A Quote by Michelle Paver

I've wanted to write a ghost story for years, and my main aim was to write the most frightening ghost story that I could think of. — © Michelle Paver
I've wanted to write a ghost story for years, and my main aim was to write the most frightening ghost story that I could think of.
This is a story about a family and, as there is a ghost involved, you might cal it a ghost story. But every family is a ghost story. The dead sit at out tables long after they have gone.
I wanted to write a horror story. But in some ways, I have always thought of myself as a kind of ghost-story/horror writer, though most of the time the supernatural never actually appears on stage.
The fundamental difference between the mystery story and the ghost story is the fact that a mystery demands a solution for its effectiveness; a ghost story is necessarily unsolvable; the reader must be willing to accept the fact that nothing is proved.
This fear is one of the horrors of an author's life. Where does work come from? What chance, what small episode will start the chain of creation? I once wrote a story about a writer who could not write anymore, and my friend Tennessee Williams said, 'How could you dare write that story, it's the most frightening work I have ever read.' I was pretty well sunk while I was writing it.
Ghosts are a metaphor that can be interpreted so many different ways. There's no ending to what you can do. You can make it a fun ghost story. You can make it a deeply disturbing, psychological ghost story.
Over the years, I've come to realize that sometimes a ghost isn't always a ghost. Sometimes, telling a ghost story is a way to talk about something else present in the air, taking up space beside you. It can also be a manifestation of intuition, or something you've known in your bones but haven't yet been able to accept.
But I think we are seeing a resurgence of the graphic ghost story like The Others, Devil's Backbone and The Sixth Sense. It is a return to more gothic atmospheric ghost storytelling.
I read a lot of ghost stories because I was writing a ghost story. I didn't think at all I was writing a horror or a thriller or whatever because it is about a ghost, whereas a horror film can be about aliens or things that rise out of the marsh that have no human shape.
It would be difficult to write a convincing ghost story set on a sunny day in a big city.
Rather than a horror film, a ghost story is different because a ghost is what you can't quite see.
I think with my book, I wanted to first of all just be completely involved in it. I wanted to write it; I didn't want a ghost writer. I wanted to be honest about everything.
I'm not 100% sure 'Rebecca' qualifies as a thriller, given it's three parts screwed-up love story and two parts ghost-story-without-a-ghost, but the mystery at the heart of the novel is what happened to Maxim's first wife, the eponymous Rebecca, and it's unravelled with the pacing and finesse of the finest psychological thrillers out there.
For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.
When you write a story, you’re telling yourself the story,” he said. “When you rewrite, your main job is taking out all the things that are not the story.
Why a ghost story? Well, I love them. They're fun to read - and, yes, fun to write.
I write and write and write, and then I edit it down to the parts that I think are amusing, or that help the storyline, or I'll write a notebook full of ideas of anecdotes or story points, and then I'll try and arrange them in a way that they would tell a semi-cohesive story.
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