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	I figure anytime you put an adjective before 'writer,' it's a way of dismissing the writer.   
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	Stories need stupid decisions that, at the time, seem absolutely rational and necessary. Without stupid decisions, the world isn't thrown out of balance, and so there's no need for a 'rest of the story' to balance it back.   
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	The slasher film is such a neat, self-contained genre.   
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	If you keep having to dip into the story's past to explain the present, then there's a good chance your real story's in the past, and you're just using the present as a vehicle to deliver us there.   
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	The way humor's usually used in horror, it's as a pressure-release valve; without it, the drama would escalate out of all control almost immediately.   
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	The whole 'starting with stories, ending with novels' thing, it's probably too ingrained in the industry and the psyche to change it.   
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	There's no purer feeling in the world than being scared.   
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	For me, the facts in anything are always secondary. You don't lie convincingly with the truth. You lie convincingly with being a good liar.   
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	Every time I lock my people in a spacecraft or land them on an asteroid, the blood wells up again, and I'm writing horror. Horror's my default setting. It's also where I prefer to write.   
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	If the main character's not in jeopardy - physical, psychological, emotional, whatever - then you don't have any tension, and you don't have a story.   
