Each genre goes with any other sub-genre but the best fitted sub-genres for thrillers are along the lines of 'psychological thrillers' or 'horror thrillers'. This is because with these sub-genre's the thriller-esq is kept intact and the story can be upheld.
There are certain 'ingredients' that make a thriller. This are certain theories that have been theorised by authors. These particular 'ingredients' are found in each and every thriller and they are needed in order to keep the thriller a 'thriller'.
These are:
- Transformed City - This was thought up by a British author: G.K. Chesterton. He basically said that while the characters were in ordinary areas, being in them made them 'extra'ordinary due to the fact that they are there. These areas tended to be modern, urban environments. He explains how this is like the "Poetry of Modern Life".
- Heroic Romance - This theory was brought up by Northrop Frye. This explains that the main hero is the particular stories are ordinary people 'just like us' who are put into situations which they are forced to proceed. It is also explained that for these particular hero's the laws of nature are slightly suspended, otherwise the realism will eventually kill them off for over-realism.
- The Exotic - This was brought to attention by John G. Cawelti explaining that for there to be a good thriller, there needs to be something out of place but still relevance to the plot. An object, place, person or artifact that is of alien origin: misplaced in an unfitting world; Introduced into the unfamiliar. He also explains that this helps turn the moder city into an enchanted and a place of mystery.
- Mazes and Labyrinths - Theorised by W.H. Matthews, explains that in order to have a full thriller there needs to be some sort of maze in which one/the hero needs to go through in order to reach their goal, showing they are in a predicament. This can be used in a literal sense or as a metaphor for the narrative. This also origins from Greek mythology.
- Partial Vision - By Pascal Bonitzer. This is a main part of thriller aspects because in order to keep the audience entertained and 'wanting more' the general story will keep something out of complete sight and have 'blind spots' to build suspense. This will be done and either shown towards the end, or not shown at all in order to pull off a mysterious uncertainty in the story. This leads onto the fact that what the audience doesn't see may just be as important as something that's in plain sight.
- Concealment and Protraction - Lars Ole Saurberg shows to the thriller aspects that: Concealment is something that is hidden from the audience in order to keep them guessing. Not entirely unlike 'Partial Vision' but this is what the audience doesn't see completely, not just partially. And Protraction is something that deliberately distracts the audience in order to delay suspense and possibly to fill time.
- The Question-Answer Model - Noel Carroll proved that this is also an important aspect of thrillers. It shows that the audience is presented with questions throughout the story and are then given suspense while leading upto the answer. Having a 'sure thing' sort of story won't provide any sort of suspense or excitment, whereas with unanswered questions throughout the plot of a thriller, the audience will want to see more. Also, a morally right outcome will increase involvement.
