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The world changed seismically for thrillers
on 9/11. All of a sudden, the dastardly
plots and cunning villains that had been a staple of the genre dating back to
Ian Fleming had been outdone by reality.
Although both Thomas Harris and Tom Clancy had written books
foreshadowing that fateful day, nothing could prepare for us the actual sight
of watching the Twin
Towers
Reality, after all, is a tough act to
follow.
And now another set of villains of the type
normally confined to our imaginations has surfaced in the form of ISIS (Islamic
State of Iraq and Syria
So what’s a thriller writer to do? How do we match in fiction what has become
the daily lead story in fact?
Several answers come to mind, starting with
what genre stalwarts like Lisa Gardner and Harlan Coben have already been doing
for years, namely moving the terror per se into a smaller arena. Indeed, their tales shift the monsters into
our neighborhoods, sometimes even the house next door. Real terror in the minds of Gardner and Coben
lies in having our everyday lives upended by circumstances beyond our control
or not-so-forgotten secrets gleaned from the past. The actual stakes may be considerably smaller
but the emotional stakes are potentially that much greater. Indeed, saving one’s family as opposed to the
entire world, can be just as suspenseful, if not more so.
There’s a great line in the first James
Bond film, Dr. No, when Bond looks up
at the villain while lighting a cigarette, apparently unimpressed by Dr. No’s
fiendish plan: “World domination,” Bond
says. “Same old plan.” That was 1962 and fifty years later world
domination or destruction remain staples of the genre. So another school of thought may hold that
villains in fact actually lend resonance and credibility to the villains of
fiction. World War II spawned a spate of
Nazi villains that continues to some degree to this day. The Cold War replaced them with Russians and
the paranoia that followed Watergate replaced these, for a time anyway, with
villains culled from within our own government.
Then 9/11 came along and gave us a whole new crop of villains in
al-Qaeda and its various offshoots as seen in the books of Vince Flynn and Brad
Thor, along with the television series 24.
Taken in that context, ISIS
could be viewed as an extension of such a phenomenon, more of the same. And for thriller writers the answer may be as
simple as cathartic moments where fiction can achieve what reality can’t. When the very real Zodiac killer was
terrorizing San Francisco
Great villains, you see,
make great heroes. In that context the
answer to the question what’s a writer to do is challenge ourselves to devise
and develop heroes up to the task of confronting the kind of bad guys ISIS exemplifies.
The film Taken was made
special by a whole bunch of things, but most prominently a hero in Liam
Neeson’s Brian Mills character who had the skill set to bring down an entire
human trafficking ring. Yes, it was to
save his own daughter but what chance would he have had if he couldn’t kick ass
on a Reacher-esque level? So let’s tweak
the mantra above to say that great villains call
for great heroes, the point being that villains of fact on the scale of ISIS increase the responsibility of the thriller writer
to provide a match for their capacity to wreak havoc and dispense unbearable
violence.
After all, who doesn’t
smile when Reacher tosses such a villain out of a helicopter or when Brian
Mills leaves the switch on to keep pumping electricity into Marco and walks
away? It becomes a matter of the
capacity of heroes to match the depraved morals of the villains they must
defeat without allowing that depravity to consume them too. And in that respect the challenge becomes one
that presents an opportunity to thriller writers by forcing us to confront our
heroes with the Nietzschean dilemma of not becoming a monster in order to
destroy one, which can only make our books better.
My point is villains of
fact, the ISISs of the world, must make us look at ourselves and the
responsibility we bear to our readers, differently. Because we’re the ones those readers turn to
in order to see the demons of their nightmares slain, whether those demons live
next door or across the world. We’re the
ones who create the heroes who make them sleep easier and believe that the
monsters can be slain.
“There used to be maps
that said, ‘Here be dragons,’” Billy Bob Thornton’s Lorne Malvo, just such a
monster, says in an episode of FX’s brilliant Fargo
And as long as they are
there, we’ll need heroes to slay them.
For thriller writers, that’s where fact and fiction meet.
Hailed as “the greatest thriller writer alive today” by Bookviews and called “a creative genius” by Romantic Times, Jon Land is the author of 36 books, twenty-one of which have been national bestsellers, Jon is published in over fifty countries and six different languages, including German and Japanese. There are currently almost 7 million copies of his books in print. RT Book Reviews honored him with a special achievement award for being a Pioneer in Genre Fiction.
Jon graduated Brown University in 1979 Phi Beta Kappa and Magna cum Laude. He continues his association with Brown as alumni advisor to the Greek System, and vice-president of the Brown Football Association. He bases his novels and scripts on extensive travel and research, as well as a twenty-year career in the martial arts. He is an associate member of the United States Special Forces, has volunteered frequently in schools to help young people learn to enjoy the process of writing and chairs the Marketing Committee of International Thriller Writers. He lives in Providence, RI and can be found on the web at:
