many of them also complain that no one will publish their stories because they (the publishers) don’t “get” their work. Seeking advice and feedback, however, can help you take your ideas to the next level. It might not feel good to hear that something you wrote doesn’t quite work, but if you embrace what others have to say about it, you just might come up with something much better than what you started with.” –Nick Medina, author of Sisters of the Lost Nation (Berkley)

“Be as consistent as you can in your writing routine. I know it is easier said than done! I wrote this novel while working as a doctor, with three school age children at home, through the pandemic. Some days I could devote hours to writing, on others only a short time. But the more consistent I could be, if I sat down at the same time every day, the better the ideas flowed.” –Ritu Mukerji, author of Murder by Degrees (Simon & Schuster)

“The way you are as a person is the way you are as a writer. Vice versa, too. Your writing practice will be a reflection of the rest of your life. If you are inherently disciplined, that will spill over into your writing. Ditto if you’re an inherent procrastinator. If you are driven by achievement and status, or if you don’t give two shits about what other people think; if you fall down rabbit holes, or if you flit around like a butterfly; if you are cool and analytical, or if you cry all the time; all of this shows up in your writing practice. Get to know yourself as a person. Understand who you are. Understand what makes you tick. Understand what motivates you. This will probably make your writing richer and more interesting, but it will also allow you to shape your writing practice in the way that you need to shape it. There is no such thing as a one-size-fits-all solution to this conundrum of being a human, nor of being a writer. Don’t let anyone tell you otherwise.” –Anna Pitoniak, author of The Helsinki Affair (Simon & Schuster)

“The same as the Nike slogan: Just do it. Write more than you talk about it instead of the inverse. I have never seen any other profession so obsessed with talking! You don’t see accountants discuss ad nauseum the accounting process, or lawyers talk about writing briefs—the practice is in just doing it. Once you’ve done it, then you’ll have something to discuss.” –Alice Pung, author of One Hundred Days (HarperCollins)

“Join a writer’s group. It always helps to receive feedback on your work, and providing it for others is just as beneficial. Storytelling and writing are like muscles that get stronger the more we use them, whether by developing our own work or helping someone else develop theirs.” –Ana Reyes, author of The House in the Pines (Dutton)

“The world of publishing is weird—and writing success never follows a straight path. I’ve been writing for 25 years, been a published author for 13, and an “overnight” success for seven. It’s been a long, strange journey with many detours, obstacles, and setbacks. Along the way, I’ve had to make some tough choices, including using a pen name because my sales were so dismal that my real name had become a liability. But each struggle also taught me a valuable lesson in perseverance. So that’s my advice: Persevere. Things might look bleak now, but if you work hard, believe in yourself, and learn along the way, amazing things could be in your future.” –Riley Sager, author of The Only One Left (Dutton)

“Hit the library, read widely, and note what resonates with you. When I see an author who is brilliant at something, I try to identify what they’re doing, even if I’m not yet skilled enough to execute it myself. List the ways they transition seamlessly into backstory. Diagram the pacing of their stellar action scene. Identify the word choice and rhythm that makes their dialogue snap. Sometimes I even write out favorite passages longhand, trying to get a visceral feel for the choices that author made as they wrote.” –Nina Simon, author of Mother-Daughter Murder Night (William Morrow)

“Don’t be afraid to take chances with your writing. Some of the most wonderful ideas come with letting go of what you think you “should” write. Write the wild and the weird and the things you think are unsellable. You might just surprise yourself with the end result.” –Nalini Singh, author of There Should Have Been Eight (Berkley)

“There are no rules. No writer has the same process as the next, and your process is never wrong (unless you are not accomplishing any writing). Get advice from other writers, try out new ways of writing, and tweak the process to make it your own. There are many authors who have had a great deal of success who will be happy to tell you what you must do to be successful. Rule one: Just write. That is really the only thing every author has in common. The mode in which we accomplish that is our own.” –Leanne Kale Sparks, author of Every Missing Girl (Crooked Lane Books)

“Write the book that you want to read, and others will be drawn to how genuine and unique your work is, they’ll naturally want to read it. If you write only what you think other people want to read, it’s guaranteed heartbreak.” –Benjamin Stevenson, author of Everyone in My Family Has Killed Someone (Mariner Books)

“Please, please, please write your story to the best of your ability without looking over your shoulder at what the other guy is doing—or getting in return. We are a community of writers—celebrate one another’s success. Tell the green monster to take a hike. So maybe you haven’t been invited to join a writers’ colony. Perhaps, instead of five-hours of uninterrupted peace to write each day, you’ve got a job and a houseful of kids. Yep. Been there. Done that. You can write in 20-minute sessions. Close the door and write in the bathroom. Get up early and write before the house wakes up. Write at your lunch hour. At night after work. In the car while the kids are at the dentist or in sport events. Just get those 1,000 words in a day if you can. You’ll have draft in three months—a crazy, nonsensical, poorly-written draft—but there will be words on the page. And that’s a primed wall. Now, you can start really painting. To quote the beloved Nora Roberts: ‘I can fix a crappy page; I can’t fix a blank one.'” –Sarah Strohmeyer, author of We Love to Entertain (HarperCollins)

“You have to love the process of writing more than the dreams of being published. Don’t get me wrong: Publishing is a wonderful journey, and there’s nothing like holding your own book in your hands. But the piece that lasts longest is the joy you took in writing the thing, and publishing success is more or less out of your hands, anyway. If you don’t love the actual process of writing, how good publishing feels won’t make it worth it.” –Halley Sutton, author of The Hurricane Blonde (Putnam)

“It sounds trite, but honestly, it would be to simply write. Too often I get asked by aspiring writers how to get published and what to do about social media and other platforms when he or she hasn’t yet finished a book. The writing is the key. Everything else is secondary to that.” –Brad Taylor, author of The Devil’s Ransom (William Morrow)

“Writing is part talent—if you aren’t a natural born storyteller, you won’t get ideas for stories—but it is also part skill. That means the more you practice it, the better you will get. Many people who are far more talented than I have never been published because they just didn’t sit down in the chair and write and write. My advice is to write every day and keep writing.” –Victoria Thompson, author of City of Fortune (Berkley)

“Patience. For yourself and for the characters. Let them develop and become as real to you as you hope your readers will too.” –Charles Todd, author of The Cliff’s Edge (Morrow)

“Don’t let self-doubt rob you of your creativity. Write every day, and don’t give up. Persistence and will are what will bring you success.” –Peggy Townsend, author of The Beautiful and the Wild (Berkley)

“Keep going. Rejection is an opportunity to find something better.” –Harriet Tyce, author of It Ends at Midnight (Sourcebooks)

“Just write. There’s so much noise these days about what authors must do to self-promote on social media. So many writers seem to think that they need to be influencers in order to survive. Certainly, there are opportunities to connect with readers that never existed before. And that’s a great thing. But at the end of the day, no one will come to your work and STAY because you created the best video on TikTok. Readers come to your work and stay because you gave them a great story, one that moved and involved them, that lifted them out of their lives and problems for a time. And to give someone that, you need to bring the best of yourself to the page. So just write. Every day.” –Lisa Unger, author of Christmas Presents (Mysterious Press)

“Read widely and critically.” –Charlotte Vassell, author of The Other Half (Anchor)

“Try not to be too precious or make things perfect on the first go. Things will change and you will have to learn to know when to let go of things. That’s why I always start off with something I call a ‘vomit draft,’ whether it’s in screenwriting or writing novels, because I know a lot of things are going to be thrown out later.” –Iris Yamashita, author of City Under One Roof (Berkley Publishing)

“I would tell them what Patricia Highsmith told me in her writing book, Plotting and Writing Suspense Fiction: “The first person you should think of pleasing, in writing a book, is yourself.” It’s impossible to please everyone, and there’s a lot of noise that writers hear, so if you do as Ms. Highsmith suggests and write the book YOU want to read, you’re on the right path.” –Robin Yeatman, author of Bookworm (Harper Perennial)

The post One Piece of Advice From 50 Mystery and Thriller Authors in 2023 appeared first on Writer's Digest.

He is also the author of the New York Times bestsellers Tom Clancy Support and Defend, Tom Clancy Full Force and Effect, Tom Clancy Commander in Chief, and Tom Clancy True Faith and Allegiance. With Tom Clancy, he coauthored Locked On, Threat Vector, and Command Authority. Find him on Twitter, Facebook, and Instagram. 

In this post, Mark discusses researching locations in person for his new thriller novel, Burner, his advice for other writers, and more!

Name: Mark Greaney
Literary agent: Scott Miller, Trident Media Group
Book title: Burner
Publisher: Berkley
Release date: February 21, 2023
Genre/category: Thriller
Previous titles: The Gray Man series (11 previous titles); Red Metal, Armored; seven titles in the Tom Clancy Jack Ryan series.
Elevator pitch for the book: The Gray Man is caught between the Russian mafia and the CIA as he fights to expose a Swiss Bank’s crimes and stop an impending attack in the U.S.

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What prompted you to write this book?

I wanted to write a fictional story about Westerners who collaborate with Russia, and I wanted The Gray Man to seek a little justice against these people.

How long did it take to go from idea to publication? And did the idea change during the process?

Burner took me eight months to write. The story evolved somewhat as the Russian invasion of Ukraine evolved, but it was always related to Russian intelligence and threats in the West.

Were there any surprises or learning moments in the publishing process for this title?

It’s my 23rd published novel, so I wouldn’t say anything surprised me specifically with this book, but I’m still astonished I’m a published author in the first place!

Were there any surprises in the writing process for this book?

I did a great deal of location research in Europe, the Caribbean, and New York, and seeing the locations in person really honed my writing and made the book feel more “real.” Nothing is ever as I imagine it, so I like to see places for myself when I can.

What do you hope readers will get out of your book?

I hope they’ll enjoy a fast-paced Gray Man thrill ride involving espionage, the military, and politics, with far flung destinations and detestable villains.

If you could share one piece of advice with other writers, what would it be?

Don’t worry about how good you are. Worry about how much you are producing. If you generate pages, you will get better, and if you generate enough pages, you will get good. Quality will come and nothing else should matter except for the quality of your work, because that’s the only area where you have complete control.

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Brad has written 16 New York Times bestsellers and is a security consultant on asymmetric threats for various agencies. He lives in Charleston, S.C., with his wife and two daughters. Find him on Twitter, Facebook, and Instagram.

In this post, Brad discusses the research that led to his new thriller novel, The Devil’s Ransom, his advice for other writers, and more!

Name: Brad Taylor
Literary agent: John Talbot, Talbot Fortune agency
Book title: The Devil’s Ransom
Publisher: William Morrow
Release date: January 24, 2023
Genre/category: Thriller
Previous titles: End of Days; American Traitor; Hunter Killer; Daughter of War; Operator Down; Ring of Fire; Ghosts of War; The Forgotten Soldier; The Insider Threat; No Fortunate Son; Days of Rage; The Polaris Protocol; The Widow’s Strike; Enemy of Mine; All Necessary Force; One Rough Man. Novellas: Exit Free; The Ruins; The Infiltrator; The Target; The Recruit; The Dig; Black Flag; Gut Instinct; The Callsign.
Elevator pitch for the book: Pike Logan races to stop an insidious attack orchestrated by a man who knows America’s most treasured secrets.

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What prompted you to write this book?

The plot of this book came from some research I was conducting about the Israeli company NRO and its Pegasus malware surveillance tool. I learned the UAE was using the tool to track journalists, dissidents, and even U.S. citizens. Bad enough, but the men using the tool on behalf of the UAE were United States ex-intelligence personnel working for something called Project Raven.

While NRO claims they only license Pegasus to vetted nation states, the tool is scary in its ability to be misused, and the fact that former U.S. intel operatives were executing the action became a germ of a story. As I conducted the research on malware in general, learning about zero-click and cyber vulnerabilities, I hit on the massive and growing problem of ransomware.

In the last couple of years, ransomware gangs have shut down our pipelines, taken the world’s largest supplier of meat offline on two different continents, held numerous hospitals hostage, and literally caused the entire country of Costa Rico to grind to a halt. The groups are all shadowy and it’s impossible to determine if they’re operating independently or being bankrolled by another nation-state. In the end, it was a better story, so I went that way with The Devil’s Ransom.

How long did it take to go from idea to publication? And did the idea change during the process?

Basically, I write one book a year, so a year. No, the idea didn’t change once I decided on the threat.

Were there any surprises or learning moments in the publishing process for this title?

Not that I haven’t seen before. This is my 17th full-length published novel, so at this point, I’ve already seen everything that would have surprised me. As for learning, I always learn something new about the publishing process with each book I write. This time, I’d probably say it was the collaboration on the cover design.

Were there any surprises in the writing process for this book?

Originally, I had no intention of including Afghanistan in the story. I was asked by my publisher early on if I was going to touch on Afghanistan and I said, “No way,” because the ending of that war was a little raw for me. But then I read a story about the Bactrian Treasure being lost and the new Taliban owners hopping mad about losing it. That was just enough to get my creative juices flowing.

The Bactrian Treasure is real and was discovered by a Soviet archeologist in the upper steppes of Afghanistan in the late 1970s. It was a unique find because the tombs held treasures from across the silk road, spanning the globe, from Serbian daggers to Chinese emeralds. Nobody knows who the people were in the tombs, but it was a big find.

When the Soviets left Afghanistan, the treasure disappeared. Nobody knew what had happened to it, with most thinking the Soviets had simply stolen it on the way out the door. Fast forward to 2001, after we toppled the Taliban, and a guy came forward with a key to a safe underneath the main bank in Kabul. He’d hidden the treasure and kept it secret all those years.

Fast forward again to the present day, and the treasure was lost again, with the Taliban swearing vengeance to find it. That was enough to get me to incorporate Afghanistan into the story.

What do you hope readers will get out of your book?

Honestly, I just hope they get enjoyment from the story. When I get an email from a fan saying they stayed awake all night to finish the book, I feel I’ve succeeded. I had no overarching secret objective in writing the manuscript—but hopefully they can also come away with a healthy appreciation of the nuances nation states face when confronting the various threats in cyber space.

If you could share one piece of advice with other writers, what would it be?

It sounds trite, but honestly, it would be to simply write. Too often I get asked by aspiring writers how to get published and what to do about social media and other platforms when he or she hasn’t yet finished a book. The writing is the key. Everything else is secondary to that.

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Cristina is also the Chief Medical Officer and co-founder of Genescient, a biotech company devoted to genetic research on aging and the amelioration of chronic diseases. Medicine and fiction are her twin passions, and she is absolutely thrilled to be able to share her medical thrillers with the world.

LePort currently resides in Orange County, California, with her husband Peter LePort, a general surgeon. They have three children and three grandchildren. Visit her website cristinaleport.com and find her on Twitter and Facebook.

In this post, Cristina discusses combining her two passions to write her new medical thriller novel, Dissection, her advice for other writers, and more!

Name: Cristina LePort
Literary agent: D4EO Literary Agency
Book title: Dissection: A Medical & Political Thriller
Publisher: Bancroft Press
Release date: September 20, 2022
Genre/category: Medical Thriller, Mystery/Thriller/Suspense/ and Political Thriller
Elevator pitch for the book: In Dissection, surgeon Steven Leeds and his former lover, Dr. Silvana Moretti, are beleaguered by an onslaught of heart attacks and strokes, preceded by mysterious cards: “Your heart attack will arrive in one hour!” Private detective Kirk Miner and FBI agent Jack Mulville investigate Silvana, who harbors a grudge against the victims, but the apocalyptic bioterrorism plot designed to topple the U.S. government has just begun.

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What prompted you to write this book?

One day I saw a commercial on TV about a medication used to treat heart attacks. A man opened a card while a voice said, “Wouldn’t be nice if we got a notice when a heart attack is going to strike, so we can prevent it?”

I thought that was a great idea for a medical thriller. That’s how Dissection started.

How long did it take to go from idea to publication? And did the idea change during the process?

It took seven long years: one fun year to write the book, two tense years to edit and find my agent, three agonizing years to acquire my publisher, and one happy year to plan the publication. The basic idea never changed.

Were there any surprises or learning moments in the publishing process for this title?

I had read about the dismal statistics of a book being traditionally published, but I never quite believed them, until I stared at baffling rejection letters. Unimaginable!

Often agents discarded the novel, which I dedicated so much time, labor, and love, after a mere glance at my query’s first line. The journey to publication was the most difficult task of my life. Worse than medical school, or even more difficult than saving lives.

Were there any surprises in the writing process for this book?

During the extensive research for the political side of my novel, I learned about governmental policies in a state of emergency. I was surprised to discover the extensive arsenal of weapons available today, potentially able to wipe out the entire planet, if in the wrong hands.

I learned how fragile and precious our liberty and our pursuit of happiness can be, and how important it is to keep up our defenses. I also discovered how hard the FBI and the police work to protect us.

What do you hope readers will get out of your book?

Heroes are regular human beings who keep on fighting to overcome impossible obstacles, despite their fears and limitations.

Radical extremists often commit acts of violence in the name of a religion they disrespect.

If you could share one piece of advice with other writers, what would it be?

An author advised: The best thing you can do for a new writer is to give him a copy of The Elements of Style. The second-best thing is to shoot him, while he’s still happy.

Seriously: If you truly love to write, read a lot, write a lot, and after every rejection, write some more. The final judges of your writing aren’t the agents or the publishers. The last word belongs to the readers. Thank God!

(Editor’s Note: The paraphrased quote above regarding The Elements of Style is a reference to a quip made by Dorothy Parker for a book review of the guide in the November 1959 issue of Esquire.)

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Jeffrey Wilson has worked as an actor, firefighter, paramedic, jet pilot, and diving instructor, as well as a vascular and trauma surgeon. He served in the U.S. Navy for 14 years and made multiple deployments as a combat surgeon with an East Coast-based SEAL Team. He and his wife, Wendy, live in Southwest Florida with their four children. You can find them on Facebook, Twitter, and Instagram.

In this post, Brian and Jeffrey discuss the benefits of working as co-authors, the process of writing the newest Presidential Agent novel, Rogue Asset, and more!

Name: Andrews & Wilson
Literary agent: Gina Panettieri
Book title: Rogue Asset, Book #9 in WEB Griffin’s Presidential Agent Series
Publisher: GP Putnam’s Sons
Release date: December 7, 2021
Genre/category: Thriller
Previous titles: Tier One Series; Sons of Valor Series; Shepherds Series
Elevator pitch for the book: Charlie Castillo is back in the newest installment of the bestselling Presidential Agent series, with a new team and new challenges. Together with his protégé, USMC Captain and MARSOC Raider P.K. “Pick” McCoy, they will have to work fast and deep in the shadows, because the Secretary of State has been kidnapped by an unidentified terrorist organization. If they can’t find him quickly, a deadly series of events will unfold, plunging America into war.

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What prompted you to write this book?

We were beyond flattered when approached by Putnam to carry the mantle of the Presidential Agent Series on behalf of the Griffin estate. To write under the banner of the iconic W.E.B. Griffin is at once thrilling and humbling, and we worked hard to honor the rich universe and larger-than-life characters he created in the series.

How long did it take to go from idea to publication? And did the idea change during the process?

Because the book was contracted as part of the existing series, the timeline was different than had we been developing a de novo project. As always with our process, we began with a “what if” question. In this case, what if a terrorist organization in North Africa kidnapped the Secretary State to use him as a pawn in a regional power play?

After nearly a decade in retirement, how would Charlie Castillo respond if called back into service by a new Presidential Administration facing a very different geopolitical landscape than the one he left behind?

Were there any surprises or learning moments in the publishing process for this title?

First off, it was thrilling to work with the incredible Tom Colgan. We learned so much from him. From the get-go, Tom counseled us not to try and replicate W.E.B. Griffin’s writing style or his voice—because no one possibly could!

Instead, he encouraged us to bring our unique Andrews & Wilson flair—the same authentic, gritty action of our Tier One series—while paying homage to the world and characters Griffin created. Armed and motivated with that advice, we were empowered to bring Charlie back into action and introduce a few new characters that we hope fans of the series will find compelling and embrace.

Were there any surprises in the writing process for this book?

The only surprise for us was the lack of surprises! With Charley Castillo at the helm, the book practically wrote itself. As co-authors, our “superpower” is that we never have to worry about writer’s block. That’s the power of teamwork and collaboration—a fresh perspective or a new idea is always only a phone call away.

For Rogue Asset, we used the same tried and true process we’ve developed writing what is now 15 books written together … and we’re happy to report that for this book that process did not let us down.

What do you hope readers will get out of your book?

We hope, more than anything else, that readers will rejoice at the return of the Presidential Agent series. We also hope that instead of trying to compare Rogue Asset to the previous installments, fans will embrace Charley’s return and join him on this new adventure in a world that is more volatile, uncertain, and dangerous than it was a decade ago. The stakes are higher than ever, so fans of the series better buckle-up for a white-knuckle ride!

If you could share one piece of advice with other authors, what would it be?

Write with confidence! Once you find your voice, embrace it … because a writer’s voice is the one defining asset in a very crowded industry that is distinctly and truly his or her own.

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The post Brian Andrews and Jeffrey Wilson: On the Power of Creative Teamwork appeared first on Writer's Digest.

(5 Tips on How to Write a Cunning but Cozy Mystery Novel)

The challenge for the writer is to make the reader’s quest not too easy.

I knew who the killer was in the second chapter!

And not too hard.

All signs pointed to Johnny. No one could have guessed it was actually Anne Marie who pulled the trigger!

Here are six tips to help you successfully plant false clues and red herrings in your mystery/crime fiction to keep your readers engaged and entertained, and have them clamoring for your next book!

Red Herrings That Fool but Don’t Frustrate Your Readers

Tip 1: Even George Lied

Historians know the frequently repeated story that George Washington could not tell a lie is a lie. George had secrets he didn’t share, just like the rest of us.

Give every one of your significant characters a secret. Think big, and be inclusive.

This is the time to overdo it, with a purpose. If instead, early on, you narrow your focus to a few clever ideas for misdirection that excite you, you may miss less common and possibly more inventive options. For example, if you have a brilliant way to make readers think the murderer’s sister did it, and you spend all your time perfecting that, you might miss a wonderful opportunity to also cast suspicion on the delivery driver who dropped off the victim’s fettuccine alfredo the night he died.

Tip 2: Red Herrings Come in Shades from Bright Scarlet to Soft, Pearly Pink

A character’s secret might be bold and shocking. What, Uncle Todd, a premier surgeon who has operated on senators and priests, only trained as a large animal vet? But he was so convincing, and his surgeries were a huge success. What other secrets could he be hiding? Or the secret could matter only to the character themselves. Diona has collected hundreds of pieces of otter memorabilia—statuettes, salt, and pepper shakers, and potholders. She keeps them hidden away in bubble wrap in black garbage bags in her basement, only taking them out at midnight to enjoy how cute the little creatures are. She is embarrassed by the habit and wants no one to know.

Though neither Uncle Todd nor Diona is the killer, their secretive behavior creates the perfect red herring, causing your readers to suspect them of murder.

Have fun with it. Experiment with a range of false clues and misdirection.

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Tip 3: Know “Why”

Once you have given each character something to hide, make sure you understand their reasons for doing so. Some may have dastardly motives. Others may keep something secret because they have healthy emotional boundaries—what they refuse to share is no one’s business but their own.

Similar to other types of back story, understanding the motivation behind each secret will help you come up with believable false clues, and craft scenes and dialogue that ring true.

For example, what Diona might say and do that leads her neighbor to search her basement and find the hidden stash of lumpy plastic bags that causes him to think Diona is the serial killer loose in the neighborhood will differ if Diona is hiding her collection because her mother was a hoarder who shamed the family than if Diona thinks otters are a childish obsession and wants to appear sophisticated and grown-up.

Tip 4: (Sometimes) Forget About It

Once you’ve developed a comprehensive list, select only the secrets and false clues you like best to use in your story. (Keep the rest to yourself to enrich your understanding of who your characters are.) Next step, decide whether the reader will believe you owe them an explanation as to what the false clue or misdirection you use really means.

As one example, if in Chapter One, Sarah runs from the scene of Maggie’s murder with a gun in her hand, readers will absolutely want to know why Sarah was there and why she had a gun. You let them believe for four chapters that Sarah killed Maggie, but in Chapter Five, Sarah sobs to her friend, “I went there to kill Maggie but she was already dead.” And in Chapter Nine, a witness comes forward to verify the timing of Sarah’s appearance at the scene, providing her an alibi for the shooting.

You have resolved the red herring you planted, and your readers can move on to look for other clues to solve Maggie’s murder.

Alternatively, suppose in Chapter One the reader learns Maggie’s murder occurred late Thursday night, and in Chapter Two, Jack’s roommate mentions to Yolanda, “I don’t know where Jack was Thursday night. He never came home. That’s not like him.”

If the plot barrels along with action and intrigue and Jack’s whereabouts turn out to be immaterial to the capture of Maggie’s actual killer, readers will not mind that they never find out where Jack was that night.

When I first started writing mysteries and thrillers I thought all loops had to be closed and all false clues explained, which led to a bloated “whodunnit” scene at the end.

Not necessary.

Trust readers in this genre to recognize what’s important in the end.

(10 Basic Ingredients of a Successful Thriller)

Tip 5: Play Fair

You’re a writer.

You’re clever.

Don’t get caught up in proving that fact.

Play fair.

Don’t introduce the murderer in the second-to-last chapter when all the clues until then have pointed to someone else. Don’t have a clone of a character commit the crime, unless cloning humans has been acknowledged in the narrative as existing in the world you create. And it wouldn’t be fair to have one of your characters drink Hermione’s polyjuice potion to give them a false identity, unless your story is set at Hogwarts.

Be vigilant. This tip is pretty simple, but it can be difficult to stick to.

Tip 6: Write Before Right

Whether you’re a plotter or a pantser, do not try early in the process to get the number and type of red herrings and false suspects “just right.” Outline or draft your story fully at least once, beginning to end, letting your creative juices flow freely before you go back and employ the guidance given above, which is largely analytical in nature.

Several drafts into my manuscript, I develop a spreadsheet that catalogs potential secrets, big and small. I use it to track red herrings I leave in and those that will only be back story, and which ones I plan to resolve for the reader, versus those I don’t. This helps keep me from overwhelming the reader with too many false clues or leaving important ones unexplained. You may find another method—anything is good that helps you treat the utilization of red herrings and false clues with the seriousness your readers expect and deserve.

Bottom line: With respect to red herrings and false clues in your story, when you begin:

“Don’t get it right, get it written.”

(And then get it right.)

I hope these tips are helpful. Please let me know which work for you, which don’t, and if you have others to share.

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