Suspense in thrillers is often intertwined with hope and anxiety, which are treated as two emotions aroused in anticipation of the conclusion - the hope that things will turn out all right for the appropriate characters in the story, and the fear that they may not. As described by film director Alfred Hitchcock, an audience experiences suspense when they expect something bad to happen and have (or believe they have) a superior perspective on events in the drama's hierarchy of knowledge, yet they are powerless to intervene to prevent it from happening. The objective is to deliver a story with sustained tension, surprise, and a constant sense of impending doom. In terms of narrative expectations, it may be contrasted with curiosity and surprise. The suspense in a story keeps the person hooked to reading or watching more until the climax is reached. Suspense builds in order to make those final moments, no matter how short, the most memorable. These develop from unpredictable, mysterious, and rousing events during the narrative, which makes the viewer or reader think about the outcome of certain actions. It gives the viewer a feeling of pleasurable fascination and excitement mixed with apprehension, anticipation, and tension. Suspense is a crucial characteristic of the thriller genre. James Patterson, June 2006, 'Introduction,' Thriller Suspense By definition, if a thriller doesn't thrill, it's not doing its job. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. In fact, this openness to expansion is one of the genre's most enduring characteristics. The list goes on and on, with new variations constantly being invented. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. Thrillers provide such a rich literary feast. As the introduction to a major anthology says: In short, if it 'thrills', it is a thriller. Thrillers may be defined by the primary mood that they elicit: suspenseful excitement. In an Anglo-Saxon thriller, the villain is generally punished, and the strong silent man generally wins the weak babbling girl, but there is no governmental law in Western countries to ban a story that does not comply with a fond tradition, so that we always hope that the wicked but romantic fellow will escape scot-free and the good but dull chap will be finally snubbed by the moody heroine. Writer Vladimir Nabokov, in his lectures at Cornell University, said:

Thrill blender