Horror authors and filmmakers talk to Ginger Nuts of Horror about their new books and films, the influences behind them, and how they build fear on the page and on screen.
Mathilda Zeller grows her Never Whistle at Night story into It Looks Like You in the Dark, an Indigenous horror novel from Tor Nightfire. She talks about the kushtuka legend, the Inupiaq folklore her grandfather shared with her, and the Arctic mining that shaped her family. She also explains why deep water scares her more than the Alaskan dark.
In this Jack Mackay interview, the author of Gloam and The Haunting of Old Splinter talks blame, brothers and a wishing claw on the edge of the North York Moors. He also looks back on Gloam’s double win at The Week Junior Book Awards 2026, Indira Varma’s reading of the Gloam audiobook and why middle grade horror should be genuinely scary.
In this A. Rushby interview, the author of All Her Beautiful Deaths talks Victorian death photography, the ethics of looking at other people’s grief and why her sentient Culpepper House wishes its family well. She also explains why, after the darker Slashed Beauties, she wanted a feminist gothic full of yearning, and names the YA horror novel that gave her nightmares.
In this Tracy Fahey interview, the Irish author talks about Queens of the Crone Age, where the Cailleach listens to women’s stories, and Down We Go Together, her first book of crime and noir stories. She explains why she rewrote an ending to take the answer away and where her female body horror comes from. She also says why contemporary horror film keeps flattening the Hag into a villain, and what Irish folk horror can do instead.
In this J. Todd Kingrea interview, the Virginia pastor and indie horror author talks about Only Angels Have Blue Eyes, a cult horror novel drawn from a true crime case. He explains building a cult leader’s theology from scratch and timing his heroine’s slow awakening, plus self-published horror, psychological horror without the gore, and the dying town of Black Rock in With A Blighted Touch.
Kelly McWilliams talks to Ginger Nuts of Horror about American Nightmare, her Black horror novel built from Walter F. White’s real history as a NAACP spy during the Red Summer of 1919. She explains why the book, unlike her debut Mirror Girls, refuses any monster a reader could kill, and how the Atlanta Race Riot and racial passing shaped its uncanny, rule-less dread.
Jeneva Rose steps away from thriller twists for Sometimes I Scare Myself, her first horror short story collection built from three dread soaked novellas. Ginger Nuts of Horror talks to her about Never Kill the Medium, The Nightmare House, All Curses Are Final, and why postpartum horror turned out to be the perfect ground for stories with no reckoning at the end.
Tatiana Schlote-Bonne talks cave horror for her new book What Feeds Below. She built the Void’s monsters from cordyceps and deep sea life, with roots in Made in Abyss. She also traces the path from Such Lovely Skin and The Mean Ones to a close, risky friendship built to survive a pit that wants to eat it.
Michael C. Williams has a theory about The Blair Witch Project: every found footage film since 1999 gets judged against it, the way every shark movie gets judged against Jaws. With a reunion tour underway and Lionsgate’s 2027 reboot from Dylan Clark on the way, we look at who escaped that shadow, who got crushed by it, and what the new film needs to survive.
