Here’s something that’ll blow your mind: most mystery series keep their characters frozen in time while the world changes around them.
But Stephen Spotswood?
He threw that playbook out the window.
When I sat down with Spotswood to talk about the Pentecost Parker series (including his latest, “Dead in the Frame”), I expected to discuss plot twists and red herrings.
Instead, I got a masterclass in why the best thriller series aren’t just about solving cases.
They’re about characters who refuse to stay the same.
If you’re wrestling with your first manuscript or wondering whether your story has series potential, Spotswood’s approach will completely change how you think about long-term storytelling.
Click HERE or the image below to listen to the episode!
Why Genre Rules Are Made to Be Broken
Let’s talk about Spotswood’s secret weapon: he doesn’t play by genre rules.
At all.
The Pentecost Parker series is a beautiful mess of contradictions.
It’s a golden age detective fiction meets hard-boiled crime, all wrapped up in 1940s New York with a queer protagonist navigating a world that wasn’t exactly welcoming.
But here’s where it gets interesting.
Spotswood didn’t stop there. He layered in noir elements that emerged naturally from his character’s circumstances.
“The noir just happens,” he said. “Because the world just gets more difficult and darker for her in many ways.”
This isn’t genre-blending for the sake of being different—it’s thoughtful fusion that creates something genuinely fresh.
And honestly?
Some of the most innovative work happens when writers stop trying to fit into neat little boxes and start asking…
What if I combined this with that?
The Long Game: Why Static Characters Kill Series
Here’s where most series writers get it wrong.
They create compelling characters for book one, then just… leave them there.
Forever.
Spotswood saw this trap coming from miles away. And he avoided it like the expert writer he is.
He wanted his characters to experience progress. He wanted them to grow and change.
This isn’t just good storytelling philosophy, it’s smart business.
By giving detective Lillian Pentecost multiple sclerosis, Spotswood built in a ticking clock. Suddenly, every case matters more because time is literally running out.
Think about your own series concept.
Are you planning for growth, or are you accidentally creating literary mannequins?
Because thriller, mystery, suspense, and crime fiction readers can tell the difference. They’re clever and experienced readers.
They’ll get bored faster than you think.
The Two-Draft Strategy That Actually Works
Want to know something refreshing? Spotswood doesn’t try to nail everything in his first draft.
This was one of my favorite insights from talking to Stephen Spotswood.
Revolutionary, right?
His approach is beautifully practical: “from a pure nuts and bolts craft perspective the first draft, I try and get the plot working. The general bones of things are, are elegantly shaped. Or at least have the, the potential for elegance.”
Plot first, emotions second. It’s the kind of methodical approach that separates working writers from aspiring ones.
His goal for early drafts?
Create something with “the potential for elegance.”
Not perfection. Not brilliance. Just potential.
The magic happens in revision, when he digs deep into how events actually change his characters.
This can be difficult. I know it is for me. It’s something I have to work on: to let something be imperfect the first time around.
This two-phase approach could change how you tackle revisions. Instead of trying to fix everything at once (and driving yourself crazy), focus on one element at a time.
Want to listen to the episode with Stephen?
The Make-or-Break Question Every Series Writer Must Answer
Ready for some tough love? Spotswood shared the question that determines whether your series will succeed or die a slow death.
“Do you enjoy these characters enough? Do you honestly love coming back to them and writing them? Because…if everything goes according to plan, you are going to be writing them for however many years…”
Then he added, “The amount of love you have for writing them will, hopefully, directly translate into how much readers will enjoy reading them.”
Boom.
Market trends will shift. Genres will evolve.
But your enthusiasm for your characters? That’s the fuel that’ll carry you through years of writing, revising, and promoting. If you’re already getting tired of them in book one, imagine how you’ll feel by book five.
Your Next Move: The Series Potential Test
Want to know if your thriller or mystery has series potential?
Try this exercise based on Spotswood’s approach:
Create a character evolution roadmap for your protagonist across three hypothetical books.
- What core traits will never change?
- What flaws will they battle repeatedly (but hopefully get better at handling)?
- What external pressures will force them to grow?
Then (and this is crucial) outline a different mystery trope or subgenre for each book.
What twists on familiar territory could you explore?
As Spotswood puts it: “Plan it…can I imagine the next five books?”
You don’t have to stick to that plan religiously, but having a vision prevents you from writing yourself into a corner.
The bottom line? Whether you’re crafting psychological thrillers, cozy mysteries, or genre-blending stories, the principles remain the same…
- Plan for growth
- Embrace genre flexibility
- Make sure you genuinely love spending time with your characters.
Because if you don’t love writing them, why should anyone love reading them?
