"Later, as my stories grew longer, I was encouraged to increase the suspense and I couldn't be happier.  Now, finally, I'm writing what I love to read and my sister, also an accomplished author, are finally writing a book together that will be out next year and guess what?  The publisher wants as much suspense as we can stuff into it.  It's true what they say:  What goes around, comes around."

I asked Jackson what lessons she brought from the romance genre to her suspense.

"I love a love story within the novel," she says.  "And I believe that the love story and emotional commitment of the characters heightens the suspense.  The more you love, the more you're vulnerable.  Your lover can be used as a pawn against you.   I guess the most glaring similarity is the emotional hook to the reader."

And Jackson has certainly hooked a loyal following, with bestsellers that include Hot Blooded, Cold Blooded and Final Scream.

She's also written in the historical genre, which brings up the question of specialization, or "branding." Must writers stick to a brand these days?

"Hmm... that's a good question.  On a purely intellectual level, I think a writer should write what he or she wants to regardless of genre.  Of course, that doesn't necessarily mean all the books he/she writes will be published.  But it keeps the author fresh and despite branding not getting into a rut.   In my case, most of my historical novels had a suspense/thriller element to them, even serial killers. They were fun. I'm glad I did them. I think a writer should hone his/her skills no matter what the genre."

Jackson describes herself as a "seat-of-the-pants" writer when she's drafting, but works from a detailed synopsis.

"The synopsis is usually 50-60 pages," she says. "I write in spurts and under deadline, not a 10 page a day thing, but I always have a synopsis and I rewrite as I go along--to get the wording write, to add a red herring, to add motivation.

"Writing the synopsis is creating an intense plan that makes my head hurt when I do it.  Literally hurt. The synopsis includes enough back story of the characters so that I, and my editor, understand them. It also is a detailed plot that includes red herrings and the twists and turns, even scenes and sometimes dialogue that will show up in the book."

Does she ever deviate from the synopsis?

"Of course. Sometimes I even begin the book in a different place within the plot if I need something more dramatic, but I follow the bones of it.   In Lost Souls,  I started the book in a place I hadn't planned. Once I go forward, though, I try to adhere to the plot as much as possible.  This is the skeleton of the book and if I deviate too far, I end up in big trouble.  Since I sell my books on the synopses, I need to give the publisher something my editor expects when I deliver the manuscript. Once I start writing the book, however,  I do submerge into the plot and I'm really 'there.'"

And when she's "there," she does not have a typical writing day. "When I'm under deadline it's nearly 24-7 -- well, maybe 18-7 and when I'm not I actually go to the dentist, doctor, have the car washed and go bowling.  I always try to get in a little exercise and fun things with friends, but not when a deadline looms.  If there's anything that's constant it's that I'm a morning person and write in the mornings."

Lisa Jackson's latest thriller is Left To Die.

James Scott Bell is the author of Try Dying and Try Darkness (Hachette/Center Street).