Hannah Kate is a multi-talented woman.  Based in the UK, she is a poet, writer, and editor, and also runs a small press, Hic Dragones, which publishes “intelligent but weird” dark fiction, holds conferences and events related to dark and horror fiction, and markets a series of murder mystery games. She has authored the poetry collection Variant Spelling (Hic Dragones 2012) and a number of short stories and edited the anthologies Impossible Spaces (Hic Dragones 2013) and Wolf-Girls: Dark Tales of Teeth, Claws, and Lycogeny (Hic Dragones 2012). As Dr. Hannah Priest, she is also a researcher at the University of Manchester, where she writes academic works and lectures on medieval romance, contemporary fiction, and monsters (especially werewolves).  Luckily for us, in addition to all this, Hannah also makes time to review books for Monster Librarian.

1. Can you give our readers a brief introduction?

I’m a short story writer (and poet) from Manchester, UK. I’ve been published in several anthologies and have a collection of poetry out. I’m also currently seeking representation for two novels (an adult apocalyptic horror and a YA urban fantasy, inspired by a medieval poem). In my other life, I am an academic researcher specializing in medieval and contemporary popular culture (with monsters being a particular interest). Under the name Hannah Priest, I’ve published a number of articles on fairies, werewolves, vampires and other horrible things.

2. Why do you write horror? What draws you to the genre?

I guess I’ve always liked my fiction dark. Even when I was a kid, I tended to prefer the darker, twisted worlds of fantasy and horror. Perhaps that says something about my imagination, I don’t know… I know a lot of people look down on horror – dismissing it as ‘formulaic’ or ‘low culture’ – but I think there’s something very intelligent about horror fiction, about the way in which it plays with your mind. For me, when you read a good horror novel, you experience it on a number of levels. You can appreciate it for the writer’s craft, sure, but it’s also a more unsettling, psychological experience. Plus, with the really good books, you have a physical reaction (the shiver down the spine, the sudden chill). It’s a bit like a rollercoaster ride (which I also love, by the way), and I really admire writers who can create such a complex experience for their readers. If I can achieve that with my own writing, I’ll be happy.

3. Can you describe your writing style or the tone you prefer to set for your stories?

I don’t know if my style is always conventionally ‘horror’, though I’m sure the content is. Recently, I’ve been playing around with contrasting a light-hearted tone with horrible scenarios. I often set stories in the most innocuous settings (for instance, my short story ‘Great Rates, Central Location’ is set in a bland budget hotel), and I like to include misleadingly safe and ‘nice’ scenarios (my story ‘Platform 14’ is about a day trip to the seaside). I think I’m inspired by Tales of the Unexpected and The Twilight Zone in this. Saying that, I don’t always shy away from gore… I have a story coming out soon called ‘Home’ (my take on a vampire vs. werewolf showdown) that’s fairly gruesome.

4. Who are some of your influences? Are there any women authors who have particularly inspired you to write?

My influences are fairly broad. As I say, I think Roald Dahl’s short stories (for adults) have been a big influence, as have the novels of Ramsey Campbell and Stephen King. However, my first introduction to the ‘creepy tale’ (which I guess is the genre I like to write in) was via women writers. I was around thirteen when I read Daphne du Maurier’s Rebecca, followed quickly by Susan Hill’s The Woman in Black. These books have a very special place in my heart, and pretty much determined that I would never write ‘sweet’ fiction. When I was a little older, I started reading Barbara Vine (aka Ruth Rendell)’s novels, and I fell in love with the stifling, slow-burning sense of dread that Vine consistently creates. As far as contemporary authors go, I feel like I’m a bit spoiled for choice! I really admire Lisa Tuttle and Sarah Pinborough’s work, to give two examples. I’m also pleased to have known Rosie Garland (whose novel The Palace of Curiosities was published by HarperCollins last year) for a number of years, and she has ALWAYS inspires me to write.

5. What authors do you like to read? Any recommendations?

How long is a piece of string? I know everyone always says this… but my tastes are really eclectic. I’m quite into weird fiction at the moment, particularly China Mieville. Anyone who can do a good turn in werewolf tales will also find a place on my reading list (current favourites are Catherine Lundoff, Naomi Clark and, of course, Carrie Vaughn). But I also read a lot of detective fiction – I adore Agatha Christie and Dorothy L. Sayers, but also Peter May’s Hebrides novels. (And if you like your crime fiction darker and grittier, I would definitely recommend Adam Creed’s Staffe novels.)

But as well as novels, I read a lot of medieval poetry and prose. So, given that this post is for Women in Horror Month, I think I’ll give the biggest recommendation to my favourite medieval writer – Marie de France. A twelfth-century Anglo-Norman poet, Marie wrote a series of lais (short narrative poems) full of otherworldly encounters, overbearing husbands and violent retributions. My favourites are ‘Bisclavret’ (a werewolf tale) and ‘Yonec’ (a fairy story) – and I encourage everyone to give them a try.

6. Where can readers find your work?

At the moment, my work is mostly found in anthologies. You can find a list of my publications on my website: http://hannahkate.net or catch me on Twitter (@_Hannah_Kate_). I have several new stories coming out this year, so I’ll be updating my site as these come out.

7. Is there anything else you’d like to share with librarians and readers?

As well as working on my own writing, I also run a small press (Hic Dragones), specializing in dark and weird fiction. There is a long tradition of women working with small and independent presses – both running them and being published by them. And I’m pleased to be part of that tradition. I know the history of women and independent publishing – which goes back to the early modern period – and there’s a persistent idea that small presses are ‘better’ for women. I’m not sure about that; I think small presses can be ‘better’ for writers of all genders, and I’m pleased to have been able to publish novels and short stories by writers of different genders, nationalities and backgrounds. Ultimately, I’d like to see us get to the point where the advice for women writers is the same as for men: choose the press that’s right for you! Obviously, there will always be challenges in getting your work noticed when you choose a small press with a tiny marketing budget, but social media and other online platforms have levelled the playing field (a little). I’ve been lucky enough to work with a number of wonderfully proactive women writers, and their confidence in their work (and our press) is really inspiring.

Interested in learning more? Visit Hannah Kate’s Amazon page, check out her website and blog, catch her on Twitter, visit the website for Hic Dragones, or academic alter ego Hannah Priest’s blog, She-Wolf.