swathed in an old tweed coat on which the damp had settled like a thousand tiny pearls. - Philip Pullman

This is the thing that takes me longest of all when I'm beginning a novel, to work out what the limits are, what the powers of the narrator will be, what is the appropriate tone to take. And where do I see things from: am I watching this, as it were, from stage right or stage left? That makes a difference. Mike Alfreds is an English director who has a company called Shared Experience. They do a lot of adaptations of novels. He's discovered that when they use a narrator, if they put the narrator stage right, the audience perceives the narrator as being somehow involved, warm, part of what's going on. If he puts the narrator stage left, the audience feels the narrator to be critical, detached....

Ever since then, I have to say, whenever I do a conversation with someone on the stage, I take care to be stage right. But that's an aspect of where you're seeing it from, you see, whether the narrator is viewing the characters, as it were, sympathetically or, as it were, critically. This takes a while to discover for each book.

Being cheerful starts now, Will thought as hard as he could, but it was like trying to hold a fighting wolf still in his arms when it wanted to claw at his face and tear out his throat; nevertheless, he did it, and he thought no one could see the effort it cost him.

I am a religious person, although I am not a believer.