Ambiguity and the horror of possibility play a part in so many of my favorite horror stories: Shirley Jackson's 'We Will Always Live in the Castle,' Mark Danielewski's 'House of Leaves,' Victor LaValle's 'Big Machine,' Charlotte Perkins Gilman's 'The Yellow… — Paul G. Tremblay Copy Share Image
I feel like too many horror writers and filmmakers sort of just assume that the default is, 'The horror movie must be all atmosphere… — Paul G. Tremblay Copy Share Image
I don't consciously sit down thinking I'm blurring genre lines, for the most part. I try to stay focused solely on serving the needs… — Paul G. Tremblay Copy Share Image
I think I got serious about writing in the late '90s. The first stuff I wrote was terrible and got rejected, but I started… — Paul G. Tremblay Copy Share Image
As an adult, I've learned to cope and pull the plug on the worst what-ifs before my mind takes me to a place from… — Paul G. Tremblay Copy Share Image
Crime, horror, and satire each aim to reveal an ugly or uncomfortable truth: one that, after the reveal, will ensure we'll never be the… — Paul G. Tremblay Copy Share Image
Whenever you bring reality TV into the mix, it's only a matter of time before, whatever fiction you come up with, it'll become real. — Paul G. Tremblay Copy Share Image
My first book deal was for two Mark Genevich novels. I hadn't planned on writing a second Genevich novel, but I was contracted to… — Paul G. Tremblay Copy Share Image
I'm harsh on myself. But let's be honest: I'm not as harsh as the online one-star critic who says, 'This book is boring and… — Paul G. Tremblay Copy Share Image
In the early 2000s, I started selling some short stories to horror markets. I joined the Horror Writers Association. — Paul G. Tremblay Copy Share Image
