British - Novelist | September 7, 1960 -
In a ghost story, usually you've got to hang on until daylight, and you'll be alright. But if daylight's four months away, then you have a problem.
Michelle Paver
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There's this whole thing of being two people. You are the person you want to be - the writer - and then there's this weird other life of going on tour and talking about the writing. And that really is weird.
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I'm quite happy trekking around Greenland on my own, but those big book tours in America or the Far East are the only time I ever really feel lonely.
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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.
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It's true to say that once I've got the bare bones of a story, I often get ideas from my own research trips to faraway places.
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In general, when I'm writing, I concentrate on the story itself, and I leave it to other people, such as agents and publishers, to work out who it's for.
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Writing is a mysterious process, and many ideas come from deep within the imagination, so it's very hard to say how characters come about. Mostly, they just happen.
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I definitely don't write with any kind of 'message' or 'lesson,' probably because when I was a child, I used to run a mile from books like that.
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I would love to live in the wilds of nowhere, and when writing 'Chronicles,' I would occasionally rent a cottage in the middle of nowhere that had no mobile reception, but I'm not about to move away from my family.
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I sometimes wonder why I do so much research - I look at other successful writers, and I think it must just be so relaxing to write about flying horses or something, but I have to make it plausible.
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A lot of my writing is wish-fulfilment, making things the way I want them to be.
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To get the feel of the polar night, I went back to Spitsbergen in winter. I went snowshoeing in the dark and experimented with headlamps and climbed a glacier in driving snow.
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