When the reader hears strong echoes of his or her own life and beliefs, he or she is apt to become more invested in the story.

I started to submit when I was twelve, and obviously at that time they weren't good enough, and I suppose in my heart of hearts I knew it. But you have to start sooner or later, you have to dig in.

The most important things are the hardest things to say. They are the things you get ashamed of, because words diminish them - words shrink things that seemed limitless when they were in your head to no more than living size when they're brought out.

A scary movie puts a lot of people, a mob, in one place. There are advantages to that because the panic runs through the audience. If it's a good movie, the fear jumps from one person to the next. You can find yourself screaming just because everybody around you is screaming. There's a real atmosphere of terror. It's also visual, which means that you can't look away from this thing - it's happening. You're in the dark. It's like a nightmare. It's like a dream. It's very, very visual. It works on all those levels.

We don't know the days that will change our lives. Probably just as well.

I think the best stories always end up being about the people rather than the event, which is to say character-driven.

The only leverage the manufacturer can apply to the retailer is his relationship with the consumer. And the main element in profit growth is going to have to lie in making his brand more valuable to the retailer, through its being more valuable to the consumer. And that means his brand must be unique, it must have no adequate direct substitutes - because it is in this, after all, that value lies.