For what it's worth here's a definition I was given by the
International Thriller Writers, although I think Jack's on-liner
basically sums all this up:
Thrillers provide a rich literary feast — the legal thriller, the spy
thriller, the action-adventure thriller, the medical thriller, the
police thriller, the romantic thriller, the historical thriller, the
political thriller, the religious thriller, the high-tech thriller,
the supernatural thriller.
The list goes on and on, with new variations being invented
constantly. This openness to creation and expansion is one of the
field's characteristics.
Even so, what most readers think of first is the "thrill" in
"thriller." And they're right. What gives thrillers common ground is
the intensity of the emotions they create, particularly those of
apprehension and exhilaration, of excitement and breathlessness. By
definition, if a thriller does not thrill, it is not doing its job.
Thrillers are known for their pace, the force with which they
hurtle the reader along. They are an obstacle race in which an
objective is achieved at heroic cost. The objective can be personal
(trying to save a spouse or a long-lost relative) or global (trying to
avert a world war) and often is both.
Perhaps there is a time limit, perhaps not. Sometimes
thrillers begin with intrigue, building 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 – this needs emphasizing – thriller authors use
scrupulous research and accurate details to create environments in
which meaningful characters teach us about our world. When a reader
finishes, he or she feels not only emotionally satisfied but is also
better informed — and hungry for the next riveting tale.
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