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Thriller: Stories to Keep You Up All Night


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Доступ к книге ограничен фрагменом по требованию правообладателя.

To Dennis Lynds and all thriller writers, past and present. May their stories live forever.


I ntroduction

This book is a trailblazer on two counts. It's the first short-story anthology of thrillers ever done, and it's the first publication of a new professional organization: International Thriller Writers, Inc.

By nature writers tend to be loners, happy with their work, their families and a few close friends. But we also yearn occasionally for collegiality. For years we've all said to one another, "Why don't we organize?" Then in June 2004, Barbara Peters, of the legendary Poisoned Pen bookstore in Scottsdale, Arizona, held the first-ever thriller conference in the United States. She invited six writers- Lee Child, Vince Flynn, Steve Hamilton, Gayle Lynds, David Morrell and Kathy Reichs-and one editor, Keith Kahla, of St. Martin's Press, to give presentations about the various aspects of writing and publishing thrillers. Clive Cussler spoke at the luncheon.

With only two weeks to publicize the event, Barbara thought she'd be lucky if a hundred people registered. In the end some 125 attended and, to everyone's surprise, not all were there to learn about writing. Many were readers who wanted to meet some of their favorite thriller authors. Here for the first time was concrete evidence of what most of us had long suspected: there was a demand among fans for a thriller writers' organization, too. If we held conventions, readers would likely attend, as well as us. And if we awarded prizes-there have never been awards specifically for thriller books, stories and films in the English language-that interest would only grow.

On the last day of the conference, in the sunny restaurant at the Biltmore Hotel in Scottsdale, several of the attendees stood around talking. Gayle Lynds, a highly accomplished thriller writer, mentioned that she thought the conference indicated the time had come to create an association for thriller writers. Adrian Muller, a journalist and freelance conference organizer, pointed out that the association should not be limited to the United States. Barbara Peters said she'd be willing to hold another, larger convention. Realizing that she'd almost committed herself, Gayle quickly announced, "I can't organize this alone, though." Her husband, the incomparable Dennis Lynds, added, "She's right. She can't." Barbara merely smiled and said, "Pull in David Morrell. He's perfect."

And that's what happened.

Adrian Muller volunteered to send out e-mails to every thriller author he could find to see if there was enough interest among writers to form a group. A few days later, Gayle and David had a long telephone call, discussing their workloads and a potential thriller organization that would be international in scope. They agreed to jointly head the effort, and over the summer of 2004 Adrian, David and Gayle talked and exchanged e-mails. Adrian arranged with Al Navis, who was orchestrating Bouchercon 2004, the great congregation of mystery readers and writers, to assign a room in which the thriller authors could meet.

The response to Adrian's e-mail was impressive. Author after author said that an association was a great idea. A meeting was held on October 9 in the Metro Toronto Convention Centre and, after many discussions, International Thriller Writers, Inc. was born. In November 2004, members were solicited. That response was likewise incredible. Currently there are over four hundred members, with combined sales exceeding 1,600,000,000 books.

This is all quite astonishing, and fitting because thrillers provide such a rich literary feast. There are all kinds. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. The list goes go on and on, with new variations constantly being invented. In fact, this openness to expansion is one of the genre's most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. By definition, if a thriller doesn't thrill, it's not doing its job.

Thrillers, though, are also known for their pace, and the force with which they hurtle the reader along. They're an obstacle race in which an objective is achieved at some heroic cost. The goal can be personal (trying to save a spouse or a long-lost relative) or global (trying to avert a world war) but often it's both. Perhaps there's a time limit imposed, perhaps not. Sometimes they build rhythmically to rousing climaxes that peak with a cathartic, explosive ending. Other times they start at top speed and never ease off. At their best, thrillers use scrupulous research and accurate details to create environments in which meaningful characters teach us about our world. When readers finish a thriller, they should feel not only emotionally satisfied but also better informed-and hungry for the next riveting tale.

Henry James once wrote, "The house of fiction has many windows." That observation certainly applies to thrillers, and this anthology is an excellent example. When Gayle Lynds suggested producing it, International Thriller Writers, Inc. sent out a call to its members for stories. Many replied, and thirty were ultimately selected for inclusion. I was contacted about acting as editor and readily agreed, while Steve Berry, another ITW member and thriller author, took on the responsibility of managing director.

When the book proposal was finally shopped by agent Richard Pine, himself an ITW member, several publishers expressed interest and, after a bidding war, MIRA Books acquired the rights.

Generously, each of the contributors to this book donated his or her story. Only ITW will share in the royalties, the proceeds earned going into the corporate treasury to fund the expansion of this worthwhile organization. The theme of this anthology is simple. Each writer has used a familiar character or plotline from their body of work and crafted an original story. So you have something known, along with something new. As you'll see, the variations are captivating, as the writers' imaginations soared. Each story is prefaced by an introduction from me that sets up the writer, his or her work and the story. At the book's end, there are short biographies of each contributor. What a pleasure it was to read the stories as they came in, and it's my hope that you'll likewise relish the tales.

So prepare to be thrilled. And enjoy the experience.


– James Patterson

June 2006


P.S. More can be learned about ITW through its Web site at . Check it out.

Lee Child

Lee Child's debut novel was Killing Floor, a first-person narrative introducing his series character Jack Reacher, and although clearly a fast-paced thriller it shared characteristics with the classic limited-universe Western. At the time Child was also an experienced media professional, aware that his second book had to be written before significant reaction to his first had even been received. To avoid stereotyping- which can affect a writer as much as any performer-Child determined to make his second book, Die Trying, as different as possible, albeit part of the same series. His plan was to stake out a wide "left field, right field" territorial span between books one and two, one in which the rest of the series could happily roam. Therefore Die Trying featured third-person narration and a classic high-stakes, multi-strand thriller structure. But, in its first draft, that structure went one strand too far. There was a character-James Penney-who had an appealing introduction and backstory, but who clearly didn't have any valid place to go. So Penney wasn't featured in the completed novel. Instead, he languished on Child's hard drive until a request came from an obscure British anthology for a short story. Child repackaged Penney's narrative and added a prequel-style ending, featuring a brief glimpse of Jack Reacher's early career. The story was published, but with limited distribution. Now it comes to life again, revised and renewed, in hopes of reaching a wider audience.

JAMES PENNEY'S NEW IDENTITY

The process that turned James Penney into a completely different person began thirteen years ago, at one in the afternoon on a Monday in the middle of June, in Laney, California. A hot time of day, at a hot time of year, in a hot part of the country. The town squats on the shoulder of the road from Mojave to L.A. Due west, the southern rump of the Coastal Range Mountains is visible. Due east, the Mojave Desert disappears into the haze. Very little happens in Laney. After that Monday in the middle of June thirteen years ago, even less ever did.

There was one industry in Laney. One factory. A big spread of a place. Weathered metal siding, built in the sixties. Office accommodations at the north end, in the shade. The first floor was low grade. Clerical functions took place there. Billing and accounting and telephone calling. The second story was high grade. Managers. The corner office on the right used to be the personnel manager's place. Now it was the human resources manager's place. Same guy, new title on his door.

Outside that door in the long second-floor corridor was a line of chairs. The human resources manager's secretary had rustled them up and placed them there that Monday morning. The line of chairs was occupied by a line of men and women. They were silent. Every five minutes the person at the head of the line would be called into the office. The rest of them would shuffle up one place. They didn't speak. They didn't need to. They knew what was happening.

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