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'To my parents’ credit (or detriment), they never censored anything. I loved Lois Duncan, who wrote about murderers, serial killers, witches. I loved Chuck Palahniuk’s earliest novels: Fight Club, Survivor, Invisible Monsters. I loved American Psycho. '
Charlie Hill on how the closure of a train station, and an unplanned overnight in Leicester, led him to question his long-held beliefs about what makes effective writing.

Julianne Pachico speaks with Caroline Sanderson about growing up in Colombia at an unstable and threatening time, how horror and suspense fiction have influenced her work, and how she marries the demands of teaching creative writing with those of producing her own work.

'I returned to UEA to teach on the MA, and though I still valued Angela Carter's advice to me, it isn't advice I readily pass on to my students. I do believe we should write about what we know, but I no longer interpret that maxim quite so literally.'

Andrew Cowan speaks with Bethan Roberts about growing up as a working class boy in Corby, eventually taking a Creative Writing MA mostly because he liked being a student, the way his writing proceeds from the visual to the written to the auditory and the slow genesis and under-appreciated success of his first novel.


Ian Thomson speaks with Gabriel Gbadamosi about the writer’s need for selfishness, the use of not being comfortable in one’s own skin, subverting Englishness with JG Ballard and writing about Jamaica, Primo Levi and Haiti.

Science Fiction is still occasionally dismissed as a ‘popular’ genre, without literary merit. Brian Clegg considers why this is and suggests it is time for a change of attitude.
The suburbs have often been dismissed as dull, but for Charles Jennings, they are a source of inspiration, offering a calm and neutral space in which his imagination can run wild.
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