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.
Nick Medina talks Savage Lake, his fourth novel, where a Tribal roadblock strands a mother and son at a cabin on Torchlight Lake. He explains why he left the Takoda books behind, how he took cryptid horror back to its roots in Native belief, and what readers wrongly expect from Indigenous horror.
Michael Mizov talks about The Last Heir of Bradbury Manor, his debut gothic horror novel from Three Dragons Press, and the Yorkshire house at its heart. He explains how Lottie Bradbury was built one question at a time, why the book lost its first title, and why people sure they are right frighten him more than monsters.
Weldon Burge talks Enter Vengeance, the paranormal police procedural that sets Detective Rex Justison and psychic Alicia Masters against Tisiphone, a Fury who calls ahead. In this Weldon Burge interview he explains why the dread comes down a phone line, what Harvester of Sorrow taught him about juggling points of view, and why vengeance satisfies on the page when justice fails.
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.
