Hoping for a big thriller year

Last year proved to be a relatively quiet 12 months for the thriller market in terms of blockbusters. The publishing industry did its utmost to meet readers’ interests by offering the usual plethora of subgenres but there was no stand-out thriller as in previous years.

The ever popular domestic noir market still looks as strong as ever following the runaway successes of Gillian Flynn’s Gone Girl and later Paula Hawkins’ The Girl on the Train.

This subgenre has seen in recent years an exponential growth in interest as it changed the reading habits of many women who are preferring to seek out female-centric titles that keep them on the edge of their seats.

Women form the majority of thriller readers and their surge in interest in domestic noir has built up sales in the UK market of around 20m books per year.

This type of crime fiction is not only changing the psychological makeup of women in novels, but is possibly challenging the traditional narratives of the thriller.

The use of multiple narrators, a general absence of typical thriller tropes, and their softer climaxes seem to be altering the perspective of what is chilling, given that the stories often revolve around humdrum urban lives.

But framing a story around terrible marriages and abusive relationships is nothing new to the thriller market. It is a deeply mined subject of the traditional psychological thriller. Rebecca, The Postman Always Rings Twice, Double Indemnity, and Dial M for Murder are all examples of the subgenres popularity in earlier decades.

Perhaps the real difference between the older classics and the modern domestic noir, is, as others have already pointed out, that the investigation being carried out by the writer is really about the breakdown of the relationship rather than the murder itself. The murder is no more than a McGuffin.

Money and control are often at the heart of a thriller, and it is no different in domestic noir. The woman is invariably dependent on a husband who is unfaithful and she feels her position becoming suddenly vulnerable because the man poses a threat.

But unlike the archetypically doomed femme fatales of the past – written mostly by men – the female characters in domestic noir tend to end up coming out on top. They are no longer the victims.

Amy in Gone Girl manages to get the upper hand, Jodi, a psychologist, in The Silent Wife, gets away with despatching her philandering partner, while in Season to Taste, dear Lizzie Prain has no qualms in eating her husband.

The thriller market has always been the golden goose for publishers, film makers, theatre and radio producers, alike. Nearly everyone from all backgrounds enjoys being transferred to an edgy world where they can be frightened or held in suspense.

It is an organic genre that keeps evolving and sub-dividing into subgenres. How long domestic noir will remain popular is anyone’s guess. This trend will no doubt reach a limit amongst readers and will probably give way one day to a new vogue in crime fiction, in the same way that Nordic noir thrillers are now starting to lose their shine.

Could the absence of a big blockbuster in 2017 be a sign of uncertainty about the direction that the thriller market is currently heading? Even in the cinema it seems to me that fewer traditional thrillers are being made. Is there some uncertainty about what people really want from a thriller today as there is so much competition from other genres?

A relatively fallow year for crime fiction doesn’t mean anything, of course, as the whole of the book market goes through such trends from time to time. While it is not a rare phenomenon it does seem curious that there was no real big splash in the thriller market last year given the huge number of books in the marketplace.

Too much choice? Not enough book critics in the media shining their torches on hidden gems? I have no idea how publishing houses pick and choose books, but as a consumer of their products I would urge them to go out on a limb and just take more risks.

Keep up to date with Tom Claver at http://www.tomclaver.co.uk

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It’s all in the genres

The London Book Fair closed the other week in a bullish mood with reports of some eye-watering deals for a number of thriller writers. It seems that the good times are back, judging by the number of publishers bidding at auctions for big titles and the frenetic activity in selling the rights for these books across the continent of Europe.

There was quite rightly a lot of attention on thrillers at the fair and one debut writer in particular appears to have hit the jackpot after giving up her job last summer to take the Faber Academy writing course.

Chloé Esposito looks set to become the next big thriller author after receiving over £2m in advances from UK publisher Michael Joseph and foreign rights sales, according to reports at the London Book Fair. There is also talk of Hollywood being interested in her Mad, Bad, and Dangerous to Know trilogy.

Pitched as “a heady mix of sex, lies, twists and murder,” it’s a story of sibling rivalry where the protagonist is described as “Bridget Jones gone bad.” There is apparently a nod in the direction of anti-heroes, Amy Dunne and Tom Ripley.

The first of the trilogy, Mad, is due to be published in June 2017 and looks set to become a hit like Gone Girl and The Girl on the Train.

Esposito says it is her first novel, although she had previously written “hundreds” of unfinished books. Her agent, Simon Trewin at WME, claims that it is “a thriller with a high concept,” and went on to describe it as the “American Psycho for the Gone Girl generation.”

No doubt this high concept thriller will lead to a round of similar novels reaching the market in the years to come, possibly adding another subgenre to thrillers.

In recent years, the domestic noir genre has grown in increasing popularity. Publishers and agents have been scouring female writers to come up with more domestic noir, which was grafted on the back of the classic detective genre by turning romantic women’s themes into darker stories.

Ian Rankin, the bestselling crime author who created the Rebus series, made the point recently that publishers are no longer just focused on publishing the next big book or author, but an entire genre. He claims that British writers are facing more competition than ever as publishers are turning their sights on finding the next success to Scandinavian noir.

More publishers are trawling their nets in foreign waters hoping to come up with a new cultural setting for crime readers to enjoy. Suddenly, there are more thrillers being stacked on the shelves of bookshops from around the world. This may be a good time to be a translator, but perhaps not a British thriller writer.

The majority of today’s crime novels are far from the roots of the classic thriller of the last century as they are filled with violence, horror, torture, misogyny, and sadomasochism.

Ann Cleeves, the crime writer, believes that publishers have encouraged such writing in a bid to keep up with the success of Scandinavian noir.

But she believes readers have tired of such genres, and supports her view with the recent trend towards traditional crime novels, citing the success of the British Library’s classic crime series, which reprints books from the 1930s with iconic covers from the golden age of thrillers.

While she admits that some of these books are beyond their sell-by date in entertainment value, publishers should be taking note what the readers are saying through their purchases.

That may be true, but given that Esposito’s new book promises “loads of sex and violence,” don’t expect any sea change soon.

Ian Rankin and Ann Cleeves will be speaking at Crimefest in Bristol, 19-22 May 2016. http://www.crimefest.com

Keep up to date with Tom Claver at www.tomclaver.co.uk