Some writers would be kinder than others, I'm sure. Hopefully they might describe my techniques as a mixture of tried and tested formulas - if it aint broke don't fix it - and unexpected twists.

For English assignments I was constantly coming up with these strange adventure stories... But I actually wanted to be an artist, or maybe work in the comic book industry.

I believe that, like most writers, my personality comes through in the fiction. So in that respect my writing can't be like any other author's really.

As for goals, I don't set myself those anymore. I'm not one of these 'I must have achieved this and that by next year' kind of writers. I take things as they come and find that patience and persistence tend to win out in the end.

I don't know anyone who actually likes the dark or night-time. I don't care how much they say it doesn't bother them. That's why we used to huddle in caves and light fires when the sun went down.

I sometimes wonder what would've happened if I'd entered the competition instead - I'd probably have come nowhere and given up on the whole fiction game.

Unlike life, you've got more or less complete control over what's going on in your stories. That's not to say you can make characters do whatever you want them to - they usually have a life of their own if you've done your job properly.

This sort of encouragement is vital for any writer. And lastly the publication of Touching the Flame, which was on hold for two years and went through a few publishers before finding a stable home.

I know it's popular to say this because she's the woman of the moment, but Halle Berry. Not only does she have obvious audience appeal and star quality, but she's a damn good actress too.

Because I'm such a creative person, and I've always got my nose in a book, I suppose it was only a matter of time before non-fiction turned into fiction again. But I never consciously set out to become a writer and I never thought I'd be doing the things I'm doing today.

The most terrifying thing I can think of is being alone - and I mean utterly alone, like no one else in the world alone - at night. That's the nucleus of the first story in my collection and it's also where the title came from for the book.

Sometimes I'll hear a phrase or a word and write it down in my little black notebook (a writer's best mate), then come back to it and work a plot around it.

I can look back at stuff I wrote in my early days and squirm at some of the mistakes I made. But we're all learning every day; we never stop. I just hope people keep on liking what I do. That gives me such a kick.

It was relatively easy to write 'The Cave of Lost Souls', though, because it came to me one night in a dream. I remember waking up and having this idea for a complete story - from start to finish - in my head, so I jotted it down, then later began writing the thing.

I've had a lot of very positive feedback about those stories, and seem to have struck upon something that most people feel. I can also tap dance, and don't know many other authors who can.

Writing can be a very solitary business. It's you sat at a desk typing words into a computer. It can get lonely sometimes and lots of writers live quite isolated lives.

I also paint, draw and I'm into film and photography as well, and the same thing applies to all of them. You're presenting this material to the general public and hoping that they're going to 'get' what you're doing. Some don't, some do.

Having said that, I'm a huge Jack Nicholson fan because he just goes nuts in everything he does. Having Jack in his heyday would also be a dream come true.

My most intimate secrets? Well, if I told you those they wouldn't be secrets now, would they? Seriously though I don't have too many secrets. I'm a very open and honest person, sometimes too honest for my own good.

I'm fortunate in that I'm a lecturer too and this gets me out and about and away from the computer. I also have loads of friends all around the world, plus a core group of special people in my life that I can lean on, chat to, or just hang with.

I love a good laugh as well, I think that's so important in life, which is probably why I've dabbled in comedy writing as well as horror. I think if you can make someone laugh or smile it's the most special thing in the world.

Some writers would be kinder than others, I'm sure. Hopefully they might describe my techniques as a mixture of tried and tested formulas - if it aint broke don't fix it - and unexpected twists.

For a country to have a great writer is like having another government. That's why no regime has ever loved great writers, only minor ones.

I belong to a specific category of writers, those who speak and write in a language different from that of their parents.

I think ethnic and regional labels are insulting to writers and really put restrictions on them. People don't think your work is quite as universal.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

It is certain, indeed, that the sacred writers were apt to make great allowances for people with empty stomachs, and though I am well aware that the present profane ones think this very reprehensible, I venture to agree with the sacred writers.

I have always noticed that in portraits of really great writers the mouth is always firmly closed.

Our job as writers and thinkers in the time is how to bring about the occasions that let people have that first-person experience - or the metaphoric experience that allows them to see human continuity as opposed to total threat, total willingness to do violence.

That has to remain the principal reason for doing it, doesn't it? I know it's possible to write for money, and many very good writers have done so. But for me, it has to remain the principal thing that I actually want to do the writing.

You need the words, you need the script, you need the material, you need the commitment, you need the passion, it's like we depend on writers, we depend on producers, directors depend on us and once things are in the divine order as they happen.

Apart from a few simple principles, the sound and rhythm of English prose seem to me matters where both writers and readers should trust not so much to rules as to their ears.

Remember Graham Green's dictum that childhood is the bank balance of the writer? I think that all writers feel alienated. Most of us go back to an alienated childhood in some way or another. I know that I do.

A writer should get as much education as possible, but just going to school is not enough; if it were, all owners of doctorates would be inspired writers.

There's a certain possessiveness of writers sometimes.

Writers are too neurotic to ever be happy.

I was notified on July 17 to be ready to start August 7 for an October air date. When we reached the screen we did not have a single segment ready. It was done so fast the writers never got a chance to know what it was all about.

There are some fine books and essays about that. Lewis Hyde has written about alcoholism and poets and the role that society gives its writers - encouraging them to die.

What makes me furious, not just because we're in an interview, but I don't like when writers take your words and put them somewhere else, in the wrong context in their own article about you.

Women writers have been told, forever, that our stories were not valuable. Not as valuable as men's stories about wars, business, power.

How some of the writers I come across get through their books without dying of boredom is beyond me.

I love the line of Flaubert about observing things very intensely. I think our duty as writers begins not with our own feelings, but with the powers of observing.

Movies have influenced all writers, not just thriller writers.

Labels only confuse people. The smarter people recognize artists who transcend categories. But I always try to entertain. It's in my nature; writers are born to entertain. If that means working ostensibly within a genre, fine.

I like a lot of Margaret Atwood, I like much of Alice Munro. Again, if you were to ask me about male writers, there's often a novel I admire, but not all of their works.

Recipe writers hate to write about heat. They despise it. Because there aren't proper words for communicating what should be done with it.

Pop science goes flying off in all kinds of fashionable directions, and it often drags a lot of SF writers with it. I've been led astray like that myself at times.

Black writers, of whatever quality, who step outside the pale of what black writers are supposed to write about, or who black writers are supposed to be, are condemned to silences in black literary circles that are as total and as destructive as any imposed by racism.

Writers, all the good ones, are Natural Born Liars.