Though they don't always have to be set in fog, weather is incredibly important in ghost stories. As is suspense: you've got to turn the screw very, very slowly.
Susan Hill
It would be difficult to write a convincing ghost story set on a sunny day in a big city.
Flashback in film rarely works.
The New Testament is about loving other people as you love yourself. That means caring for them and looking after them and being kind to them.
Kindness is a sort of love without being love.
I have only read very classic traditional English ghost stories, other than Henry James, who wrote some magnificent short ones as well as the longer 'Turn of the Screw.' He, Dickens, and M.R. James are my influences.
The one thing the Victorians really believed in was philanthropy. I think we've forgotten the obligation to be philanthropic. I think we need smaller government, but I want to make it clear I'm not the Sarah Palin of the Cotswolds.
Every reader re-creates a novel - in their own imagination, anyway. It's only entirely the writer's when nobody else has read it.
Certainly with a book, people are going to be able to read it and give themselves permission to have that delicious feeling of being terrified because they're in a safe place while they're reading. That's what you can rely on as a writer, that people can let themselves be really frightened because they're really all right.
It's easy to write a short story and frighten people for five pages, but to work at length, when you do it as in 'The Turn Of The Screw' or 'A Christmas Carol,' it's different; you have to build it and build it.
Love has an enormous number of connotations, and if somebody is a person who does kind acts as a way of life, if they are generally disposed to being caring and loving and doing things for other people, then kindness is a much stronger word than we make it out to be.
I've never written poetry. I'm not a poet, but I think the nearest you get is either the short story or the novella, in that you can't waste a word. There is no hiding place: everything's got to be seen to relate, and the prose counts.
I was an only child who was never really good at anything else. I had no other option. I could write; I wanted to write; I wrote. Otherwise, I was unemployable.
I was taught to whistle as a little girl by an undertaker. I used to sit in his workshop, watching him planing wood for the coffins, and he used to whistle all the time - and eventually I started whistling, too. I can whistle anything, particularly trumpet tunes from Classic FM.
I wrote ghost stories because I'd always enjoyed reading them, and they seemed to be fizzling out... I don't take them terribly seriously. It's like a cake, with ingredients.
If you were writing a short ghost story, I would say start very quietly and go, 'One, two, three jump.' Or start with a jump and make it jumpier. But with a long story, it must have rises and falls.
I don't understand it when people get cross about how one of their works was adapted and say, 'Oh, they ruined it!' Well, the book is still there.
I don't really do jolly. I don't know why, I just don't.
I'm not one of those people who hates Amazon because they're big. Why pay a third more for the same thing?
A lot of writers want everything put on screen, but it doesn't work like that. The screenwriter brings her own imaginative interpretation, just as the director and actors do.
Yorkshire is so much part of me.
In another life I would be a medievalist. I loved Chaucer, far more than Shakespeare.
Films always make everyone else rich save the author.
Theology is endlessly interesting in that you can study it without believing in anything. I do believe, but you don't have to. I got very caught up in the 11th-century monasticism and the Cistercians. My dissertation was about Aelred of Rievaulx and one of his books.
Once you finish a book, you let it go out into the world to seek its fortune.
Without turning prison life into something more meaningful, prisoners are more likely to reoffend.
