"So I work hard to present the human side of my characters while not neglecting the plot"
About this Quote
Genre fiction lives or dies on a double promise: keep the pages turning, and make the turning matter. Jeffery Deaver’s line is basically a craft credo for the thriller writer who knows he’s being watched by two skeptical juries. One jury is impatient: they want plot as propulsion, the clean machinery of clues, reversals, and escalating stakes. The other jury is suspicious: they’ve been trained to see “plotty” books as cold contraptions, entertainment that can feel disposable the moment the twist lands. Deaver is signaling that he intends to satisfy both without apologizing for either.
“Work hard” is doing real rhetorical work here. It’s a modest phrase that quietly admits the tension isn’t theoretical; it’s labor. “Present the human side” suggests character isn’t something you simply insert as backstory garnish. It’s an act of staging: choosing what vulnerability, contradiction, or private motive gets shown in the tight confines of a fast-moving narrative. He’s not claiming to write psychological case studies; he’s claiming to make people readable under pressure, when plot tends to reduce them to chess pieces.
Then comes the subtle hedge: “while not neglecting the plot.” He treats plot as a responsibility, not an indulgence. That’s the subtextual flex: Deaver refuses the false hierarchy where “character-driven” equals serious and “plot-driven” equals shallow. In the context of modern crime and thriller writing, it’s also a commercial truth: readers buy for the hook, but they return for the humans who bleed inside the mechanism.
“Work hard” is doing real rhetorical work here. It’s a modest phrase that quietly admits the tension isn’t theoretical; it’s labor. “Present the human side” suggests character isn’t something you simply insert as backstory garnish. It’s an act of staging: choosing what vulnerability, contradiction, or private motive gets shown in the tight confines of a fast-moving narrative. He’s not claiming to write psychological case studies; he’s claiming to make people readable under pressure, when plot tends to reduce them to chess pieces.
Then comes the subtle hedge: “while not neglecting the plot.” He treats plot as a responsibility, not an indulgence. That’s the subtextual flex: Deaver refuses the false hierarchy where “character-driven” equals serious and “plot-driven” equals shallow. In the context of modern crime and thriller writing, it’s also a commercial truth: readers buy for the hook, but they return for the humans who bleed inside the mechanism.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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