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As for suspense, I like to write books that draw you into the hero's plight from the opening pages, where people put their lives on the line for something - a belief, a family member, the truth.

I'm interested in the human more than I'm interested in building suspense.

With years of experience doing whatever it takes to get to the bottom of each story, I am looking forward to covering the stories in the human dimension and impart the passion and visceral reactions the audience seeks.

Suspense is very important. Even though this is humor and they're short stories, that theory of building suspense is still there.

You have to go out of your way as a suspense novelist to find situations where the protagonists are somewhat helpless and in real danger.

I often will write a scene from three different points of view to find out which has the most tension and which way I'm able to conceal the information I'm trying to conceal. And that is, at the end of the day, what writing suspense is all about.

I do try not to spend much time reading in the suspense genre.

What writer wants to make compromises with story? Story is the only reason you're in it.

When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.

So long as you tell a story that falls within the fairly generous boundaries of the suspense novel, you're free to make the novel as good as you can. You're allowed to challenge the reader. You can experiment with voice and style.