All items: short story

Rukhsana Ahmad speaks with John Siddique about her peripatetic childhood in Pakistan, how her concern for other people motivates her to keep writing across years and genres, and how she’s avoided the constraints of the ‘post-colonial’.

Mark Morris explains why he’s proud to call himself a horror writer, and why the short story is the ‘lifeblood’ of the genre.

Susan Barker speaks with Cherise Saywell about the international origins of her novels, the way her characters and storylines emerge organically as she writes and her experiences living in Japan and China.

I immediately understood how I could write a similar story, and I promised myself when I returned to England I would do just that. It took me a while to recover but later that year I made good on my promise.
Call me crazy but after that first novel was out I avoided libraries. Books became alien; standing in a bookshop one afternoon I felt physically sick, so strong was my aversion.

Meaghan Delahunt speaks with Cherise Saywell about revolutionary beginnings, the physical nature of her writing and drafting process, being a 'citizen of nowhere' and the pressure on Australian writers to conform to Colonial perceptions of their country.

Elanor Dymott explains how an encounter with the tangible aspects of photography, during deeply immersive research for her second novel, almost stopped her being a novelist.

Alex Martin considers whether it's better to be a man of action, or to live a more contemplative life. Or can a writer do both?

I became the Silent One, impossible for teachers to assess; a passive spectator at seminars, hating myself for being unable to speak up even when I knew the right answer.