Mark Morris explains why he’s proud to call himself a horror writer, and why the short story is the ‘lifeblood’ of the genre.
When he came to move house, Roy Bainton was faced with the painful necessity of having to get rid of hundreds of well-loved books. But how to decide which should stay and which should go?
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.
Laura Hird speaks with Geoff Hattersley about her beginnings as a writer of bleak and gritty short stories, the real reason her first novel was written in four different voices, and how she gave her mother a literary afterlife in ‘Dear Laura’.
However it gets done, whatever works for each individual writer, there is only one thing that unites us all; we understand that writing is hard.
Stephanie Norgate reflects on why are there so many films with a writer as the central character and why the writer in question is so often a man.
As a former member of a rock band who has also been a music journalist, Doug Johnstone has always felt that music was essential to his writing. Here he considers other writers who have also made a career out of music — and vice versa.
At such times I imagine The Rolling Stones worrying about disturbing the neighbours or Jackson Pollock fretting about spilling paint on his studio floor.