Ever sit down with a book thinking you’ll read just one chapter before bed… and suddenly it’s 2:03 a.m.? Mark Posey confesses why those “just one more chapter” moments are sometimes a little bit deliberate—and why writers secretly love hearing about them.
Writers love to add more scenes, more twists, more explosions… but half the time the real problem is simpler: we don’t actually know what the story is about.
Once you can answer three deceptively basic questions — What’s it about? What will the protagonist learn? How will they change? — the whole book snaps into focus. Plot becomes purposeful. Scenes stop wandering. And suddenly you’re not writing 300 pages of Stuff That Happens™ — you’re writing a story with meaning.
Big explosions are fun, but they’re not what makes a thriller truly terrifying. The real fear hides in the silence—the still moments when nothing’s happening, yet you know something’s about to. From No Country for Old Men to Saving Grace, Mark Posey explores why quiet scenes hit harder than gunfire—and why the pause before the door opens is the scariest sound of all.
Disappearing isn’t about vanishing—it’s about confidence. From Angelina Jolie’s cool-headed makeover in Salt to Natasha Romanoff’s mall-date sleight of hand, the best spies don’t run; they blend. In fiction, that kind of composure is thrilling to watch—and in Fall From Grace, Thomas Billings is about to need every trick in the book.
Why do authors put their characters through hell? Because without conflict, there’s no story. In Confessions of a Sadistic Author, Mark explains why Jacobine, Billings, and the rest of his cast are constantly battered and bruised — and why their scars make them unforgettable.
One of the perks of writing thrillers is getting to torture characters. Jacobine makes me work harder—she’s deadly, clever, and never blinks. Billings, though, is convinced he’s in control…until the floor drops. Who’s more fun to torment: the nun with a gun, or the cocky spook?
