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Martyn Waites speaks with Doug Johnstone about learning crime writing on the job, adopting a female pseudonym and the joys of writing daleks.

Chris Arthur considers what makes a piece of literature disturbing, and asks whether writers and readers should be concerned by the rapid development of AI-generated text.

Alexandra Benedict speaks with Doug Johnstone about writing fiction and audio drama in the Doctor Who universe, co-writing works such as the Lovecraft-themed audio drama Arkham County with her partner Guy, and her sometimes stress-inducing habit of having many writing projects on the go simultaneously.


Alexandra Benedict speaks with Doug Johnstone about taking up writing at the age of three, her enduring fascination with dark and disturbing themes, the role of place in her creative output and how synaesthesia has influenced her use of unusual sensory details in her writing.

'I'm resistant to fiction that thinks itself extravagantly imaginative; magic realism, say. Because there's usually no narrative tension, no humour, and the dialogue is unbelievable. '
Mark Morris explains why he’s proud to call himself a horror writer, and why the short story is the ‘lifeblood’ of the genre.
'The novel I believed did not want to be written suddenly wrote itself right to the end in a matter of weeks all because of a few lines I chanced to read one afternoon in a remote house in Wales.'

Jon Mayhew speaks with John Siddique about schoolkids’ ongoing love of ghost stories, his reasons for getting into teaching, the pros and cons of plot templates, and how his writing career started with a running accident.

A series of uncanny coincidences leads novelist and ghost-story writer Helen Grant on the trail of M.R. James and the lost stained-glass windows that inspired his eerie story ‘The Treasure of Abbot Thomas’. Her quest takes her to Germany and then back to Britain; it also leads her to the heart of the question of what motivates her as a writer.
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