Mysteries vs. Thrillers

Most readers love a whodunnit story. A trail of clues to follow and reasoning to understand. These types of stories fall into two major categories: mysteries and thrillers. In both types, something dramatic has occurred—a murder or a bomb threat, for example—and we (the reader) want to understand who did it and why. Often, these two genres are thrown together into the same category—one where something needs to be figured out—but they are really two different animals.

This post examines these genres’ differences, their similarities, and some cases where they may be blended together.

Differences

The Crime

One of the biggest differences between a mystery and thriller is when the big event—the crime, if you will—takes place within the story.

In mysteries, the crime takes place at the beginning, such as a murder or heist, and then the protagonist spends the rest of the book figuring out what happened, why, and of course, who did it. Many great mysteries even start when the detective first arrives at the scene of the crime, such as in many of Michael Connelly’s Harry Bosch series.

Thrillers, however, have the big event at the end of the story, if it even occurs at all. In a thriller, the protagonist learns that something might happen—something big like a bomb going off—and they race through the story to stop it from happening. And they usually do, though there are a few thrillers where the hero is too late. A great example is Tom Clancy’s The Sum of All Fears.

The Hero

Another big difference is with the hero themselves and what kind of person they are.

In mysteries, and particularly classic mysteries from the early greats like Agatha Christie and Sir Arthur Conan Doyle, the hero is a professional if not world-renown detective. They often have an affectation that helps them solve crimes, such as a genius-level intelligence or an eidetic memory that allows them to notice every detail. Some great detectives of both the present and past, in books and on TV, are Sherlock Holmes, Hercule Poirot, Philip Marlowe, Shawn Spencer, and Cordelia Cupp.

In thrillers, though, the hero is often an average Joe, or an “everyman” who is thrust into an unknown element and must adapt, though they may have a specific knowledge base or skill set to help them. Dan Brown’s hero Robert Langdon is an academic—a professor of symbology at a stuffy Ivy League school—who is often thrust into the sinister worlds of secret societies. In Cheryl Fallin’s McLeod and Masters Series, heroine Abby McLeod is a medical doctor thrust into the world of corporate espionage.

In fact, in many thrillers, the hero is often falsely accused of the crime, and they must stay one step ahead of authorities while they race to identify the real culprits. Think North by Northwest, The Fugitive, or Presumed Innocent.

The Narrator

Another difference between mysteries and thrillers is through whom the story is told—the POVs (points of view) provided to the reader.

In mysteries, the story is told almost entirely from the detective’s point of view. The reader follows along as they study the scene, identify and research clues, and track down and interview suspects. There is a lot of time spent inside the protagonist’s head as they think through theories and work to put all the puzzle pieces together.

In thrillers, there may be a much greater back and forth between the hero and the villain. The hero races against time to figure things out, while the villain may actively work against them to send them down false avenues or in wrong directions. In Dan Brown’s classic The DaVinci Code, the reader is there with the shadow group inside the Catholic Church as they make deals and try to frame Richard Langdon of the crime nearly as much as they are with the hero trying to exonerate himself.

What the Reader Knows

Following closely with differences in the narrator, there is also a difference between mysteries and thrillers in how much the reader knows.

In mysteries, the reader is generally in the dark as much as the detective. So, as the detective figures things out, so does the reader. Master mystery authors, such as Agatha Christie, will give all the clues to the reader, sometimes even pausing in the middle of the story to specifically tell the reader that they, too, have all the information necessary to solve the crime. Other, less talented authors, may hold back clues from the leader though the detective gets the information. (I personally find this manufactured tension both obvious and distracting.)

In thrillers, the reader often knows exactly who the villain is and even what they’re trying to achieve. A master thriller author will even make the villain’s reasoning seem legitimate and generate empathy if not sympathy of their plight. This is an aspect that mysteries can’t duplicate.

Pacing and Tone

The pacing and tone of a story also differ between mysteries and thrillers.

The pacing of mysteries is often slow and methodical. It is measured as the detective painstakingly interviews suspects and chases down the details of the crime, confirming alibis, etc. There may be a deadline, like before the weekend is over and everyone leaves or before the snow clears, but there is generally plenty of time for the crime to be solved.

This slower approach allows for the story to be dramatic, such as with any of Agatha Christie’s books or Sir Arthur Conan Doyle’s Sherlock Holmes books. However, the tone may also be lighter, as in a cozy mystery, or even humorous as in The Residence or Psych. Spencer Quinn’s Chet and Bernie Mysteries presents the case from a dog’s perspective, though admittedly, Scooby Doo has been doing that for years!

In thrillers, the pacing is generally much faster and more frantic. These stories are the quintessential “races against time” to stop an explosion or thwart a terrorist attack. As a result, thrillers are like action movies, emphasizing action and danger as the hero rushes to meet the deadline. There is a lot of suspense in a thriller as the hero faces close calls and narrow escapes before their ultimate showdown with the villains.

Similarities

Red Herrings

In any good whodunnit, it is important to not make things too easy for the protagonist. False clues, bad information, and red herrings all can add complexity to an investigation. A good twist in either story also adds a layer of suspense and reader interest.

Stakes

Stakes are high in either type of story, whether a detective is trying to get a murderer off the street or an average Joe thrown into a situation is racing to stop a bomb. In either type of story, lives are generally in danger.

Worthy Villains

Villains need to be worthy adversaries of the heroes. In mysteries, they need to be just as smart and meticulous as the detective, utilizing their own (evil) genius to thwart the authorities. Think Sherlock Holmes’ adversary Professor Moriarty. In thrillers, the villain must be just as driven and committed to achieving their goal as the everyman hero is to stop it.

Blended Together

Though most whodunnits will fall into either the mystery or thriller genre, there are a few stories that artfully blend the two concepts together.

Consider a murder mystery where the killer is still on the loose and may strike again, and the detective narrowly escapes becoming a victim themselves. Though still thoughtfully solving the crime, they may be racing against time to stop the next murder.

Or coming from the opposite side, consider a thriller where the hero is rushing to stop a bomb, but they also find clues to a larger conspiracy that needs to be solved.

Conclusion

Though many consider mysteries and thrillers the same types of stories, there are more differences than similarities between them, and each is unique in its own way. Each type of story offers a different reading experience. Mysteries are measured and thoughtful while thrillers are frantic and suspenseful.

Either way, a good whodunnit can keep you on the edge of your reading chair all night.

Which do you prefer, mysteries or thrillers? Let me know, along with some of your favorites, in the comments.