A Quote by Sandra Brown

'Rainwater' was particularly special because it was a complete departure from the suspense novels. It's set in the Great Depression and based on an incident that occurred when my dad was a boy.
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.
Plots may be simple or complex, but suspense, and climactic progress from one incident to another, are essential. Every incident in a fictional work should have some bearing on the climax or denouement, and any denouement which is not the inevitable result of the preceding incidents is awkward and unliterary.
The mystery form was very helpful for me as a beginning writer because mystery novels and suspense novels have a beginning, a middle and an end.
I keep thinking I'll enjoy suspense novels, and sometimes I do. I've read about 20 Dick Francis novels.
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.
My novels are never directly based on a true crime incident, but I want to get the details right. I want to know how homicide detectives think, what a SWAT team might do to prepare.
I was a complete mama's boy but now that I've grown up, I have started sharing a great rapport with dad... He doesn't give me any big advice and instead asks me to listen to mum.
Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.
My dad and mom divorced when I was around ten, and I didn't live with him after that, though he was close by and we saw each other weekly. I wasn't really aware that he was a writer; I didn't start reading his writing until I was about fifteen. It occurred to me then that my dad was kind of special; he's still one of my favorite writers.
I'm not much of a plotter. I start off with an inciting incident, and in classic crime fiction what happens is that all the action flows from that incident. It's very comfy when it all ties up and feels like a complete universe, but my stuff doesn't always work that way.
I hadn't seen my dad get violent since the Great Spatula Incident, and I wasn't anxious to see a repeat of that.
We don't have a great war in our generation, or a great depression, but we do, we have a great war of the spirit. We have a great revolution against the culture. The great depression is our lives. We have a spiritual depression.
I enjoyed doing the gag covers better than the story ones because they were usually simpler. A cover based on an incident in the plot took a great deal of staging to tell a little story that was still part of the book. And it had to make sense on its own.
Anyone can be a father, but it takes someone special to be a dad, and that's why I call you dad, because you are so special to me. You taught me the game and you taught me how to play it right.
The Panic of 1819 exerted a profound effect on American economic thought. As the first great financial depression, similar to a modern expansion-depression pattern, the panic heightened interest in economic problems, and particularly those problems related to the causes and cures of depressed conditions.
Conventional people are roused to fury by departure from convention, largely because they regard such departure as a criticism of themselves.
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