A Quote by Jennifer Armentrout
'Don't Look Back' is my first YA contemporary mystery/thriller. It's been described as 'Black Swan' meets 'Pretty Little Liars'.
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Slashing its way to the finish line, Black Swan is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
Slashing its way to the finish line, 'Black Swan' is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
'Pretty Little Liars' - my sister and I read the books, so we stuck to it for the first season, but it started to kind of drift off; so did we.
Walter Mosley was not the first black crime writer, nor was he the first to fuse genre conventions with larger social concerns. But when 'Devil in a Blue Dress' introduced the Los Angeles-based private detective Easy Rawlins nearly 20 years ago, it was clear the author set out to stretch the boundaries of the mystery and thriller framework.
When 'Dare Me' was first in development, it was hard to make the case for why it'd be interesting to anybody other than teenage girls. It'd often be treated, like, on first glance, 'What is this? 'Pretty Little Liars?' 'Mean Girls?'' It never was that.
When you watch stuff that is YA, it looks like it's been made YA. It doesn't look real.
Even in a manuscript form, 'The Girl on the Train' sort of leapt off the pages as a contemporary suspense drama-slash-thriller. It has all the mechanics of a thriller, but at the heart of it was a great character study.
If you're ever invited, fellow YA authors, go. It's the first YA con I've been to that was overwhelming populated by teens. Wonderful!
I was writing everything. I grew up in Albany, New York, and I was never any farther west than Syracuse, and I wrote Westerns. I wrote tiny little slices of life, sent them off to The Sewanee Review, and they always sent them back. For the first 10 years I was published, I'd say, "I'm a writer disguised as a mystery writer." But then I look back, and well, maybe I'm a mystery writer. You tend to go where you're liked, so when the mysteries were being published, I did more of them.
A thriller must be thrilling. A mystery may or may not be a thriller depending on how much breathless emotion it has, as opposed to cerebral calculation.
'Pretty Little Liars' is very all-consuming of my time, but I guess it's a great problem to have... there have been other things that have come that were on the table and then were not.
Technical things are getting more mechanical. Take 'Swan Lake,' the Black Swan pas de deux. Now, my goodness, they're turning not just 32 fouettes - but double or triple pirouettes.
That's what everyone said attracted them to Lantana - I call it an adult mystery, because it's not a thriller in the sense of that other way, but it is a mystery.
People look at black pride in America and sport's impact on it. In the major cities it took off the first time Jackie Robinson stole home. In the deep South, it started with Eddie Robinson, who took a small college in northern Louisiana with little or no funds and sent the first black to the pros and made everyone look at him and Grambling.
I really like the spooky twists and the intense mystery. I think the various plot devices work really well for TV, but they are still also in the spirit of Pretty Little Liars as a whole. I also really liked Spencer's breakdown in the previous season after Toby betrayed her. The girls have had breakdowns of sorts in the books, so it was fun to see that on-screen.
My sister and I visited Iceland in 2001, and I incorporated it into 'Pretty Little Liars.'
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