Write a ghost story narrated in the first person. Use the present tense forms of the given ve in your story wait stare fall scream crawl laugh tense shout ring bang slide move gather throw run joke scare
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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?
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.
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."
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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