I talk to children in schools all over the world, and I've found that both boys and girls are fascinated by how hunter-gatherers manage to survive entirely on what's around them in their environment: trees, rocks, animals and plants.
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To experience the northern forest in the raw, I went to northern Finland and Lapland, travelling on horseback, and sleeping on reindeer skins in the traditional open-fronted Finnish laavu. I ate elk heart, reindeer and lingonberries, and tried out spruce resin: the chewing gum of the Stone Age.
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If you get a sense that your writing isn't quite working, change it. Or cut it out. Don't just tell yourself it'll do, because it won't.
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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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When my father was diagnosed with terminal cancer in 1991, I asked him if he had any regrets, and he said no. I was a burnt-out litigation solicitor in my thirties, hating my life, and his cancer made me re-evaluate it all.
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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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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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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.
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The most remote place I've been to was in Greenland. I remember setting out for a solo hike from a small cabin, itself several hours' boat ride from the nearest settlement.