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to write a Story writing in 300 words
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Story Writing
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We don't believe in ghosts, so writing ghost literature for a modern readership presents particular challenges. How does one write for an audience that is cynical, yet still wishes to be terrified? What exactly is a ghost, anyway?
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We live in an age of reason, a more secular culture than that of those great ghost writers, the Victorians; we rely on the proofs and disproofs of science, psychology and medicine, on the digital recording of much of our lives. We live in brightly illuminated rooms on streets devoid of the terror of something moving just outside the lamp light. Wraiths don't tend to show up on CCTV cameras, holograms are explicable phantoms and we all know what Freud made of ghosts.
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It was only after I was approached to write a novella with a supernatural aspect that I realised all my novels are haunted: by the past, by desire or by guilt. And so it took only a small shift to see that I could take this one step further. The ghosts should not be visible – at least not in any straightforward way. Who can forget Peter Quint standing outside the window in The Turn of the Screw? He is always at one remove: behind glass, or in the distance on a tower, just as his companion Miss Jessel is glimpsed on the other side of a lake. While writing Touched, it felt important to me that unexplained presences were not the walking dead, but were just perceived as sounds, scents or misidentifications; at most, they are reflections, or reported sightings, or something captured in the split second of a film still. As Roald Dahl boldly claimed: "The best ghosts stories don't have ghosts in them." And, as Susan Hill says: "Less is always more."
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The contemporary writer must trade on the power of anticipation, on the unnerving aspects of less obvious settings than candlelit wrecks in fog. I sought brightness for my unease: brilliant green grass and relentless sunshine, so the glimmer in the trees, the hint of eyes in a window, were all the more unexpected. Perfection can be eerie. The power of a ghost story lies in what is feared beneath the surface of the narrative, terrors glimpsed or imagined in the cracks, rather than what leaps out of the shadows.
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Form is an issue. Novels are far more popular than short stories, but there are very few full-length ghost novels because of the difficulties of sustaining suspension of disbelief. Even in ghost writing's heyday, it was the short story – by Dickens, HP Lovecraft, Charlotte Riddell – that was the dominant form, while the longer classic of the genre, The Turn of the Screw, is only 43,000 words. Readers need to be in a state of tension for the unfathomable to prey on fearful minds, yet this can be maintained by the writer for a limited time without risking nervous exhaustion.
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There is a fine balance between the psychological and the spectral. Ghost writing must involve a blurring between reality and madness or projection. So Sarah Waters's doctor in The Little Stranger slowly reveals himself to be an unreliable narrator; the protagonist of Charlotte Perkins Gilman's The Yellow Wallpaper is either insane or accurate. The theory that the Governess in The Turn of the Screw may be a neurotic fantasist began when Edmund Wilson wrote his Freudian psychopathology interpretation in 1934, though I believe that James did not intend this. The dead Rebecca of Daphne du Maurier's novel skews the narrator's mind as powerfully as if she had appeared thumping round Manderley. The modern ghost writer inherits a tradition of unreliable narrators,
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