How one author weaves identity, horror, and humanity into gripping thrillers.
This month we’re shining a light on Ryan Lawrence, the author of Vindictive, Vindictive Too, and The Night Belongs to Lovers. He talks about the ups and downs of writing parallel storylines; what it means to create real, unapologetic queer characters in crime fiction; and how everything from vintage razors to pop culture references influence his work. Ryan opens up about his world of characters, what’s coming next, and what it takes to capture a readers imagination.
Writing from a place of unfamiliarity, from a place of creative guesswork, is a choice that comes with risk. Nowadays, readers are keen to sense forced, potentially contentious characterizations. I refuse to be this type of author.
Ryan Lawrence
Vindictive and Vindictive Too unfold over the same three-day period, but from different perspectives. What challenges did you encounter in writing parallel narratives?
Vindictive and Vindictive Too were originally one novel. I gave the first draft to my husband to read, and when he returned with his comments he’d missed a few key revelations. That was an issue. I had to accept that my opus needed to be reconfigured as two books to create better flow and read more coherently. Both major and minor storylines and characters needed more room to breathe or I risked other readers missing climactic elements too. Since two novels weren’t my original plan, I had to figure out how to separate individual storylines without compromising the overall connective narrative.
I needed to find a natural point of division to split my book into two and keep it cohesive. This would allow each part to tell its own complete story with a satisfying arc while still contributing to the overall narrative. I didn’t want to alter my timeline by making the second novel a sequel, pushing the events of that book forward, and having them occur after those of the first book. I wanted a companion novel. So, the three-day storyline would remain intact. The final chapter of book two occurs directly after the last chapter of book one, leading directly (well, 6 weeks later) into the third novel.
The foremost step was to determine that Jules’ storyline would be featured in the first novel while the primary focus of the second novel would be on Det. Declan James, the mysteries of the Morrison Farm, and the Berges—Jacque and Marie. I examined the interpersonal relationships among all the characters, placing those more directly involved in Jules’ revenge storyline in Vindictive.
To be honest, I didn’t find the process particularly challenging. I knew the key to properly managing multiple parallel storylines was to plan everything in advance and keep track of who said and did what, their locations, and future destinations, including whether they lived or died. Ultimately, to work this narrative weaving successfully, my organizational skills, patience, and perfectionism proved highly effective.
You’ve discussed the importance of queer representation in thrillers. How do you ensure your characters transcend stereotypes and offer authentic portrayals?
Multi-faceted diversification is what makes Queer Thrillers so enticing. It’s unlike all other Thriller sub-genres because it intentionally focuses on placing queer characters in situations where they can be active and complex protagonists or antagonists, not merely pitied, disposable victims. Or worse—one-dimensional villains characterized by offensively exaggerated mannerisms and affectations. Queer people exist in the world, in various places and societal positions, and with the capacity to do both good and evil.
I feel it’s perfectly acceptable to use a character’s sexuality or love life as a plot point—both positively, such as in romance, and for conflict, such as in narratives involving hate crimes or the kidnapping of a partner. However, it’s lazy, problematic writing to suggest that a character is miserable or evil because they’re queer, as if that explanation is the Rosetta stone of answers for LGBTQ+ stories involving trauma and villainy. I find that approach offensive and trite.
As an OwnVoice author, I write from a place of authenticity. Being gay/queer, I embrace my unique experiences, both painful and incredible, and utilize them to enrich my stories and diversify character personalities. I also do my research into the lives and experiences of other queer people because I cannot speak for every LGBTQ+ person; we all have different backgrounds and relationships to queerness, homophobia, and love. I look to see how I can weave the essence of their authentic selves into my work to avoid heteronormative and/or problematic narratives.
Writing from a place of unfamiliarity, from a place of creative guesswork, is a choice that comes with risk. Nowadays, readers are keen to sense forced, potentially contentious characterizations, language, and scene creation. Stereotyped characters come into existence this way—from a lack of respect for discovering who these people are, their lives, and their stories during the writing process. I refuse to be this type of author.
Your novels feature distinctive weapons on their covers, like the karambit and straight razor. How do these elements tie into the narratives, and what was the design process like?
Neither weapon was chosen in advance, though I knew a weapon would be pivotal to major scenes. I first crafted the scene, considering who would be wielding the deadly object and what their intentions with it were: fighting, self-harm or murder. With the karambit, I wanted a smaller fighting weapon that could be used simultaneously in both hands. I researched, looked online, whittled my idea down to blades, and settled on the karambit. It looked sleek yet rugged, a cool combination of military combat style and martial arts. The retro-style straight razor worked for the environment of the scene(s) and the historical context of the rural family it belonged to: the abuse and brutality.
The cover design process for Vindictive went smoothly. I provided a picture of the exact karambit I wanted and asked for a few tweaks: make it black and have the end not as hooked as it traditionally tends to be. It came out perfectly. I’ve had compliments from mixed martial artists regarding this cover! With Vindictive Too, the straight razor proved more of a trial, getting the vintage look—style and colour—just right for the cover. The shadowing effect is what connects the two covers, which I love. I initially had the blood on the karambit drop down to form the dot in the last “i,” and then I changed my mind and took it out. I regret that decision, as the blood on the razor looks killer (pun intended)! Hindsight is 20/20.
You’ve mentioned a passion for comic books. Have any specific comics or graphic novels influenced your writing style or themes?
I’ve been obsessed with superheroes since I was a toddler. I have around 20,000 comics in my collection. However, I can’t say that comic books have significantly influenced my writing style or themes. In Vindictive, Phillip loves comic books and, in one scene, wears socks featuring my favourite superhero: Nightwing. That’s pretty much it.
Now, television and print media? They’ve significantly influenced my themes and writing style. Shows like Twin Peaks and Revenge, along with the works of Anne Rice and Matthew Pearl, have been particularly impactful. I frequently turn to comics and superheroes to escape the world’s harsh realities, including the darker, more violent aspects of my writing. I enjoy the colourful and cheerful adventure stories from comic books that brought me joy as a child and continued into adulthood.
What has been the most surprising feedback you’ve received from readers about your work?
The most surprising aspect has been the characters that resonate with readers, particularly those I never expected to have such an emotional impact. One character who has truly stood out is Phillip; readers can’t stop talking about him! Sure, he’s your classic hunk, a Chris Hemsworth-type, but I never anticipated he would become as popular as he has. It never ceases to amaze me how certain characters can strike such a chord with people.
Can you share any details about upcoming projects or themes you’re excited to explore in future writings?
Last year, I participated in an OwnVoices project called Haunted Hearts, a supernatural gay romance series, with my ghostly, vampirish novel The Night Belongs to Lovers. This was my first stab at writing outside the Queer Thriller genre—and I loved it! We’re doing it again this year! My upcoming Haunted Hearts gay paranormal romance novel, the witchy I Will Always Find You, is set for an October 7th release. This project features some outstanding writing from several very talented gay/queer men.
Readers have been asking when the sequel to Vindictive and Vindictive Too is coming out. Admittedly, I’ve witnessed a few eye-rolls whenever I’ve said, “Soon—ish.” Well, I’m currently working on the third book now! No title yet, but I’m looking at an Autumn 2026 release. Yes, we are returning to Fairporte, Toronto, Jules, Phillip, Declan, Jacques, and poor Marie (poor, poor Marie) and all the blood, sex, and tears you can stomach in a Canadian revenge thriller (with queer content)! I’ve even connected my Gay Paranormal Romance books to the Vindictive series. How? Read closely and see! There are subtle clues in the Haunted Hearts books and a big one in the upcoming third Vindictive Series book.
