How to write Suspense & Thriller | Souvik Chakraborty | Skillshare

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How to write Suspense & Thriller

teacher avatar Souvik Chakraborty

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (1h 2m)
    • 1. SUSPENSE THRILLER TRAILER

      3:17
    • 2. BUILDING THE BASE

      10:56
    • 3. SELLING THE PUZZLE

      8:29
    • 4. SETTING ENVIRONMENT

      8:16
    • 5. THE PAYOFFS

      8:38
    • 6. THE MIDDLE GROUND

      10:14
    • 7. SECRET CODES

      12:04
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About This Class

If you are wanting some inspiration and light training on writing quality suspense and thriller genre scripts, books, or any fictionalized format content. This short series of videos will help you learn a ton of things through a fun and interesting video. These are not boring lectures and I am not a self-proclaimed guru sermonizing some eternal truth. Many of what I learned are devised out of various processes, practices, and often mistakes or blunders. I am sure this will give you the right dose of entertainment and information and would probably help you improve upon your craft. Good luck!

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Transcripts

1. SUSPENSE THRILLER TRAILER: Ankles them to think more by hinting at all possible endings and then shutting it off completely. You hint that the husband will make his wife come into suicide. So at the time of the crisis, he becomes a very bad person. But then he transforms. He transformed sooner than expected. He gets out of his state of indecision and asks his wife to just fake, fake your death. And I'll cover it up. This way. He can save is reputation, his business and his wife also from the news. She agrees. So the Batman now becomes a successful manipulator. But something terrible happens after that. Something that even he did not expect. You wakes up the next morning and finds his wife dead in the kitchen. Suddenly Hanoverian while there he thought, but we are not actors, he said, while making the two costs of coffee for him and his wife. Now, something uncanny happens. His phone beeps and there is a message from an unknown number. It says, I know you drop some monks and immediately runs to his wife. What does he see? Is this? Why is living? Or is she dead? Or is she pretending to be there? So what is the simplest way to create tension and conflict in a scenario? The character movement. It can be external or internal, physical or emotional, and even practical or spiritual. The list goes on. Imagine a killer is on the loose. She's hunting for the noble and the most honest kinda of people in the city. Your character has never cheated on his dolphins. Always pays taxes, donate, so the needy and always likes shares and so scrapes on people's content after every video you are just so he knows she is going to come for him. It is evident. So he's clearly stuck. How does he escaped? What does he do? Hello, and welcome to my online class. In this lecture, I'm going to teach you how to rate suspense and trillionth. 2. BUILDING THE BASE: Hello and welcome to my online class. In this lecture, I'm going to teach you how to write suspense, thriller. So before we even start, I wanted to do one thing, don't worry. I'm not asking you to like and subscribe a social media accounts and stuff. Just, just leave all that jazz other side. All I want you to do right now is focus like every first page of a short story or novel or screenplay. This particular white page is in finite. That means it is limitless when it comes to posing ladies, it is, it is waiting to be a blockbuster. It is waiting to be a bestseller. But some writers, they will be just too skeptical to even start understand this that when facing the light peach itself becomes your night man. You can't be possibly dreaming of your stories, can you? All you've got to do is center your mind. That black dot in the center is the bull's eye. Small effect, just like the very job of your story. Imagine it growing in the infinite ocean of your thoughts. Center everything, do it. Center, you're taught, and even know when it is in your control. Completely. Let all things submit and surrendered chapters you. Because you are becoming the power of this trend between your characters need to perform. You are in control of the plot and the story arcs because it is only you who have seen it. All you where you are the omnipresent. Welcome to writing. Chapter one, building the base. To understand how to write suspense and trailer unit to first understand what exactly this intense writing axillary requires a very distinctive understanding of your craft. What are the easiest approaches would be outwitting your audience at all stages of your narrative. How do you do that? One, right, the ending first. So when you plan a story, what happens? Get excited, right? So you start writing and will make up the rest of it and remain excited to look at. Then what I've got up the next morning and think your head in the pillow, trying to forget that you wrote something as ridiculous as that. Why does this happen? So when you plan and story issued, write an outline. And when you write an outline, The secret is, you should think of an ending that will steve it you read or you audience for a long time. Think of the idea like the statement. Find the reason why you need to tell the story to the wall and you will find them. But ironically, this is not where you start writing. I think writers who settled for the first ending that comes to their mind is in fact doing a great injustice to the readings. So start writing with an ending, but don't be afraid to do the hard work. Be ready to tweak changed Ross and, and work till the time. But endings find your story. Remember, ureters have been to multiple suspense and thriller stories before coming to your content. So you got to surprise the sacred too, Depending upon foundations. So now you know what you're writing about, you know how your story ends. So how do you proceed to build a structure? Let's consolidate for your floss to ticket characters to go and basically makes sense of whatever your story is about. We'll begin by studying the three different approaches to the three-act structure. One of the most basic approaches to writing will be the three-act structure. It follows a very linear and very simple. We do the story. Take your story and divided into three parts. The beginning is where you introduce a t, plot and the characters. And then you basically let them interplay amongst each section. The rising action is where conflicts that does not do a climax. And then in the third section, the climax is followed by a closure resolution. If you had seen any commercially successful movie or novel, The structure is probably one of the reasons why, for example, I am on the last level. What matters the most in case of failures is this act of building up to your climax. There is the most important part. The build-up to your panels based structure is good, commercially viable and the province formula so many, many trillions. The five act structure, this is best understood by reading the classic Shakespeare in clades. This kind of trade window was that gives you more room to dramatize and elaborate on your team's. The introduction is that of the setting, primarily on the background of the story, to the characters, the writer gives away some vital information to hook the audience right into the story. For example. In method, right at, at one, we are introduced to the three riches, their processes, and magnet and vanco. This forms the cracks of the trends that are to be presented later in the class. The audience is next introduced to the problems that this character is going to be. Create tensions and conflicts. For example, the Macbeth kill the kingdom. The consonants in the third act lead to the most crucial part of the story and outcome. But for that to happen, the plot thickens further, the action intensifies. Something is about to happen. Things get edgy, and it does indeed happen. The mother happens. But a downfall without realization is a waste cards. Through my vet, we realize how power corrupts and maybe too much ambition is not good. So the five act structure is already formula for creating the mystery, building the suspense, and giving the trills all in one package. For extraction. One of the most interesting ways of dealing with complex came for your novel could be true for extractor. In the very first section of the structure, the writer introduces us to the underlying schemes of the characters, the various settings and the inciting incidents that would lead to the following chapters. We already hooked as an audience wanting to solve the puzzles that lie ahead. By the time the story reaches its middle point, the main characters are already in motion. They have readonly acted upon something. Jack becomes a crucial point where a subplot emerges. The anti-hero bounces back or some plans do not work out the way they should have. A series of twists and unexpected turns take place. And the final chapter is when it is time for the resurrection. It is time for a hero to shine again, takes control of the situation, it returns to action and results. All prices are promising to LA, all these posts also sees of events that no leader can credit. And the four extra lecture is one of the post-test designs to test exercise one. So now let's start writing. Step one. Take out, atleast about 30 minutes of your day and think of the most thrilling story. You know, it could be a movie novel or even a short story. Step to play it back in your head throughout the day. Analyze with what you have learned so far. Step 3, rewrite that story. In addition, structure of narrative. There is only one rule. Build the suspense and make it really. 3. SELLING THE PUZZLE: Hello and welcome to my online class. In this lecture, I'm going to teach you how to rate suspense, thriller. Chapter 2, selling the positive. 601, keep no secrets. Remember your audience. Always remember to make your readers feel intelligent. They should feel like they are solving a great mystery alongside your protagonist or your plot point is they should feel like they are winning at all times. Even if they are not. In order to achieve this, provide them with as much information as you can. For example, give them the time of the model, the location, and even the weapon with the fingerprints. And then tell them it was a speech side. If you're a hero cannot prove that his wife will be hanged. He will be losing in social status is business will run it losses. What we'll do here. Now, you've got to give your readers guessing. Let them even be given the perception of intelligence and intelligence which should be clearly outraged in the next 60 to open secrets. At this game, of course, and guessing your readers will come up multiple conclusions and deductions of the story. Ankles them to think more by hinting at all possible endings and then shutting it off completely. For example, you hint that the husband will make his wife come into suicide. So at the time of the crisis, he becomes a very bad person. But then he transforms. He transformed sooner than expected. He gets out of his state of indecision and asks his wife to just fake your death, and I'll cover it up. This way. He can save his reputation, his business, and his wife also from the news. He tries to convince it throughout the day and even after making love to his wife in the night, he talks or into that. So what happens next? Well, she agrees. So the Batman now becomes a successful manipulator. But something terrible happens after that. Something that even he did not expect. You wakes up the next morning and finds his wife dead in the kitchen. Suddenly Hanoverian while they thought. But we are not actors, he said, while making the two cost of coffee for him and his wife. Now, something uncanny happens. His phone beeps and there is a message from an unknown number. It says, I know he drove some monks and immediately runs to his wife. What does he see? Is, is wise living? Or is she dead? Or is she pretending to be there? Secret three. Dark secrets? Digging up dramatic irony is key to creating good suspense thrillers. Give you direct access to the darkest secrets of the plot without letting your protagonist know about it. And Sophocles, Oedipus Rex, the audience, already knows that Oedipus is actually killed his father and married his mother. But the audience still sticks around to witness the, I didn't mean to unfold in the climax because Oedipus has no clue of the truth, yet, dramatic ironies can be used creatively in modern writing. In the story of this husband and wife, the reader can, for example, analyze the falling. First, a murder happened. Then a freak suicide is planned to cover it up. But when the time comes for the plan to be executed, it eventually leads to another mother. The cyclic nature of this cranes create an unmistakable irony. But why did his wife commit the crime in the first place? Perhaps there is another layer of irony in it too. And this is what intrigues the reader. This is how you engage them. This is how you make them feel intelligent, especially when you're writing a long format content. This is where you read the backstories and the dark, deep secrets of their pasts. What did the man who did her husband take care of the situation? What are the possible solutions? Let the characters trial in the talents of no light or reason. I didn't use show that God is Exercise 2. Okay, so it's time to write now, I always love to keep it simple. And this time, all I'm going to ask you to do is complete the story discussed here. One rule, just keep it under 1000 words. 4. SETTING ENVIRONMENT: Hello and welcome to last. In this lecture, I'm going to teach you how to rate suspense, thriller. Chapter 3, setting, environment. Secret one, geo-locate. In order to make your story thrilling for the audience, you need to have characters which live and breathe in their environment they belong to. Will talk about characterization in a bit. But right now let us focus on building the setting for your novel. Whether you're writing a speculative fiction or a war crime drama unit, to know the coordinates of your setting by high unit to communicate to your audience a sense of time and the meaning of an error or detailed explanation of the geography with this story. For example, how would you imagine the skies and the buildings in the city where humans are traded for their services by the animals who live in. Can this case, your locations could be indicative of a time post revolution, a revolution where the wild animals had overthrown the so-called civilized human means. And they have basically taken over all the buildings. Remember to give a detailed picture so that the reader's mind can read about in the city and perhaps find themselves trapped like your protagonist. 600 to arouse atmosphere. It is a fact that we associate our past memories with the boundless beauty of nature. Always. So it is continuing natural to include a little bit of it in our stories. As writers, our job is to be remembered and loved CTO or it's long after we're gone and emotions help us in doing that very easy. It is a great feeling as a writer. Someone remembers you for the emotional trips you took them to. If you can play the calls of your reader's emotion, they will never put you down. But do not show an original affinity to just use this trig for the sake of a cheap gimmick. Not all the horror stories happened in it in the dark basement. What are the Madison of your story happens in broad daylight? What if there is no rain and thunder the time of your climax? Basically use a MOSFET to your strength rather than pushing your readers. Are we with overdone cliches? The secret three, make a million. Understand the political statement behind your material. Is there a sociopolitical team running under your text? Bring it up in the environment where they interact. If you're weaving a two level between a king and a beggar, bring out the nuances in the way they behave. What are the things they reacted? Laughter, sorrow, and anger. An important mention over here should be the case of Frankenstein by Mary Shelley, which was published in 1818. It is interesting how Mary had actually fleshed out our random concept around into a cult classic. The Age of Renaissance saw the dawn of weird experiments and other scientific quests. Many research papers are proof of these concepts. The study of Calvinism was apparently part of such testaments. And this is what married picked up. However unbelievable it sounds they were actually medical practitioners who tried to bring the dead back to life in public gatherings. They tried doing it through a process called Calvinism, which basically meant passing an electric charge to jumpstart a dead muscle of the human body. The amount of subtext and layering that people found in Mary story has reflected in that countless adaptations and retailing or centuries. So look around, find new material from your surroundings. There might be a story waiting to be told. Just to reiterate, every single secret in this chapter applies to most stories, but in case of thrillers, it is of utmost importance. Remember, once the reader suspects your characters, they suspect the authenticity of your story itself. Thus, the element or suspense does not hold and the subsequent trills do not reach its audience. So always handle the setting with utmost care. Exercise 3. Did you ever have a tough time believing affection to be false? What was so authentic about the setting? Read, analyze, and write. 5. THE PAYOFFS: Hello and welcome to my own names. In this lecture, I'm going to teach you how to rate suspense and treatment. Chapter floor below Tikrit 1, third world war feeling. Nearly all mystery novels follow that element of an impending doom. There is something that is coming and for that, the protectionist is rising to action. For example, if the detective does not catch the criminal, nobody can stop the next world war from happening. Perhaps the criminal has the nuclear proteins standard in its DNA. If you cannot hold together this essence of mystery, it becomes difficult to string the dots of all the events that take place in your novel. So use your story to tell your audiences that at the heart of the plot lies a crisis, a big warning sign. Secret to stuck feeling. While we were discussing the AC structures we had mentioned about the important of conflicts. So what is the simplest way to create tension and conflict in a scenario? The character movement. It can be external or internal, physical or emotional, and even practical or spiritual. The list goes on. You just make your characters will crap. For example. Imagine a killer is on the moods. She is hunting for the noble and the most honest kinds of people in the city. Your character has never cheated on his dolphins. Always pays taxes, don't have sort of an ED and always likes shares and so scrapes on people's content after heavy video you're watching. So he knows she is going to come for him. It is evident. So here's clearly stock. How does he escaped? What does he do? He can in fact unsubscribe and delete all the good Collins he had ever posted on social media. But whatever the millions who had donated already, it does not even know how many he had helped in his leg. The Ableton solve them, begs him to cheat on it. We'll do hope good. She argues. She does not want to lose him after. But if he does this, it also becomes an act of goodness. So as you can see, there are no options. It is kind of a no return for in the lesson over here is you create the problem and make your readers think of the solution. In the next bed, give you solutions. But then underlying the loopholes. Read them the fine print of the conditions that apply. In this way, you can create more problems within the existing problems. Your readers Muslim constant agony and wondering now on what happens next. What does he do? What does he do? Complete the story. Secret three, staying emotionally. If you're writing a trailer, your reader needs to have an emotional connect somewhere in the characters. Especially if you have a protagonist bring into the fore and making the one that the readers would not want to see died. Elevate him to a pedestal from which he is infallible. And then in the fourth tax on there, he fails. He falls, and he hurts himself to humans. So your readers might have gone through the same audience in real life that the protagonist has been going through in the story. But unlike in real life, they want to break free like a hero, we're doing the hind leg. That is the expectation. So what do you wanna do? You turn the table. You reintroduce the characters and as fate would have it, your central character looks like an anti-hero. Now is the most crucial part. You read those, do not want them to do the criminal act. They do not want him to solo. Where is the esteem of a hero they once revered? Stop him. And you pile up the sheets in his character and bring his fetal design students. So gradually Diego stiff, hardening the heart and the emotions and suddenly they want this to be overlap. Let him die. The command you. So you see, characterization is pointless without the element of emotions attached to it. Your characters are as good as the emotions they evoke in your readers. If your trailer does not have any emotional wave to it, you will not be able to hold your readers with just the jump scares. 6. THE MIDDLE GROUND: Hey, I hope you really enjoyed my class. I'm trying to make this as informative as possible without making it a boring lecture on histories and theories of writing. This is suddenly one of the most important chapters as most of us writers seem to give up in the middle of our story and never come back actually. So I listed a few tricks, not really calling it a secret this time. You can call them tricks or formulas. However you wish. Keep watching and let me know if it helps. Hello, and welcome to my online class. In this lecture, I'm going to teach you how to write suspense, thriller. Chapter 5, the middle ground. Turning to the silence of the lungs by commas Harris is known as one of the best pieces in trigger writing. And if you actually read the material, you would understand that he had managed to live with the mind of the reader throughout almost all the chapters. The reader often finds misleading clues and milk guiding hints. But the tension and the drama that comes along, we are actually okay with the lights. So how do you make the twists happen? Most writers are actually crack the plot twists even before they had a beginning and an end. This is one tip I have always found working. I also worked by a process of elimination. At first, any and all the tourists that come to my mind seems promising. So I just pick the best of the lot for the maximum impact on the audio sample. Well, it is, but there is another angle to it. Let me spend that on the next point. Read-write crisis. So most of us writers find it very difficult to continue writing beyond the midpoint of the story. Suddenly as a writer, you're stuck. You're stuck between choosing which we do go. Sure, you hold the piece on this two then should you stay towards the first tagged or move towards the third aggressive? So this is where your list or twists and turns come in handy and see if you can use one of those eliminated ideas into developing a significant force within your subplots. It can not only get you going with the writing, but can even help you in making a stronger subtext. Use that as a double edged sword. Make itself the story that substance and sensationalize the emotions of your reader with a reversal at rest. Deus ex machina. The dues Ex Machina can be used creatively to introduce something unexpected and also get through the writer's block. So what is this thing? Well, the very literal meaning of the word will be God for no mushy. Imagine your character stuck in a point of no return. There's actually no way out. What happens. They start paying for something better. Maybe they hope for an intervention of a sudden external. Or maybe something happens, just like magic. All of a sudden somebody called, someone arrives. Some calamity happens in nature, something called on the head of the villain. It happens also coincidentally that it becomes completely unexpected and surprising for your characters and your readers boat. So it definitely does one thing. It is also problem or answers are dilemma and takes the story. For example, in Tolkien's Lord of the Rings, the heroes Almost perish on the crumbling Mount Doom. Until suddenly out of nowhere, some gigantic eagles fly up to rescue them. The evils, in this case become the guards from the machine. In JK Rowling's Deathly Hallows of the Harry Potter series. Had he gets into a frozen lake and almost gets lost under the sheets of ice, is about to drown. And all of a sudden someone pulls them out of the water. Heavy with his glasses and sees drawing. Where did he come from? How did wrong come to the right place at the right time to rescue our hero. From trailer actions to mystery suspense. In every genre, there are certain plot twists which are completely unrelated to the rest of the story arc. It is notorious how this device had been extensively used in many foods. And I think more so infants that in the knowledge. Nevertheless, in a setting of a novel loading any story or screenplay you have established alloy right at the beginning. You have already set up the rules, clauses, and conditions for both good and bad to grow. So is it really fair to cheat your audience and suddenly come up with a completely random even. Like all other devices, the utility of this also depends on how you use it to your benefit. In order to crack the concept of thrill, you can use R to a set of events which are seemingly coincidental or happens due to something which is completely beyond the control of your agonist. Look at it in the entire team of the plot. Does it fit in naturally or is it just a one-off? If it is a one-off, is it the crux? Does it run the very basis of your story? For example, the Kamikaze typhoons of Japan was a natural calamity. It was an external agent. But it is believed to be the reason why the Mongolian invasion of Japan field in the 13th century. Exercise Files, right? It's really a story of 1001 rule. Just start with a twist and end on another. 7. SECRET CODES: Hello, Welcome to my class. In this lecture, I'm going to teach you how to rate suspense, thriller. The prologue, secret codes. The media. Yes. Translated from Latin, the word literally means in the middle of things. This is the best way to get to set your story in motion. The reader should get started right from the first line, starting a crisis and then retreats and tell the story. Read this line from some gripping books. It was the bright yellow that finally convinced me. My sister was then an hour before her shift started, an hour before she was even supposed to be there. The role the first courts through the door. They're out there. Black boys in white suits up before me to commit sex acts in the hall and get it more before I can catch them. I've never begun another bit more misgiving. Do you know what is common in all of the wall? They're all in the very first lines of the respective novels. Break the code. Breaking athleisure should not be a cliche. You can actually stay in the conventional locks plot structures, and still employ the usual devices to create something which becomes an original statement altogether. I would love to give an example of a film. All writers should at least watch once. Adaptation written my Charlie Kaufman, this story is about a screenplay writer named Charlie who started a lot of writing and the names that define all of those rules. But when it gets to writing, he fails. So what does he do? He hires his twin brother to help him out in writing and blockbuster. He has been hitting his brothers conventional approaches to storytelling all the way until now. So Charlie is still wondering what goodwill is Brother do to him. And then he faces a series of events after this. And all the things he had hated before happens to him. He stayed away from the usual story out, twists and even the meaningless use of Deus Ex Machina in the plot. And all of a sudden, a crocodile appears out of nowhere in his own life. Charlie Kaufman's impeccable satire lose a lot for studies and interpretation. But as a writer, his intelligence in using the conventional teams to something extraordinary is what excites me the most. That's how breaking a cliche should not be a cliche. And this is the reason why I'm not a fan of traditional flip angles and jump scares in a trailer. Blend the genres. If you want to start writing a trailer unit to experiment with the possibilities, I'm lending multiple genres together. Thrillers are in fact pretty welcoming like that. If you actually see the listing on most bookshelves across the stores, you will see that there is a sub-genre attached to award. If you see it online platforms for civilized contents, Sulla is a big umbrella under which a lot of it shows and films acute together. Exercise 6. Other than the walks of other authors, I've also mentioned in my lessons a lot of examples of scenarios and characters which would yell some really good thrillers. The range strong crime, mystery, detective War comedy, and even sci-fi. Though they are purely based on many of the original pieces. You're more than welcome to go ahead and develop it further and make it your own project. Feel free to make a speculative fiction into a certain political drama. Perhaps start writing normals this time. Just, just experiment to blend the genre together. The feel good feeling. When you are writing and Sheila, you're betting to fill your reader, your audience might not be awestruck at all whether children you give them. So instead of feeling badly, get a feel good feeling. But how do you do that? Imagine an ice cream cone. The model, the coin is the widest, it is the very beginning of your story. It is circumference in too much details on setting characters and plot pointers. After the fog on the top, you attack the middle heights, the schools or strawberries and cream and chocolate. This area does not have a wider perimeter. But the label Cream certainly tastes better than the top. You tear apart the wrapper completely and get to the end of it. Now you have reached the bottom. So you get some nuts and the chocolate chips for surprises. But this is not the only way to have a nice space. What if you first attack the tip instead of the top? The ice cream remains the same, but it tastes different. Moral of the story. Form is as important as content. Make your story move forward or backward in parallel timelines. Make your narrative structure and infinite loop perhaps that does not break hyperlink or killers stream of consciousness and present it to your detective to solid. Does it read it back to an old model? Redefine the story on a grand design and chemo 10th. Let you read us find the intelligence of chess in your story. Get into the chemistry is often a lapse or specimen to explain why the drug company news story is doing what they're doing. Make the chemical bonding of the atoms synonymous with the character. In your story. This way, even if the plot twists and clip angles fail, you still have a chance to sell ice cream. Okay, So we have come to the very end of how to write thriller and suspense. I hope I have been successful in sharing that here is the secret and the tricks for writing your next material. I hope this has been a fun learning for you. I have tried to give it as entertaining as possible. I would be really, really glad that this class has been useful for you to finish your long pending idea of a trillion story. Please do let me know what else, what else you want me to cover in my future lectures. And I really want to thank you for all the exercises that you computed and especially for your time and for being so patient. Part before I sign off, let me just give you some tips. Research, enjoy attack and defense. Now, if you're wondering what these words mean in thriller writing, I'm afraid you haven't paid attention to my class. And for the rest, I present to you the limitless and the infinite whitespace. Welcome to Writing. Hi.