Sometimes. I add my anher about the world into my work.

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Slow points can be important. I just don't have those around the same time as mu suspense moments.

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I have their shoulders tense or breathing hitched. Whatever feels right.

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Those can be fun too. And nice to write.

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Always.

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From Skeleton Rebellion (book 2 in Tales of the Grim Reaper):

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I tend to make characters have a bunch of theories, some of which could be true and some of which could be false.

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I would I guess if I built my books with genre expectations and writing stuff, but I'm a pantser and whatever my characters are doing is being put down on page.

I love Red Herrings, especially ones that reveal more about the person chasing it than the actual answer. In QUEEN FOR A DAY, Cobeah sees betrayal in timing, grief, and even a familiar face. The suspicion makes sense and that’s what makes it dangerous.

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I think my characters see things as red herrings, but I don't really use them a lot. I suspect I have more twists or, even more accurately, misinformation/delayed reveal of information.
That said, book 4 will likely have a more serious twist/red herring, I think. Still plotting.

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My favorite to use is anxiety. If you have an anxious protagonist, they are going to see plenty of mundane things as scary, and that makes it hard to sort out what is genuinely suspicious versus what is just the brain overreacting.

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I don't directly construct red herrings. The characters make them.

The core device of the red herring, imo, is an assumption that leads people away from the truth.

I do also love subversions though, so the simplest answer is sometimes the right one.

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I have a love-hate relationship with this.

I used it as a bait-and-switch in Shadow Cursed. Since I weaved in a plot lead for the next book, it naturally created a diversion. There isn't a point where anyone is lying, but that doesn't mean the truth is believable.

Whereas in Resist...

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Oh definitely. I use so many red herrings in all of my stories >.>~ I'd say I prefer character-based red herrings, like making someone look suspicious when they're innocent, or a character not telling the full truth--it's fun to play with the psychology of why with that~

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I do have a mystery at the heart of Untitled Sapphic Thriller, but I think I prefer twists in general. I see the difference as: a red herring is something believed to be true that turns out to be false, and a twist is something believed to be false that turns out to be true

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Sometimes I do, other times I don't. A lot of time I rely more on hiding information from the characters, rather than red herrings.