8 Ways to Write a Hit Thriller Like You (Without Stalking Penn Badgley)
Writing a thriller like You? Check out these tips for getting it right…
Crafting a thriller as compelling as You requires more than just an obsession with murder mysteries and a penchant for shady narrators.
It’s an art form, blending tension, flawed characters, and plenty of “OMG, did that just happen?” moments.
You, the Netflix hit starring Penn Badgley as the creepily charming Joe Goldberg, has mastered the balance of suspense and a shockingly relatable villain.
Ready to write your own thriller that keeps readers up all night, questioning their life choices?
Buckle up — here’s how you can do it.
1. Nail the Unreliable Narrator
Unreliable narrators?
Always a hit in thrillers.
Joe Goldberg is a prime example. He lures you in with his soft voice and borderline-innocent intentions, and before you know it, you’re rooting for him even as he does, well, awful things.
An unreliable narrator lets readers see the world through a warped lens, which instantly creates tension and doubt.
You don’t need a serial killer on your hands, though.
Your unreliable narrator can simply be lying to themselves or the audience for reasons that become apparent later.
It could be anything from a deep-seated trauma to a complicated romantic entanglement.
Just make sure that when the truth drops, it hits like a wrecking ball.
Think about Tyler Durden in Fight Club — you didn’t see the twist coming until you were too deep into the narrative to pull yourself out.
That’s the kind of mind games you want to play.
2. Flawed Characters, Please!
Perfect people are boring.
I said this before and I’ll say it again.
Perfect people — and characters — are bo-ring!
You want your readers gripping the pages, not yawning through a flawless hero’s adventure.
In You, Joe is messed up on every level imaginable, but he’s also charismatic and, dare I say, sometimes even sweet?
That’s what hooks the audience.
We all know a guy like Joe (hopefully, not exactly like him).
He’s that boyfriend who’s a little too intense or the person who crosses lines to get what they want.
He’s flawed but relatable.
When writing your thriller, focus on characters who are walking contradictions.
They’re trying to be good but constantly making terrible decisions.
Olivia Pope from Scandal is a good example.
She’s powerful and smart, but oh boy, does she get herself into questionable situations.
People will stick around if your characters feel real — like they could exist in the world, with all their emotional baggage and screw-ups.
Remember, messy is memorable. Boring is not.
3. Make Every Chapter an “Oh Crap” Moment
Thrillers live and die by their pacing.
If your story drags, readers are going to find something else to read (or watch).
Every chapter should leave your audience gasping or clutching their metaphorical pearls.
You doesn’t waste time — every episode is packed with crazy twists that keep you on edge.
Whether it’s Joe sneaking into someone’s apartment or a shocking murder, something is always happening.
How do you do that in writing?
Short, punchy chapters can help.
You don’t want to overload with info dumps or drag readers through unnecessary exposition.
Sprinkle clues like breadcrumbs and let the tension simmer until you hit them with a surprise.
Dan Brown does this well in The Da Vinci Code — his chapters are short, and each one ends with a hook that makes you turn the page.
Even if you’re writing a quieter moment, drop a hint or a subtle clue about what’s coming next.
4. Play With Perspective (But Don’t Confuse People)
Switching up perspectives keeps things spicy, but you’ve got to be smart about it.
In You, we mostly stick with Joe’s point of view, which gives us that deeply unsettling insider look at his brain.
But there’s power in showing other perspectives — just not all the time.
If you’re flipping between characters, make sure each voice is distinct.
Readers should never wonder, “Wait, whose head am I in right now?”
Keep it simple and don’t switch just for the sake of switching.
If you’re doing multiple POVs, limit it to two or three main characters.
Let’s take Big Little Lies for example.
The series jumps between the perspectives of the three main women, but it never feels jarring because each one has their own voice, their own drama, and their own secrets.
Use different perspectives to add layers to your mystery, not to confuse the heck out of people.
5. Get the Setting Right
The setting in You — New York in the first season, LA in the second — is a character all on its own.
Joe’s ability to blend into these bustling cities, hiding in plain sight, makes everything feel even more unnerving.
The backdrop of your thriller should amplify the tension.
Whether it’s a claustrophobic small town where everyone knows everyone, or a glittering, anonymous metropolis, your setting should work in tandem with the plot.
Let’s say you set your thriller in a sleepy coastal village — think Broadchurch.
That small-town setting, with its close-knit community and long-buried secrets, becomes a character itself.
Or go big like Gone Girl and let the big, bad suburban life expose how terrifying “normal” can be.
The key is to pick a place that feels alive and contributes to the tension of the story.
6. Obsession Drives the Plot
Let’s not kid ourselves — Joe’s obsession with his love interests drives every plot point in You.
But obsession doesn’t have to mean stalking.
It could be a burning desire for revenge, fame, or even justice.
Your main character needs to want something so badly that they’re willing to cross lines to get it.
That’s how you create compelling tension.
Obsession makes people reckless, and reckless behavior makes for excellent storytelling.
Maybe your character is obsessed with solving a crime, à la True Detective.
Or maybe they’re fixated on a goal, like the protagonist in Black Swan who descends into madness over her quest for perfection.
The more obsessive your character becomes, the more willing they are to break the rules — and the more thrilling your story becomes.
Just don’t make it feel too easy for them.
We want to see them fight for what they want and face consequences when they push too far.
7. Keep the Dialogue Sharp
Good dialogue doesn’t just move the plot — it reveals character.
Think of how Joe’s internal monologues in You tell us as much about his delusions as the actual dialogue he speaks out loud.
He’s got that low-key, creepy vibe going, but his conversations with his love interests?
Charm for days.
Dialogue should sound natural, not like a script.
Watch shows or movies with stellar dialogue to get a feel for how it’s done.
The West Wing is dialogue-heavy but doesn’t waste a single word.
It’s sharp, quick, and character-driven.
The same goes for Breaking Bad — characters don’t have to say much for their words to hit hard.
And remember, sometimes what’s not said is as powerful as what is.
Let your characters leave things unsaid and let readers connect the dots.
8. End With a Bang (Or an Ambiguous Whisper)
The ending of a thriller can make or break the entire story.
It’s the dessert after a four-course meal — if it’s bad, people will remember.
If it’s good, they’ll be talking about it for weeks.
You is famous for its shocking finales that set up even crazier seasons to follow.
Your ending doesn’t have to tie everything up with a neat bow, but it should leave readers feeling something — shock, satisfaction, or even dread.
Look at Gone Girl — the ending leaves you chilled, unsure of whether to root for Nick and Amy or call the cops.
You could go the full shock-value route and throw in an unexpected twist, like The Sixth Sense.
Or you could leave the ending slightly open-ended, giving readers something to chew on long after they’ve finished the book.
Either way, make it memorable.
No one wants a thriller that fizzles out in the final pages.
The Final Curtain Call (Cue Dramatic Music)
Writing a thriller like You isn’t just about crafting a great story — it’s about creating a ride that’s dark, twisted, and impossible to get off.
Readers don’t just want to be entertained — they want to be gripped, unnerved, and shocked to their core.
If you follow these steps, you’ll be well on your way to writing a thriller that’ll have people second-guessing their friends, lovers, and everyone in between.
Just don’t go around stalking people for research, okay?
Joe Goldberg may have gotten away with it (so far), but in real life, that doesn’t fly.
Instead, dive deep into the minds of your characters, explore their darkest corners, and craft a story that leaves readers saying, “Just one more chapter…”
Happy writing!
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