An Interview with Curtis Jobling: From Bob the Builder to the Wyrdwood

You might not immediately connect the cheerful, can-do theme song of Bob the Builder with the bone-chilling terror of a folk horror novel, but for Curtis Jobling, that’s just the breadth of his remarkable creative universe. Best known to millions as the original designer of the beloved children’s character, Jobling has always had a darker, more thrilling passion simmering beneath the surface—a first love for fantasy and horror that now dominates his career.

Today, he is a powerhouse author and illustrator, captivating older audiences with his critically acclaimed Wereworld series—an epic described as “Game of Thrones for teens”—and his darkly comic YA novel, Haunt: Dead Scared. Not content with conquering the page, he’s also a leading force in bringing his worlds to the screen, most notably as the lead writer and producer for the Netflix adaptation of his work, Wolf King.

In this interview, Jobling pulls back the curtain on his creative process. He reveals the nightmare figure he’d least like to meet in a dark alley, explains why villains are the most fun to write, and makes a passionate case for horror as the ultimate “vicarious thrill.” From discussing the political power of the genre to sharing the best writing advice he’s ever received (and his brilliantly practical tip for dealing with a truly terrifying book), Jobling offers a fascinating glimpse into the mind of a storyteller who is as dedicated to his craft as he is to thrilling his readers.

So, whether you know him as the creator of a friendly construction worker or the architect of epic fantasy-horror, prepare to meet the real Curtis Jobling. And Check out our review of of his new novel, Wyrdwood here

Please tell the readers a little bit about yourself.

I’m an author, illustrator and animation creator. Although my early career was spent working with younger audiences (I’m the originally designer of Bob the Builder – sorry), fantasy and horror for older ages has always been my first love. These days I’m a full time writer, either in genre fiction or adapting my own novels into shows for television (such as Wolf King on Netflix).

Which one of your characters would you least like to meet in real life?

Possibly the Twig Man, from my latest folk horror novel, Wyrdwood. He’s a spring-heeled, Jack Skellington-esque nightmare figure, who steals children away in the dead of night.

Which of your characters is your favourite?

Count Kesslar from my Wereworld novel series – he’s a dealer in blood, flesh, and bone, a slaver, and he just so happens to be a Goatlord. Villains are always the most fun to write, and Kesslar is a total wrong’un. And yes, his name is a nod to one of my favourite films, An American Wereworld in London. The first Wereworld novel, Rise of the Wolf, was published in 2011 and shortlisted for the Waterstones Prize, with a further five novels following in the epic fantasy-horror series. It was described by Penguin as Game of Thrones for teens when launched at San Diego Comic-Con and that tagline has stuck with it ever since.

Which of your books best represents you?

That would be Haunt: Dead Scared, which is a darkly comic YA novel, a true mixture of humour and horror. It’s set in my hometown of Warrington in the UK, at my old high school, and is therefore semi-autobiographical. There’s an awful lot of me in Haunt.

Other than the horror genre, what else has significantly influenced your writing?

A love of fantasy and folklore. My favourite novel growing up was probably The Lord of the Rings, and myths and legends around the UK have always fascinated me. Whenever we went on holiday as kids, my first port of call was always the local bookshop where I’d pick up a regional spooks and spectres book. I have vivid memories of carrying Peter Underwood’s Ghosthunter’s Handbook with me everywhere I went as a kid, and even went so far as creating my own ghosthunter’s kitbag. Of course, I’m a big boy now, and that kitbag is long gone. I don’t believe in the paranormal, but I remain utterly fascinated by the notion of it – would love to be proved wrong.

The term horror, especially when applied to fiction, always has such heavy connotations. What’s your feeling on the term “horror”, and what do you think we can do to break past these assumptions?

For me “horror” doesn’t have to mean monsters, demons, aliens and that hideous new sub-genre, torture porn. I love the genuine frights I get from nightmares – they’re like free horror movies for me, and heaven only knows what my subconscious is going to dream up. Horror is all about fear, and fear is a tremendous emotion to tap into, certainly in literature. The worst way to experience fear is when you’re in genuine physical peril. But reading a scary book is a vicarious thrill. A book can’t hurt you. If it’s scary, just shut the book. If it’s really scary, throw it in the chest freezer in the garage.

Should horror be political?

“Should” is a strong word. “Can” would be more appropriate, and I think it certainly can, and some of the greatest horror has been political. Night of the Living Dead continues to blow people’s minds (not least in the film itself at the end), and can rightly be acknowledged as a deeply political movie.

Why do you think so many people enjoy horror?

It’s unadulterated escapism. As I’ve said before, you’re in no real danger when enjoying horror. You can enjoy it from the comfort of your armchair, with the lights on or from the safety of hiding behind a cushion.

What, if anything, is currently missing from the horror genre?

I’m enjoying writing for those teen and YA audiences at the moment, where a lot of middle-grade readers aspire to reading the same books. I don’t see any folk horror (my favourite sub-genre) in that landscape, so am really hoping my Wyrdwood books find that under-nourished audience.

Who would be on your Mount Rushmore of horror?

Matheson, King, Lovecraft, and Herbert.

Are there any reviews of your work, positive or negative, that have stayed with you?

Oh, I’ve had a fair share of audiences scream and wail at some of the deaths in the Wereworld series of novels. Not every hero makes it to the end. I learned early doors that you can’t please everyone, and I’m cool with that. Those books are about war, and war is bloody horrible, and bad things happen to good people. I wanted to stay faithful to that notion when writing them, and gave the “Disney ending” a big old swerve.

What aspects of writing do you find the most difficult?

Always the plotting, and I’m one of life’s plotters. I need to know where my story’s going before I start writing (you wouldn’t run a race without knowing where the finish line was). Once I get going, I’m all good – momentum is everything.

Does writing energize or exhaust you?

Energizes, especially once you get in the groove. Like I say, getting – and keeping hold of – that momentum is so key. Writing every day is a discipline every writer should aspire to. Sometimes writing feels like cycling uphill – it’s a slog, at first. But if you keep going that hill will level out, and sooner or later you’ll be freewheeling down the other side.

What’s your best advice for new authors about social media?

You can’t pick and choose reviews. If you’re going to accept the good, you have to accept the bad. And at the end of the day – they’re just opinions. We’ve all got ‘em, and some of them stink of poop.

How do you balance making demands on the reader with taking care of the reader?

As mentioned earlier, killing off a beloved character is a tough call, and I’m very mindful of it in all my work. Don’t make it cheap. If it’s going to happen, it need to be impactful on the reader, not exploitative. Remember, your audience (should) love your characters. They care about them. Don’t dick them about.

Writing is not a static process; how have you developed as a writer?

Hopefully, I’m getting better with each new book I write. I certainly look back at my earlier work and see how I would’ve done things differently if I started again. But growth is good.

What’s the most surprising thing you learned while writing your books?

I work better when I have a deadline. If it’s an open-ended writing job, I find myself procrastinating. Knowing I have to finish a script in a set amount of time really helps me to focus.

What does literary success look like to you?

It’s pretty simple – not worrying about where the next paycheck is coming from. I didn’t get into writing or creative industries to make a fortune – few of us do – but so long as myself and my family are all happy, I couldn’t be more content. Of course, it’s lovely to find an audience – to know that my books thrill, scare, enlighten or sadden someone is always great to hear.

What is the best piece of advice you ever received regarding your writing?

Write every day. I’d love to say I stick to that advice, but with wearing so many hats (author, illustrator, broadcasting show creator and producer) it’s sometimes tricky to adhere to.

Do you have a favourite line or passage from your work, and would you like to share it with us?

“I never saw the vehicle that hit me. I was doing everything right; staying close to the curb, my lights on, not far from home. I felt my bicycle crumple against the bumper as I flew out of the saddle, hitting the bonnet with a bang. My body span as the car sped on, impacting with the windscreen before rolling like a ragdoll over the roof. Then the vehicle was gone and my broken body was flying through the air.

I was dead before I hit the tarmac.”

From Haunt: Dead Scared.

Can you tell us about your last book, and can you tell us about what you are working on next?

My most recent book is Wyrdwood, a folk horror for a YA audience. Set on the Isle of Man, which has always felt a little bit lost in time to me, it’s essentially a modern Grimm Bros fairy tale for the Stranger Things crowd. It’s out in time for Halloween, 2025, and is published by Fox & Ink Press. And it’s an absolute blast of creepiness, with a host of characters that wouldn’t seem out of place in Stephen King’s Castle Rock.

I’m also adapting my Haunt novels into a live-action drama series and potential stage show, plus there are various other shows which I’m consulting and writing on. And another two novels for Fox & Ink. So busy, busy, busy…

If you could erase one horror cliché, what would be your choice?

Jump scare endings when the villain, once killed, comes back for another bite at the cherry. Or the Final Girl.

If your partner was going to leave you for another author, which author would you like them to end up with and why?

Oof. I’d like her to live with the very gorgeous, furry, big-hearted Phil Earle. Though I’m not sure what Phil’s lovely wife would have to say about that…

What’s the one question you wish you would get asked but never do? And what would be the answer?

Maybe “What’s your dream job?”. To be fair, I’m kind of doing it already. But I would love to be involved in an ongoing, epic, sprawling horror fantasy that straddles numerous mediums and platforms. I’ve always worn lots of hats and created books and shows for different audiences. There’s something very lovely about building a world and then watching it grow, on the page, on the screen, and with its audience.

Check out our review of Wyrdwood here

Wyrdwood by Curtis Jobling

A bewitching tale, weaving folklore with contemporary horror for a teen audience.

Sticks and stones will break your bones . . .

Something strange is happening in Merryweather-by-the-Sea.

Whispers in the playground abound – a spring-heeled phantom haunts the edge of the Wyrdwood, the ancient forest which surrounds the sleepy coastal town. But the Twig Man is the least of Kiki Harper’s concerns.

Returning home for the holidays, Kiki discovers a peculiar woman has moved into her family home, having stolen everybody’s hearts. Who is the beautiful Fay – and could Kiki’s family really be bewitched?

Cover illustration by Alice Cao

CURTIS JOBLING AUTHOR BIO 2025

The man behind beloved children’s shows including Bob the Builder and Raa Raa the Noisy Lion, author and illustrator Curtis has also written numerous fantasy and horror novels for older audiences. Known for his acclaimed Max Helsing and Hauntnovels, his debut, Wereworld: Rise of the Wolf, was published in 2011. Described as “Game of Thrones for a middle grade audience”, it was shortlisted for the Waterstone’s Children’s Book Prize. A further five novels followed, leading to Wereworld’s acquisition and adaptation by Lime Pictures. Wolf King is now a major animated series on Netflix, with Curtis remaining firmly involved as lead writer and producer. His latest novel, Wyrdwood, is a chilling folk horror for teens and young adults.

Interviews on Ginger Nuts of Horror

If you’re a fan of horror literature and cinema, then you absolutely need to check out the horror interview section of Ginger Nuts of Horror.

Firstly, the interviews feature a diverse range of authors, filmmakers, and horror enthusiasts, allowing readers to gain a multifaceted understanding of the genre. Each interview is an opportunity to explore the creative processes, inspirations, and personal stories behind the minds that produce some of the most chilling and thought-provoking works in horror today. From seasoned veterans to up-and-coming talents, the variety of voices ensures that readers can find something that resonates with them.

Moreover, these interviews often delve into the nuances of what makes horror such a compelling genre. Contributors share their thoughts on the psychological aspects of fear, the societal influences on horror trends, and the ways in which horror reflects cultural anxieties. This deeper exploration not only enriches one’s appreciation for horror stories but also fosters discussions about broader themes, such as identity, morality, and existential dread.

The interviews frequently touch on practical advice and industry insights. Writers and creators often share the hurdles they faced in their careers, tips for aspiring horror writers, and the realities of getting published or produced. This wealth of knowledge is invaluable for anyone looking to navigate the sometimes challenging waters of the horror genre. Readers interested in breaking into horror writing or filmmaking will find a treasure trove of wisdom that could pave their path toward success.

Lastly, the community aspect of Ginger Nuts of Horror cannot be overlooked. Engaging with these interviews allows readers to feel connected to a larger community of horror enthusiasts. Comment sections and social media interactions often follow, enabling fans to discuss their thoughts and engage with both the interviewees and fellow readers.

In conclusion, the horror interview section of Ginger Nuts of Horror is an essential resource for anyone interested in the genre. It provides rich insights, guidance, and inspiration that can deepen one’s appreciation for horror while fostering a vibrant community among fans and creators alike. Don’t miss out on the chance to delve into the minds of your favourite horror creators!