Thriller Genre Quotes

The big trinity of publishing: mystery, thrillers and romance. If you can combine all three, then it’s a winner’s trifecta and you’ll be rich beyond your dreams.

She might not have read many books. But when she reads a book, she swallows the very words. If you open the books on her shelves, you will find that the front and back covers encase white pages.

La primera vez que me vi en realidad, fue el día que amanecí muerta.

Todos tenemos derecho a vivir una gran historia de amor.

The instruction here is not for every kind of writer - not for the writer of nurse books or thrillers or porno or the cheaper sort of sci-fi - though it is true that what holds for the most serious kind of fiction will generally hold for junk fiction as well. (Not everyone is capable of writing junk fiction: It requires an authentic junk mind. Most creative-writing teachers have had the experience of occasionally helping to produce, by accident, a pornographer. The most elegant techniques in the world, filtered through a junk mind, become elegant junk techniques.)

Anything that doesn't fit this mode has been shoved into an area of lesser solemnity called 'genre fiction,' and it is here that the spy thriller and the crime story and the adventure story and the supernatural tale and the science fiction, however excellently written, must reside, sent to their rooms, as it were, for the misdemeanor of being enjoyable in what is considered a meretricious way. They invent, and we all know they invent, at least up to a point, and they are, therefore, not about 'real life,' which ought to lack coincidences and weirdness and action-adventure, unless the adventure story is about war, of course, where anything goes, and they are, therefore, not solid.

It’s a freak-of-nature reserve.

It was not, he discovered, necessary to have a great deal to live for to be utterly opposed to dying.

Any order that you are given is a source of resentment, is that not so? You are a free man…

Creativity is a commodity and derives its value only in how energy is spent.

In the absence of love, evil thrives.

Thrillers, like all genre fiction, remain for the most part “beneath.” There is a feeling in literature, more than any other art form, that books meant to simply entertain must be flawed. There is an entire cache of what critics call “beach reads,” books that are disposable, forgettable, anti-literary. And this is where I have changed the most as a reader and also as a writer. As I began to dig in to a lot of thrillers, I came to believe that entertainment and reading for pleasure can be transcendent; that while art might be a hammer it is also a mirror, changeable and subjective. And there is a point where the boundary of the thriller genre rubs hard against a much more vast literary tradition. A lot of great writers exist on this axis.

That utter isolation was something he had never rid himself of on the ground, not even in violent drinking-jags, or in the relief of Saigon prostitutes. And the reason he sought that lonely superiority of the skies was because the ground had never offered him more than an inferior copy of the same empty isolation.

McKee's a genius. And hillarious. You'll like him, too, Charles. He's all for originality, just like you. He says that we have to realize that we all write in a genre and we must find our originality within that genre. As it turns out, there hasn't been a new genre since Fellini invented the mockumentary. My genre's thriller, what's yours?

He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality. Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.

When longing overtook them, they drew together and made the most intense and tender love Sarah had ever known. She was a freshly exposed nerve in the bleeding heart of Christ. He was devout in his reverent passion as her healer. Their love was a hallelujah chorus, a quiet prayer of exaltation, a holy union in the moonlight before dawn. It was here in this crystalline space that Sarah and Johnny took each other the true way to God, or they found God in each other, whichever it was.

Literature is the extant body of written art. All novels belong to it. The value judgement concealed in distinguishing one novel as literature and another as genre vanishes with the distinction. Every readable novel can give true pleasure. Every novel read by choice is read because it gives true pleasure. Literature consists of many genres, including mystery, science fiction, fantasy, naturalism, realism, magical realism, graphic, erotic, experimental, psychological, social, political, historical, bildungsroman, romance, western, army life, young adult, thriller, etc., etc…. and the proliferating cross-species and subgenres such as erotic Regency, noir police procedural, or historical thriller with zombies. Some of these categories are descriptive, some are maintained largely as marketing devices. Some are old, some new, some ephemeral. Genres exist, forms and types and kinds of fiction exist and need to be understood: but no genre is inherently, categorically superior or inferior. (Hypothesis on Literature vs. Genre)

The techno-political thriller and the romance novel serve as antidotes to the imagination rather than stimulants to it. For this reason they make for ideal reading in airports and airplanes. They effectively shut down the imagination by doing all its work for it. They leave the spirit or the soul—and ambiguity, for that matter—out of the equation. By shutting down the imagination, genre novels perform a useful service to the anxious air traveler by reducing his or her ability to speculate. For the most part, people on airplanes, and here I include myself, would rather not use their speculative imaginations at all; one consequence of this situation is that great poetry is virtually unreadable during turbulence, when the snack cart has been put away and the seat belts fastened. Enough anxiety is associated with air travel without Rainer Maria Rilke’s Sonnets to Orpheus making it worse.

Frey goes on to elaborate, “a thriller is a story of a hero who has a mission to foil evil. Not just a hero—a clever hero. Not just a mission—an ‘impossible’ mission. An ‘impossible’ mission that will put our hero into terrible trouble.” According to International Thriller Writers, a thriller is characterized by “the sudden rush of emotions, the excitement, sense of suspense, apprehension, and exhilaration that drive the narrative, sometimes subtly with peaks and lulls, sometimes at a constant, breakneck pace.” ITW defines thrillers as a genre in which “tough, resourceful, but essentially ordinary heroes are pitted against villains determined to destroy them, their country, or the stability of the free world.” Part of the allure of thrillers, they say, comes from not only what their stories are about but also how they are told. “High stakes, nonstop action, plot twists that both surprise and excite, settings that are both vibrant and exotic, and an intense pace that never lets up until the adrenaline-packed climax.

The release of the book just tomorrow. Get ready for a good dose of adrenaline ;-) Meanwhile, I have for you next article. Let’s talk about terroritstic activity in Afghanistan. The problem with which we are dealing today almost everywhere. And turning back to the Wild Heads of War, in the book you will find a lot of military action in Afghanistan, led by NATO soldiers. One of them was my friend, who in 2009 was killed by IED (Improvised Explosive Device). The book tells the stories based on fiction but for all fans of the genre it will be surely good story. Article below made just to bring you closer to terroritstic activity in Afghanistan, that is, what is worth knowing by reading Wild Heads of War. Stabilization mission in Afghanistan belongs to one of the most dangerous. The problem is in the unremitting terroristic activity. The basis is war, which started in 1979 after USSR invasion. Soviets wanted to take control of Afghanistan by fighting with Mujahideen powered by US forces. Conflict was bloody since the beginning and killed many people. Consequence of all these happenings was activation of Taliban under the Osama Bin Laden’s leadership. The situation became exacerbated after the downfall of Hussein and USA/coalition forces intervention. NATO army quickly took control and started realizing stabilization mission. Afghans consider soldiers to be aggressors and occupants. Taliban, radical Muslims, treat battle ideologically. Due to inconsistent forces, the battle is defined to be irregular. Taliban’s answer to strong, well-equiped Coalition Army is partisan war and terroristic attacks. Taliban do not dispose specialistic military equipment. They are mostly equipped with AK-47. However, they specialized in creating mines and IED (Improvised Explosive Device). They also captured huge part of weapons delivered to Afghan government by USA. Terroristic activity is also supported by poppy and opium crops, smuggling drugs. Problem in fighting with Afghan terrorists is also caused by harsh terrain and support of local population, which confesses islam. After refuting the Taliban in 2001, part of al Qaeda combatants found shelter on the borderland of Afghanistan and Pakistan. Afghan terrorists are also trained there.

Times goes by your choice, if you make your days wonderful the days will go fast... and interesting and memorable.... If you do it in boring way they will go like watching a film which doesn't have something to make you get interested without games, crimes, horror, thriller, romance and every single other genre which you think without it the film is awful... but not only genre, but genres!

The thriller genre keeps the reader at the edge of her seat as she watches the protagonist overcome extraordinary obstacles in a race against time.

What if a person has a genre. If a personality can be structured around a genre’s tensions, themes, and tropes. All the streaming genres: Romantic Drama, Tearjerker, Crime Thriller, Dark Comedy, Supernatural Horror. And if that person reinforces their own genre by consuming only fictions that confirm it. And if that person seeks those fictions before realizing the genre that they are.

Half the global population suddenly vanishes, with no trace left behind except for a mysterious radio signal that appears to be tuned to another dimension where, in there, it seems to be the other half of the population that's vanished.

Rocky is your cannibal father.

Mike Devine loomed up again, trying not to lose sight of that hole in the trembling light. He wasn’t sure if it was the matrix of luminescence and shadow, but the gravedigger was almost certain the black mass of mould — the scab — pulsed ever so slightly, like a dying pockmarked blackened heart.

The goat let out a god awful high pitched scream as it impaled itself on the shotgun barrel. Shelton pushed the safety to the off position and fired. Goat fur and blood splattered the inside of his Jeep

The drunk watched it come from between the man’s lips, a small nebulous cloud that kind of looked like the foreigner was blowing a bubble of fog in his unconscious state. The shroud floated silently from his lips and hovered over his chest, almost sitting on his sternum. In the adjacent cell, Connie forgot to breathe when he saw a face — a woman’s face — manifest in the cloud, looking about the cell in slow motion. The long lank hair, albino white, hung about her doughy pale face in wet strands. The closed mouth was too wide for the face and didn’t appear to have lips, just a thin line curving into a vague amphibious Mona Lisa smile which took Connie back five decades to his childhood pet frog, Leap. The black eyes moved slowly about the room, left and right. That nightmarish countenance turned to Connie and held him in its vacant gaze. He saw how the mouth opened and closed, almost like a fish…or was she saying something to him? The eyes weren’t completely black. Connie made out a fine ring of white around the rims of those hallucinogenic pupils. Her eyes were two solar eclipses.

Essay: Scientific Advances are Ruining Science Fiction I write science fiction thrillers for a living, set five to ten years in the future, an exercise that allows me to indulge my love of science, futurism, and philosophy, and to examine in fine granularity the impact of approaching revolutions in technology. But here is the problem: I’d love to write pure science fiction, set hundreds of years in the future. Why don’t I? I guess the short answer is that to do so, I’d have to turn a blind eye to everything I believe will be true hundreds of years from now. Because the truth is that books about the future of humanity, such as Kurzweil’s The Singularity is Near, have ruined me. As a kid, I read nothing but science fiction. This was a genre that existed to examine individuals and societies through the lens of technological and scientific change. The best of this genre always focused on human beings as much as technology, something John W. Campbell insisted upon when he ushered in what is widely known as the Golden Age of Science Fiction. But for the most part, writers in past generations could feel confident that men and women would always be men and women, at least for many thousands of years to come. We might develop technology that would give us incredible abilities. Go back and forth through time, travel to other dimensions, or travel through the galaxy in great starships. But no matter what, in the end, we would still be Grade A, premium cut, humans. Loving, lusting, and laughing. Scheming and coveting. Crying, shouting, and hating. We would remain ambitious, ruthless, and greedy, but also selfless and heroic. Our intellects and motivations in this far future would not be all that different from what they are now, and if we lost a phaser battle with a Klingon, the Grim Reaper would still be waiting for us.

I just find music to be one of the great creations of humankind. It breaks boundaries, it brings people together, and it seems to transcend differences. It bonds us to each other. It does all of that without regard for whether it’s jazz, or rocka- billy, or blues, or rock, or folk, or R&B, or soul, or gospel, or country, or classical, or whatever your genre of choice might be. It does all of that, whether it’s Vivaldi’s violins, or Paul Desmond’s haunting alto sax, or James Burton’s twangy guitar. It’s important stuff to us humans, and it’s important stuff to me.

For my thriller readers, heads-up, there is no murder in this book. I tried adding one in, but apparently “it’s not typical for the genre.” So prepare to swoon instead—because I’ll make your heart race one way or another.

A writer can fix poor mechanics, but a bad idea will always be a bad idea.

Don’t you worry your pretty little head about that. We have certain privileges around here. We can open doors where there are no doors.

At least things fucking happen in those books, she thought: it's not just people lying in bed and thinking about their fucking feelings.

Author Victor P. Unda masterfully blends genres in this tumultuous, Nazi-hunting thriller. With elements of spycraft and international intrigue, shady secondary characters and potential betrayals, this is a well-rounded peek into the gears of war with a pace that rarely slows. This sweeping tale is engrossing and immersive, with more than enough action, mystery, and historical impact to satisfy fans of many different genres." --Self-Publishing Review

I like good writing. I don’t especially care what genre.” Mary’s

Many writers, good writers who ought to know better, focus so tightly on the structure demanded by a crime story that they lose track of the fact that they are writing a novel. Accusations of both sensationalism and trivialisation are, alas, often justified.