The Mystery-Thriller Novel: What It Is and How to Write It
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Some of you may know I’m writing a YA suspense novel. For a while, I wasn’t sure exactly what to call it: suspense, mystery, or thriller. And now I realize why it was so hard to label. It’s a combination—leaning more toward a slow burn suspense, mystery-thriller than an action-oriented thriller or a straightforward whodunit.
Understanding where a story fits genre-wise can be tricky–even when we use tools like the five key questions I talked about a few weeks ago. There are so many labels and when a book crosses or blends genres, it can be even more challenging.
Both Mystery and Thriller can fall under the suspense umbrella, but individually have unique obligations (reader expectations). So let’s explore them individually, then combine them to see how they work together to create a satisfying story.
I love how author and editor Jodie Renner defines each genre in her book Writing a Killer Thriller: An Editor's Guide to Writing Compelling Fiction
“... in a mystery, neither the reader nor the protagonist knows who the killer is. The whole idea is to figure out “whodunit,” then apprehend the bad guy. In a thriller, the reader often knows who the villain is early on, and sometimes the hero does too. The object is for the hero to outwit and stop the killer before he kills others, including the hero, or endangers the world. Also, in mysteries, the protagonist is not usually in danger, whereas in thrillers, the protagonist is almost always directly threatened, fighting for his life as he matches wits with a clever, determined, amoral villain. The other main difference between mysteries and thrillers is in the delivery—how they are told. Mysteries are usually more cerebral, for readers who enjoy solving puzzles, whereas thrillers are more heart-pounding, adrenaline-raising, appealing to the emotions and a yearning for excitement, a desire to vicariously confront danger and defeat nasty villains.”
Here's a breakdown of Suspense, Mystery, and Thriller through the lens of the reader's experience, framed by core story questions and reader expectations. Remember, suspense is the big umbrella.
Suspense
The Core Question/s: Will something bad happen?
Expectation: The uncomfortable uncertainty and tension of watching a precarious situation unfold. Suspense is embedded in all genres but in the context of a Mystery or Thriller–it’s about that ominous feeling of something bad is going to happen, we’re just not sure when. The payoff is in how long tension is maintained before release.
Reader Experience: Psychological tension, dread, and unease as danger looms.
Mystery
The Core Question/s: Something terrible happened! Who did it? And sometimes, why did they do it? A mystery does not always have to revolve around a crime, but there must be a puzzle to solve.
Expectation: A gradual reveal, clues leading to the truth that solve the puzzle, and a satisfying resolution when the mystery is solved.
Reader Experience: Engages curiosity and deduction, solving a puzzle alongside the protagonist.
Thriller
The Core Question/s: Will we stop the bad thing from happening (or happening again) in time?
Expectation: Action, tension, ticking clocks, and often violence (though exceptions exist). The protagonist and antagonist are locked in a push-pull dynamic and it often feels like a race to end. There’s a race against time and danger escalates as the hero actively works to prevent disaster.
Reader Experience: Fast-paced, heart-pounding tension with high stakes.
Mystery vs. Thriller: Key Elements
Let’s examine what makes these genres distinct and what happens when we combine them.
Thrillers
Antagonist: Wants something (sometimes called a MacGuffin) that’s personally tied to the protagonist (or somehow the protagonist becomes directly involved).
Protagonist: Gets in the antagonist’s way, putting themselves or their loved ones in danger.
Pacing: Fast, with a ticking clock. The protagonist must act quickly to prevent catastrophe.
Must-Have Moments:
The antagonist commits a crime and attempts to cover it up.
At some point, the protagonist becomes a target/victim, and the antagonist makes it personal, or it is already personal to the protagonist and if they fail, many will suffer.
A climactic “Hero at the Mercy of the Villain” scene, where the protagonist looks like they are down for the count but then outsmarts the antagonist and foils their plans.
False ending/final twist the reader never saw coming, but in retrospect makes sense so it’s not a cheat.
Mysteries
Antagonist: Commits a crime (often murder) and tries to cover it up. However, some mysteries have no crime element.
Protagonist: An investigator (professional or amateur) dedicated to uncovering the truth and pursuing justice.
Pacing: Can be slower, focused on unraveling clues and red herrings.
Must-Have Moments:
The protagonist builds a suspect list, with each suspect having a potential motive.
False turns and red herrings keep the reader guessing.
A deadline forces the protagonist to act, leading to the criminal’s exposure and justice served.
How to Craft a Mystery-Thriller Novel
Take all the components of a mystery: a crime, an investigator, clues, puzzle, false turns, and suspects, and add in the elements of a thriller:
Add mortal danger for the protagonist and others.
More than one victim.
A feeling of running out of time to find the answer to the puzzle as the book progresses.
Include the “Hero at the Mercy of the Villain” moment.
Focus on uncovering not just the “who,” but also the “why,” which can be even more shocking.
False ending or final twist.
Ultimately, when you combine these genres, the result is an intellectual “whodunit” with a sense of urgency and psychological or emotional dread.
Examples of Mystery-Thrillers
Here are some examples of books that blend these genres beautifully:
I Have Some Questions for You by Rebecca Makkai
And There He Kept Her by Joshua Moehling
All the Sinners Bleed by S.A. Cosby
The Broken Girls by Simone St. James
The House Across the Lake by Riley Sager
When the Stars Go Dark by Paula McLain
Girls Who Burn by MK Pagano
The Girl with the Dragon Tattoo by Stieg Larsson
The Silent Patient by Alex Michaelides
The Girl on the Train by Paula Hawkins
Final Thoughts
It’s okay not to know exactly what your book is until after the first draft or even second draft. Then you can shape it into what it needs to be.
Did this breakdown help clarify the mystery-thriller genre for you? Let me know! And remember—it’s okay to figure out your story’s identity as you go. That’s part of the magic (and madness) of storytelling.
