Quotes About Mystery

If New York is a wise guy, Paris a coquette, Rome a gigolo and Berlin a wicked uncle, then London is an old lady who mutters and has the second sight. She is slightly deaf, and doesn't suffer fools gladly.

It is ridiculous to set a detective story in New York City. New York City is itself a detective story.

Every town has its dark side, but I spend time in New York for my dark inspiration.

The Universe is under no obligation to make sense to you.

When I was a young boy, I was obsessed with skulls and mummies and things like that.

All the old school Young Adult novels inspired me. I grew up reading R.L. Stine, Christopher Pike, Richie Cusick, and so on. I loved how you never really knew who the 'bad guys' were in their works, and I wanted to capture that feeling with 'Don't Look Back.'

John Bellairs's young adult mysteries were great - and super creepy.

After I had written more than a dozen adult genre novels, an editor I knew in New York asked me to write a mystery for young adults.

From a young age I was obsessed with the mysterious, the esoteric, the paranormal.

From a very young age, I suspected there was more to my world than I could see: somewhere in the streets of Istanbul, in a house resembling ours, there lived another Orhan so much like me he could pass for my twin, even my double.

I was curious and hungry at a young age, and jazz was such a mystery to me, an ocean where you can express yourself in the moment. It represented freedom, it represented wearing wings and going somewhere with music.

The premise of 'Descent' may sound pretty straightforward: One summer morning while vacationing with her family in the foothills of the Rockies, a young girl, a high-school athlete in her senior year, goes out for a run in the higher altitudes - and disappears.

That women are mysterious and unknowable is something every young man grows up believing. Men, on the other hand, never think of themselves as mysterious or confusing, and we are often at a loss as to why women want to figure us out.

So we see Edward as a young man on the road and he meets a giant and he brings the giant to a circus where he meets a Miss Calloway. He sees the woman of his dreams and I am the only one who knows who she is.

The basic equation that mystified me as a young man was looking at guys who could actually get girls. I was always amazed, because they never seemed to care. I was like, 'How do they do that?'

I loved that it was about human relationships and then it was a mystery without falling into the trap of a thriller per se, because it pulled you in through people rather than through events or effects.

The moors have this weird energy. They trap you.

I developed 'Trapped' because I was fascinated with the idea of a terrible crime in a small town cut off from the rest of the world.

I shy away from plot structure that depends on the characters behaving in ways that are going to eventually be explained by their childhood, or by some recent trauma or event. People are incredibly complicated. Who knows why they are the way they are?

I'm a real open-minded skeptic when it comes to the ghost world. And there are places that I've traveled to where it's very scary and I end up feeling like there might be something going on there.

There is no greater mystery to me than that of light traveling through darkness.

World-building is my favorite pastime, so with me, I'm always about reining myself in. I don't want to lose too much of the mystery by hammering every detail to death. I did fiddle with lots of maps for 'Glass Sword,' as the second installment sees Mare, Cal and company traveling throughout their country, and that's always fun for me.

But the mind travels far - and mysteriously - in sleep.

A box without hinges, key, or lid, yet golden treasure inside is hid.