| As simple as the initial questions are what make | | | | is yes and they can be combined perfectly. In fact, |
| thriller fiction become more attractive to readers and | | | | humour is a close relation to fear and a common |
| how to make thriller really thrilling? What is | | | | reaction. |
| mechanism of thriller fiction writing and how does it | | | | Emotional interference |
| work? Which factor of common element that I | | | | Emotional interference refers to the circumstances |
| should pick up for my writing? And end up with a | | | | that weaken human feeling of security and this is the |
| kind of question like how to write a successful thriller | | | | main touch base of writing thriller fiction. By trying to |
| fiction? | | | | write about something emerge suddenly without |
| The answer is really rely on human psychology and | | | | notice, which make us very reluctant to open the |
| biology, which about how people think and how they | | | | door, or after we have seen a scene of gush flying |
| behave as well as mechanism on how their brains | | | | around the room and then after we see a man on |
| work. | | | | the street wielding the knife, then we start to feel |
| Why thriller stories scare us? | | | | sacred, this is the way of our feeling of security has |
| I have to say that not all of thriller make us scared, | | | | been weakened. |
| this is just because it is really depend on how the | | | | Find out where the scare come from |
| stories were written, if they were written badly, | | | | Firstly, you have to define what really scare is, what |
| they may not be horrified enough. The word "scare" | | | | we call scare. Something like disembowelled child and |
| refers to something that make us feel of fright or | | | | the paedophile are, even what the creep is doing, but |
| fear or may lead to the feeling of death to people. | | | | that's not the scare, or the horror. Instead what we |
| However, the reason why not all thriller stories make | | | | call real scare is what can interfere inside you, what |
| us scared is something also depends on the objective | | | | can make your emotion change into feeling of |
| of the writer, which he/she might want something | | | | unsecured. Effective thriller writer have to access to |
| else from readers, not just to make people horrified. | | | | readers heart to find out where is the readers secret |
| In fact, it is quite simple to understand that horrified | | | | corner of fear. |
| is a fundamental manner of human, which is what | | | | Have you ever wondered that why some of thriller |
| exactly about what can disturb or interfere our | | | | books can keep readers staying to read without |
| security and this is the aim of writing of thriller fiction. | | | | going anywhere? This is just because the writer can |
| However, there are some argument existing around, | | | | find that secrets as well as th writer also provide |
| which is about is it only necessary for thriller just to | | | | good books invoke images, the product of the |
| scare people? Are there any other purposes of | | | | reader's imagination and that imagination is the worm |
| writing thriller? And what about humour, Is it possible | | | | hole we use to take our reader's comfortable |
| to combine humour and horror together. The answer | | | | emotional world and to give it a prod. |