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It would appear that I just love writing many different stories.

Oh, there's a teenage girl inside all women. It comes out mainly when we walk into a room filled with other women and immediately feel self-conscious. I do, anyway. I'm always convinced I'm going to fall flat on my face or something.

I think in some ways, you end up with more interesting storytelling with series, because if you've written yourself into a corner with something in book 1, you have to be cleverer to get out of it.

I'm not a natural researcher, and I don't get bogged down in it, but I think if you get it right in the first half, people will forgive you, and then you can move on with the story.

I wrote my first five horror novels while I was teaching.

I've seen a range of children's personalities, so it's easier to write about them without patronising them, I think.

I'm a lot less travelled as an adult than I was as a child, but I think living in far flung places gives you a perspective on the world and people that adds flavour to your writing.

My first six books were horror, I think because when I was young I loved Stephen King. John Wyndham, Daphne Du Maurier, and it's natural to try and emulate the books you first loved.

Basically, I just write whatever story grabs me rather than considering the genre.

Monsters don't scare me at all; I think creepy is scarier than gore. I tend to read more thrillers and mysteries than horror, though. I like a good whodunnit. If I want scary, I tend to reach for a movie. I think it's a great medium for horror.

The Thames Torso murders almost fell into my lap. After deciding to use a real historical crime as the focus for the book, I went to Google and searched for unsolved murders in Victorian London, and they basically popped out at me about halfway down the first results page.

The unreliable narrator is an odd concept. The way I see it, we're all unreliable narrators of our lives who usually have absolute trust in our self-told stories. Any truth is, after all, just a matter of perspective.

The only rule I have in how I let characters tell stories is that they must always tell the reader their version of the truth. No one likes being outright lied to, even in fiction.

I don't mind a narrator who's self-deceiving, but the clues for their truth have to be there for the reader to see.

Never trust a narrator whose opening gambit is to insist he's not mad.

I always found the witches and wicked stepmothers far more interesting than the 'heroines' - at least they actually did something.

Maybe even at six or seven, I knew that, sweet as they were on the surface, all fairy tales needed a feminist shake up.

Anyone who has to have the word 'charming' in their name probably isn't - just take a look at any dating site where men use 'prince charming' in their description.

We all love a bit of 'true love conquers all,' and when I started on 'Poison,' 'Charm' and 'Beauty,' that was one rule of the fairy tale formula that I didn't want to break.

I would quite like to become a mainstream thriller writer, obviously, because I enjoy writing those stories, and it is the best way to secure your career.

I hate it when it is all about the twist and when the ending comes out of nowhere. I think you should be surprised and shocked, but you should also think, 'Damn, I should have seen it,' because there are clues all the way through.

I know it's dangerous to say you want to do something different with a genre because people always take that as an insult to the genre.

Adults lie to themselves all the time about what is acceptable, but kids know what is right and wrong.

I have written in a lot of genres, that's true, and I'm not sure it's always served my career well.

The strange thing about living somewhere for a couple of years and then moving on and not returning is that those locations become ghosts of themselves in your mind.

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