The mere fact of my novel being filmed means very little to me. For a long while after 'The Crimson Petal's publication in 2002, it looked as though Hollywood was going to adapt it.
My affinity, as a novelist, with Dickens has been overstated. I relish the way everything in his prose pulsates with life force, and I'm in debt to him every time I invest inanimate objects with uncanny animism. But his female characters annoy me.
The privileged Victorians who did most to improve the lives of the poor were not ashamed of their pious intent: they were superiors seeking to help inferiors.
I would love to have faith. When you take God out of the universe, there is no-one taking care us - we are just parcels of meat, collections of atoms - we have a little flowering on Earth, and then we're gone.
Pathos and poignancy are, to me, tactics and techniques; in my work as a writer, I fetch them from my toolbox and use them as required.
Total oblivion is the fate of almost everything in this world. I'm very likely to suffer that same fate; my work will probably not be remembered, and if any of it is, if any of those novels is fated to be one of those novels that is still being read 50 or 100 years after it was written, I've probably already written it.
