Don't take a magic book aimed at 10 year olds as completely authoritative. Any magic trick that is truly unfathomable to an audience is surprising, even if the audience knows what is supposed to happen. They are surprised that it could happen at all.
The magician announces that he is going to cut his forearm off and put it back on. He takes an axe, whacks off his arm, and passes it for examination. He then sticks it back on his elbow and says a few magic words and begins using his hand again as if nothing happened. No surprise, eh?
The Ambitious Card and many other tricks depend not only on the audience knowing what is going to happen, but on the performer doing it again and again. Each time he does it, under different test conditions, it becomes even more amazing.
Look at the bread balls and coffee cup routine that Rene Levand does--it is both surprising and unfathomable, though the audience knows exactly what is supposed to happen each time he repeats the trick. Calvert's routine of continuaously producing balls out of the mouths of spectators is another example. These are effects of repetition.
Maskelyne and Devant discuss the various theatrical types of magic effects in Our Magic, and talk about anticipation, repitition, surprise, and many other elements and effects of magic. Effects of surprise are only one type of magic.
I have done the Gene Anderson tear as a part of my regular show for many years, in nightclubs, amusement parks, cruise ships, and corporate gigs. It always kills. I also do the cut and restored rope, the linking rings, and other hoary old classics that are familiar to most lay audiences. If the routines are well thought out and presented, audiences will still enjoy them.
By surprise, I think you may mean novelty. It is always good to do something that no one has ever seen before--at least by your audience. For example, David Blaine did a wonderful trick with ashes on his arm that spelled out a chosen card. It killed. I learned that trick many years ago from a magic book for 10 year olds. ;)