A Quote by Damon Lindelof

There is no suspense in inevitability. — © Damon Lindelof
There is no suspense in inevitability.
Before I became a suspense novelist, I wrote romantic suspense as Alicia Scott.
Suspense is very important. Even though this is humor and they're short stories, that theory of building suspense is still there.
I read what I like to write: romantic suspense. I also love thrillers and novels of suspense, but I can't handle extreme violence and torture.
Suspense-is Hostiler than Death-Death- tho soever Broad, Is just Death, and cannot increase- Suspense-does not conclude-.
I'm unique for a suspense author in that I don't have a specialty background. A lot of suspense writers used to be lawyers or crime beat reporters. I didn't even know a cop when I started out. I finally figured out that I could visit prisons - I just had to be willing to make the phone calls.
If a book is worth reading at all, it is worth reading more than once. Suspense is the lowest of excitants, designed to take your breath away when the brain and heart crave to linger in nobler enjoyment. Suspense drags you on; appreciation causes you to linger.
I am more of a suspense writer. A mystery writer solves mysteries. I am a high suspense writer.
A woman, I always say, should be like a good suspense movie: The more left to the imagination, the more excitement there is. This should be her aim - to create suspense, to let a man discover things about her without her having to tell him.
I've mis-signed many a book Rollins or Clemens. My readers quickly become aware. Booksellers will often promote me under both names, and I do plug both at signings. Generally, the fantasy reader has no problem going into the suspense genre. It's harder for the typical suspense reader to go the other direction.
Of all the conditions to which the heart is subject suspense is one that most gnaws and cankers into the frame. One little month of that suspense, when it involves death, we are told by an eye witness in "Wakefield on the Punishment of Death," is sufficient to plough fixed lines and furrows in a convict of five and twenty,--sufficient, to dash the brown hair with grey, and to bleach the grey to white.
I like the idea of building the suspense and taking it all the way up to the very last second with the suspense, and right when you think you can't take it anymore, then you come in with the joke and kind of break the tension. To me, that's the best kind of film. I like thrillers, so thrillers with comedy, to me, is always the best.
I challenged myself to write/direct a romantic comedy. People trash talk the rom com, but it's one of the oldest cinematic genres, with stellar origins like Twentieth Century and Trouble in Paradise. I think as audiences lost their innocence, the genre lost its suspense. To create suspense, you need obstacles, so I gave my couple an obstacle that very few people ever overcome: their own behavior and their past.
One key to the distinction between mystery and suspense writing involves the relative positions of hero and reader. In the ideal mystery novel, the readers is two steps behind the detective.... The ideal suspense reader, on the other hand, is two steps ahead of the hero.
I still read romance, and I read suspense. I read them both. And part of it is, I like stories with strong characters, and I like stories where there's closure at the end. And I like stories where there's hope. That's a kind of empowerment. I think romance novels are very empowering, and I think suspense novels are, too.
The rules of suspense are that you do know, and you just don't know when. In the Hitchcock rules of suspense, you are supposed to know that there is a bomb on the bus that might blow up, and then it becomes very tense - but if you don't know that there's a bomb and it just blows up, then it's just a surprise.
The inevitability of gradualness.
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