Humans have always been morbidly curious about and fascinated by violence and disaster. All of us are accustomed to particular societal and behavioral patterns, so when one of those patterns is disturbed, we become distressed. This ignites our need to know what motivates ethically dubious people and those with traumatized past to transgress the boundaries we set for them.
We naturally and invariably align ourselves on one side or the other when reading or watching crime fiction. We identify with the criminal, the victim, the detective in many circumstances, or both. Everything depends on the author’s choice of narrating the story. We may sympathize with the criminal as a victim of circumstance if the story is told from the criminal’s perspective. We can comprehend and empathize with the events and traumas in the person’s life that have led to the crimes. Such watching can be endlessly fascinating and open up new human studies ideas.
Thrillers also appeal to the mind. Authors establish the characters, provide the foundation for the crime, and develop the narrative to a climax. They then begin laying out hints, which we discover as the narrative progresses. We all enjoy playing detective, and as the plot develops, we play a game of deduction while looking for clues. If we are successful, we feel victorious.
Author Judith Sanders has drafted a page-turner novel Huntsman that keeps you on the edge of your seat from the start. To keep the reader engaged until the very end and discover if the Huntsman ever receives justice or if their cunning and scheming triumph over the efforts of the police, the narrative and the entire fabric of the novel have been meticulously woven to reveal pivotal details as the story unfolds. Every exciting revelation occurs at the right time, quenching the need for what will happen next just long enough to continue and explore the rest of the narrative.
