I think I might agree with this if it was formulated differently, but "have them be interrupted before anyone can apologize" is one of the most irritating goddamn things to read because it's so transparent what the author is doing. If the characters' problems are a misunderstanding that can trivially be solved by a simple communication and that communication doesn't happen for fucking 20 chapters it's annoying as fuck to read. Not in the sense of "I want this to happen and it's not happening" but in the sense of "fuck this author this is the most tired-ass shit why do people do this." Far better to find a way to give them actual problems rather than bullshit ones. (This isn't universal. I've read stories that have communication and leaving things unspoken as an underlying theme and so miscommunication between people ties in to the rest of the story and feels connected and it all works. It can still be annoying that the characters aren't doing the obvious easy thing that fixes everything, but at least it doesn't feel like the author is treating me like an idiot.)
So, uh. Anyway. What I would agree with is that you are generally going to want to wait to resolve your main storylines until the end of the story. If your romance is a main plotline, then yeah, it needs to not be resolved halfway through. You can think of storylines as being like sets of nested parentheses. The main ones will generally need to be introduced earliest and resolved last. Subplots can be introduced later and resolved earlier. Not universal, like everything else, but a useful rule of thumb.
As far as not giving the readers what they want, I think of it more as not giving the characters what they want. Dave Farland talks about try-fail cycles, where they try multiple times to achieve their ultimate goal, and fail each time, each attempt escalating until the end where they succeed or fail for the last time. This is true on a broad structural level, but on a scene level I like Mary Robinette Kowal's formulation of "yes, but..." and "no, and...". In any given scene, your character is taking some action, trying to do something. The question is, do they succeed in what they're trying to do? A straight "yes" or "no" answer ends that story thread, so mostly you want to use "yes, but..." (yes, they succeed in what they were trying to do, but this just ends up making things worse or causing a different problem--the hero apologizes to the heroine, resolving the miscommunication, but it turns out they actually have an honest, fundamental incompatibility that means they can't be together) or "no, and..." (no, they fail in what they were trying to do, and also things get worse or there's another problem--the hero's apology misses the point and the heroine refuses to accept it, and in fact announces she's leaving town because she doesn't want to see him.).
Sort of rambling here, hope this makes sense.
