Protagonist Scrolls Intensely Through Microfilm.
NEW HAVEN, CT—A headstrong young protagonist in way over her head visited the microfilm room of the New Haven Public Library Tuesday night in order to delve deeper into a riveting plotline that could put her career—and maybe even her life—on the line.
According to sources, the plucky and determined woman worked late into the evening, whirring methodically through a reel of archived newspapers in search of information that could unlock a secret better left untouched.
No — I’m thinking of that movie where the hero stares hard at the computer screen while typing fast.
Sources said that as the fictional reporter realized she was likely embroiled in a dangerous game of greed and corruption with public figures capable of anything, she was interrupted by a sudden, startling tap on her shoulder, which ended up being nothing more than the night librarian.
“We’re closing in five minutes, miss,” the peripheral character said.
Yes, I’m definitely thinking of another movie, the one where the startling tap on the shoulder comes from the protagonist’s lab research partner, who soon afterward is watched from behind a pillar by a shadowy, heavy-breathing character.
The journalist was later seen walking through the library’s parking lot frantically talking on her cell phone to her editor, a gruff but ultimately adoring mentor who had agreed to let her continue her investigation only upon realizing she was too stubborn to take no for an answer anyway.
At press time, a blinding set of headlights from across the lot had suddenly burst into view.
When I first tried to write a thriller — many, many, many years ago, back in the era of grunge — I spiced up a long, quiet, melancholy scene by having the main characters’ conversation interrupted by a blinding set of headlights. The characters dashed across the road to safety, and then the would-be thriller screeched to a halt, because I had no idea who was behind the headlights or why they were after anybody. The headlights were the blinding sign that I had no plot.
That’s when I taught myself to plan novels so they have a beginning, a middle, and an end. And as few blinding headlights — and other cliches — as possible.