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 have never written a book that I wouldn't want to read. The trouble is, I love to read horror, sf, fantasy, mysteries, hero pulps - romantic fiction, in the original, traditional meaning of that term, as opposed to mimetic fiction. But most of all, I love thrillers.
I think readers appreciate those of us who stay in the trenches and fight the good fight even when times get tough. I know that I, personally, lost respect for writers who, when there was a downturn in the market, started shouting from the rooftops that they wrote thrillers and suspense novels rather than horror. As far as I'm concerned, those wussboys should sever all ties with the horror community if that's the way they feel and get out of the way so real horror writers can do their work.
The action movie, the thriller and the drama all have safety nets under them. But not the horror film. The horror film can sink to an abyss far darker than the imagination can ever reach.
'Good as Gone' goes from zero to 60 in under six seconds and never lets off the gas! If you like your thrillers filled with nonstop action in a race against time through Europe's underbelly, hop in and take a ride.
Collins masterfully blends fact and fiction...transcends the historical thriller.
As an adult, I really don't watch much horror, to be honest. I mean, I like a good thrill. Thrillers are my favorite. I like stuff that keeps you on the edge of your seat or maybe makes you jump. But what I don't like is the gore. I don't like gratuitous violence and killing and all that kind of stuff. So it's kind of an interesting paradox.
I just want to work with talented people who are enjoyable to be with, and take big huge risks from high comedy to deep, dark, brooding drama, to thriller. I just want to go back and forth.
If you look at the best-seller list, it is mostly thrillers. Very few books attempt to create an image of the life we live. I knew there were writers who wore tweed coats and lived in Connecticut and somehow made a living, and that's what I aimed to do. I've tried to write as well as I can with books that say something to any reader.
Its the details and the human element that makes Recount entertaining. Even though we know how the election ends, it plays like a thriller. Its also funny.
Police thrillers are so widely read and police dramas so commonplace on television that many people think they have a good understanding of what a cop's world is like. But in truth that world is seldom revealed with anything approaching verisimilitude. We get it with The Wagon.
In a business that has exploited and ignored our people I have only found dead-ends. We need romantic comedies, gross-out and mockery comedies, horror and thrillers, teen movies and love-stories. All these and more will be a positive step towards the future of Native Americans in the world and film industry; an industry that that offers us not only the chance to play the parts of heroes, love interests and warriors, but also of villains, dorks and dangerous, brokenhearted products of circumstance.
Id like to make character-based dramas. I end up writing thrillers a lot - these psychological character-based things with weird people doing horrible things to each other - coming to a theatre near you!
It's absolutely fun to walk around and have people respect you. When Michael Jackson did Thriller, I was in the park one day, and a girl came up to me and said, "Man, the only people they talk about around here are Michael Jackson and you." It was pretty flattering to be considered in the same light as the king of pop in my area.
Being black, Latino, or Asian is not a genre. Romantic comedies, thrillers, action - those are genres. I think there's a lot of people who want to have the conversation. I don't think people are afraid of it, I just think it's the time to have that conversation. Race is not a genre.
from one minute to the next the present is merely an honorary past. It must be filled unceasingly anew to dissemble the curse it carries within itself; that is why Americans like speed, alcohol, thriller films and any sensational news: the demand for new things, and ever newer things, is feverish since nowhere will they rest.
In almost every thriller, a point is reached when someone, usually calling from a phone booth, telephones with a vital piece of information, which he cannot divulge by phone. By the time the hero arrives at the place where they had arranged to meet, the caller is dead, or too near death to tell. There is never an explanation for the reluctance of the caller to impart his message in the first place.
If youre going to reach for it, reach all the way for it. Albums like Purple Rain and Thriller and those kind of records, you had to reach far above the din of cynicism and modern living to get to that place, against all the odds.
I prefer thrillers but when its thriller/horror, I like it. The gore is not very important to me, I prefer suspense. But I like dark films.
In crime fiction, I just don't write the parts that aren't a thriller and it's exactly the same in my TV reporting - I distill the essence of the story until it's only the jewels of the tale - and leave in only the most compelling and exciting parts.
If you take real-life circumstances and take out all the pauses then you have a thriller. It has to be non-stop, high stakes and fascinating all the time. Real life is like that from time to time.
I write what I want to write. Period. I don't write novels-for-hire using media tie-in characters, I don't write suspense novels or thrillers. I write horror. And if no one wants to buy my books, I'll just keep writing them until they do sell--and get a job at Taco Bell in the meantime.
I have a graduate degree from Penn State. I studied at Penn State under a noted Hemingway scholar, Philip Young. I had an interest in thrillers, and it occurred to me that Hemingway wrote many action scenes: the war scenes in 'A Farewell to Arms' and 'For Whom the Bell Tolls' come to mind. But the scenes don't feel pulpy.
I love thriller writers. My favourites are Harlan Coban, Lee Child, Ian Rankin, Kathy Reichs and Ed McBain.
When I wrote my eighth thriller, Inside Out, in 2009, the villains were a group of CIA and other government officials who colluded to destroy a series of tapes depicting Americans torturing war-on-terror prisoners.
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