After interviewing dozens of literary agents over the years, I thought I’d heard it all.
But my recent interview with Shelly Romero (a former editor turned literary agent) revealed some truths about how to write a thriller that actually gets published in today’s difficult market.
Shelly Romero brings a unique perspective to thriller writing advice.
With eight years of editorial experience at major publishing houses, she now has an agent’s view of the industry.
So now that she’s seen the industry from both sides, what she shared about manuscript standards might change everything you think you know about breaking into traditional publishing.
Here’s what every thriller writer needs to understand about the current publishing landscape, straight from someone who’s lived it.
If you missed that episode, you can check it out HERE
The Editorial Reality: Your Manuscript Must Be Flawless
The biggest misconception I hear among thriller writers is the belief that agents will take a chance on “good enough” manuscripts.
Here’s what Shelly has to say about that:
‘’I’m not gonna be someone who just is like, ‘oh yeah, your book. Yeah. Good. Sounds good,'” Romero explained. “Because I know what to expect from an in-house editor and a lot of the time is that we are needing to have books be at this really polished stage in order to have a fighting chance.’’
The days of agents nurturing rough diamonds are over.
When learning how to write a thriller, you have to understand that your manuscript will compete against thousands of others.
And only the most polished survive.
What sets Shelly apart in the agenting world is her editorial background.
She sends eight-page edit letters and provides developmental editing before submissions.
As she puts it, “that’s a hard process” but essential for success. This level of editorial involvement isn’t standard across all agents, which means if you’re not working with someone like Shelly, you need to reach that polish level independently.
Yikes!
Voice Over Everything (And Most Writers Get This Wrong)
Here’s where my conversation with Shelly Romero revealed the most important thriller writing insight:
Voice matters more than perfect plotting.
When I suggested voice was the primary factor that moves submissions forward.
You’re right. Like that is definitely something that’s going to give me like a little bit of pause and be like, oh wait, maybe, maybe there is something here.
For me, this revelation changes how I suggest writers write their thrillers.
Most writers obsess over plot mechanics.
We have to, right?
The twists, red herrings, and pacing beats.
They’re hallmarks of these genres.
But agents like Shelly are looking for that authentic voice that makes readers want to spend time with your characters.
I want that voice to feel authentic. You can always tell by word choice, by vocabulary or verbiage or slang whether it feels like what that kid would sound like.
For writers, this means your protagonist’s voice needs to be so compelling that an agent will forgive plot weaknesses.
Voice demonstrates natural storytelling ability and creates the reader connection that editors are looking for.
Plot problems can be fixed in revision, but authentic voice cannot be taught.
The Query Mistakes You’re Probably Making
Shelly Romero’s insights about query red flags reveal why so many thriller writers struggle with submissions.
Her biggest frustration?
Writers who clearly haven’t done their research.
If you’re reading kind of that thriller crime mystery genre, and you’re giving me comps like, oh, this comps to like Agatha Christie or Dean Koontz, but like also fans of like… readers in their 14 and up, and I’m like, wait a minute. Which, which?
The problem isn’t just poor comps.
It’s what those comps reveal about your understanding of the current market.
When thriller writers use only classic authors as comparisons, they signal they’re not reading contemporary publications in their genre.
That kind of gives me a bit of a hint of you’re not quite doing that research. You’re not quite thinking of what is around and like using… I’m gonna need to see that you also have been reading something from the last three to five years.
She’s got a point.
If you don’t understand what’s being published now in thriller fiction, how can you write something that fits the current market?
Finding Comps
Go to your local bookstore or browse online retailers.
Find five thriller novels published within the last two years that target your same audience.
Read them with analytical eyes, focusing on:
- How do these authors establish voice in the opening pages?
- What contemporary references and/or language patterns do they use?
- How do they balance character development with plot momentum?
- What themes and social issues are current thriller writers exploring?
Revise your opening chapter with these lessons in mind.
Don’t copy these authors. Instead, learn from their work.
Your Next Steps
Based on my conversation with Shelly Romero, here’s the most actionable writing tips I can offer thriller writers:
- Make your story as publish-ready as possible
- Nail your character voice
- Find quality comps that show you know your story and the current market trends
The publishing industry isn’t getting easier for thriller writers, but conversations like this one with Shelly Romero provide the roadmap for success.
The question isn’t whether you can write a good thriller.
It’s whether you can write a thriller that meets today’s publishing requirements. After talking with Shelly Romero, I believe the writers who embrace these standards will be the ones with the book deals in their future.
