A Quote by Susie Dent

The term 'psychological thriller' is an elastic one these days, tagged liberally on to any story of suspense that explores motivations while keeping blood and chainsaws to a minimum.
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.
To answer that I have to describe what I think is my responsibility as a thriller writer: To give my readers the most exciting roller coaster ride of a suspense story I can possibly think of.
It is unlike the quintessential thriller where someone is up to something and the audience is speculating. 'Johnny Gaddaar' is the opposite of a thriller. In this case, the audience knows right from the outset what transpires and who the likely culprit is. It is a suspense caper.
I define a thriller as a big-stakes, multiple-viewpoint novel involving suspense, action, and mystery, in which the reader doesn't know everything but usually knows more than any single character.
I don't know if that's the best story for BoJack, long-term. I do love the world, and I love playing around in it and it feels like an elastic enough world that, any story I want to tell, I can tell about these characters in this world. I can talk about parents and children, husbands and wives, the troops, or Hollywood. It does feel like an endless playground at this point, it would be a shame if we cut it off early for fear of repeating the same things over and over again. But I am looking to move the story and character somewhat.
"The War on Consciousness" is really all physical manifestations and all those problems are ultimately just a war on your way of thinking. Especially now, when we're involved in the war on terror. Terror is a psychological term. Terrorism is a political term. Terrorist is a sociopolitical term. But terror is a psychological thing.
The very name of the thriller '89' suggests that there is suspense.
I'm not 100% sure 'Rebecca' qualifies as a thriller, given it's three parts screwed-up love story and two parts ghost-story-without-a-ghost, but the mystery at the heart of the novel is what happened to Maxim's first wife, the eponymous Rebecca, and it's unravelled with the pacing and finesse of the finest psychological thrillers out there.
One of the greatest sins in any story is false suspense. The kind of 'suspense' that disintegrates the moment you give your reader one second to think about it. And it's an easy trap to fall into, so watch carefully for it. If your story hinges on the question, 'Will Superman be pushed so far in his battle against Lex Luthor that he'll have to kill him?', or if your big cliffhanger moment is, 'Wow, is Spider-Man really dead this time?', then I understand Food Lion is hiring.
Breathtakingly real and utterly compelling, Immoral dishes up page-turning psychological suspense while treating us lucky readers to some of the most literate and stylish writing you'll find anywhere today.
Sound design is always critical, especially when you're doing a thriller with a lot of suspense and tension.
I would love to do something in the thriller category. Not so much horror, but I would love to do a full-on psychological thriller. That would be really interesting. A period piece would also be fantastic.
'Without a Trace' analyzes criminal behavior in the special context of a disappearance. We consider it a suspense thriller.
I don't like excessive violence. That's my thing. I don't like movies heavy with guns, any of that stuff, so I'm not into that stuff, but I love a psychological thriller.
While thinking about 'Freedom,' I took 'Hate Story' as a challenge and did justice to it. We shot it like a beautiful international thriller.
Really I'm a fan of any movie, whether it's suspense, action, or comedy - anything that has a good story.
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