Writing the Uncanny

by Dan Coxon (Editor), Richard V. Hirst (Editor), Lucie McKnight Hardy

From M.R. James to Shirley Jackson, the Uncanny has long provided fertile ground for writers – and recent years have seen a notable resurgence in both literature and film. But how does the Uncanny work? What can a writer do to ensure their fiction haunts the reader’s imagination?

Writing the Uncanny sees some of the best contemporary authors explain what drew them to horror, ghost stories, folklore and beyond, and reveal how to craft unsettling fiction which resonates. Authors such as Jeremy Dyson, Alison Moore, Jenn Ashworth and Catriona Ward share their insights on psychogeography, fairy tales, cultural tradition and the supernatural, and offer practical advice on their different approaches to the genre.

Writing the Uncanny is an essential guide for both the casual reader and the aspiring writer of strange tales.

Genres: Nonfiction, Writing, Horror, Essays, Gothic, Literary Criticism, Reference

281 pages, Paperback

First published September 23, 2021

About the author

Dan Coxon is an award-winning editor and writer based in London. His non-fiction anthology Writing The Uncanny (co-edited with Richard V. Hirst) won the British Fantasy Award for Best Non-Fiction 2022, while his short story collection Only The Broken Remain (Black Shuck Books) was shortlisted for two British Fantasy Awards in 2021 (Best Collection, Best Newcomer). In 2018 his anthology of British folk-horror, This Dreaming Isle (Unsung Stories), was shortlisted for a British Fantasy Award and a Shirley Jackson Award. His short stories have appeared in various anthologies, including Nox Pareidolia, Beyond the Veil, Mother: Tales of Love and Terror and Fiends in the Furrows III. His latest anthology - Isolation - was published by Titan Books in September 2022.

Reviews

[K.J. Charles]

Varied selection of essays on the uncanny in literature. Some very insightful, esp the ones on place, some just plain weird, which is very fair, and some skippable self promo.

[Nathanimal · Rating 3 out of 5]

Timothy Jarvis' essay offered an important update on Freud's essay on the uncanny. It also gave me the incentive to go back and read ETA Hoffman's 'The Sandman.' Terrific story. I like the clockwork girl. More stories should feature a horrifying barometer salesman.

I also really liked Gary Budden's essay on finding the strange in the mundane and the way he connected the dots between the Uncanny, Mark Fisher's definition of the Eerie, and psychogeography. From my travels around England and Ireland it has struck me how loved and romanticized the British Isles are by those who live there. I'm kind of jealous of that.

I appreciated Claire Dean's insight on fairytales and their effects. Fairy tales are a collaborative project, they speak with the voice of thousands. Fairy tales aren't pretending to be anything other than stories. Fairy tales are eager to be used and to transform into new stories.

There were other good essays in here, too, but a number of the writers meandered. For a book on "Crafting Strange Fiction," as the subtitle says, it was very light on craft. Also, try as I might, I cannot get interested in ghosts or hauntings. I'm especially not interested in featuring a ghost as a POV character. I mean, way to rob a ghost of spookiness, by giving it opinions about books and shoes. There was an interesting suggestion by one author that writing as a ghost could allow for very odd POVs, like first person omniscient. Hey, I guess ghost writers (those who write on behalf of others) do that all the time in a limited way.

[Zac Hawkins · Rating 4 out of 5]

Having read Cardins 'A Course in Demonic Creativity' and now this in such close proximity to one another, I've felt as if a growing realization on what (and why) induced me to start writing strange tales myself, and both entered my periphery at the right time. Rejections, an increasing sense I was not in tandem with my muse, that loathsome ennui that comes from desperately wanting to 'know' your daemon but being completely unable to perceive 'who' it is.
Then it hit me. While reading Jeremy Dysons delightful essay on one Robert Aickman, and his own grappling's with the daemonic muse in his early career. The dawning realization fulfillment is a ever impossible, ever unreachable endgame you should treat with utmost disdain. That writing for writings sake is in and of itself, not enough. You have to be petty, and strive to beat the daemon into submission for no other critical appraisal than your own self imposed snobbery.

Great book on the craft, and on the philosophy, of writing. One I shall return to.

[Lewis Birchon · Rating 5 out of 5]

This is a great book for readers and writers alike, discussing uncanny and strange fiction - what it is, why it works, and how it’s written. Each chapter is approached by a different author in their own style - some taking an academic approach to close reading, others discussing the uncanny across cultures, some sharing personal highlights of the genre, some occasionally highlighting bits they’d have done differently.

Also comes with a good long list of recommended long and short uncanny fiction, which gives plenty of inspiration for the long winter nights.

[Brigitte · Rating 3 out of 5]

A bit disappointed by this collection. I bought it and read it after it was recommended by Brian Evenson in an online horror writing workshop I took last month. The book felt more like literary analysis essays instead of craft advice on actually writing the uncanny in fiction, and it is marketed as such. But, I did feel like my understanding of how the uncanny works in fiction was strengthened from the essays. I just wanted more specific writing advice on how to do it. But, I did get that from the Evenson workshop.

[Owen Knight · Rating 4 out of 5]

Writing the Uncanny will appeal to two classes of readers: those interested in reading the genre and those writing it who wish to gain ideas or improve their style. I fall into the latter. The book is a collection of essays by authors. Some describe their own books and techniques, while others analyse the works and styles of other writers. I found these to be the more interesting.
As you would expect with such a mixture of content, some chapters appeal more than others, depending on the reader's requirements. Overall, it is a helpful guide to understanding the construction and techniques employed. The book works well for anyone interested in the genre and is well worth buying. An appendix lists the source material and further reading, including fifty uncanny novels and one hundred uncanny stories. The works are listed in chronological order and range from the twelfth century to 2020.

[Amy · Rating 4 out of 5]

Rating: 3½ stars.

This was a good read on the Uncanny, though I would say its content leans more towards literary criticism than strict writing/craft advice.

[Runalong · Rating 4 out of 5]

Really enjoyed this thoughtful essay collection exploring the concept of the uncanny in fiction with explorations of how writers have approached it - the power of the liminal and three interesting spotlights on key figures in its history

Full review - https://www.runalongtheshelves.net/bl...

[Michael · Rating 5 out of 5]

A wonderful exploration of the uncanniness of dark fiction -- and how best to craft it. Definitely deserved the British Fantasy Award! See my full review on The Popular Uncanny weblog: https://gorelets.com/uncanny/

[Paul M Clark · Rating 5 out of 5]

This is brilliant. A must-read for anyone interested in the craft of writing uncanny fiction. Each essay focuses on a different aspect of writing, and they are almost like conversations with the authors. The authors themselves are authorities on the subjects, which makes for a superb learning experience.

[Priya Sharma · Rating 5 out of 5]

This sits now sits on my shelf with books on writing craft by Ray Bradbury, Sol Stein, and Stephen King. The essays range from the instructive to the academic to the highly personal by some of the finest writers of the uncanny at work today.

[J. Elliott · Rating 4 out of 5]

Some very helpful and accessible essays (by which I mean not stuffy or so esoteric that its best use would be a cure for insomnia) on various aspects of the uncanny and a lovely reference list of suggested reading at the back. Marked up my copy and will refer back often, I'm sure. Many thanks, Dan Coxon, for this collection!

[Alex Sarll]

Essays on writing the weird* from various people who should know, though the names are largely the sort which would be familiar to people who keep up with this stuff, rather than the general public or even the casual fan. Probably the most celebrity contributor is Jeremy Dyson, on the peculiar talent of Robert Aickman – a topic where I think I'm now familiar with the thoughts of the whole League bar Steve Pemberton. Though you also have the likes of Robert Shearman, whose reintroduction of the Daleks is famous even if his name isn't; his piece is probably my favourite thing in this, a fabulous essay/short story/general format break about the similarity between jokes and horror, which also feeds into my increasing suspicion that horror naturally works better shorter, because as it gets longer it becomes something else – much like Edinburgh sets, come to think of it, where past a certain point it's not really about jokes per se anymore. Though Shearman does make the case that things don't have to be funny to be jokes. Which...well, I'm not wholly sure I agree, but I certainly think he's closer to the (or a) truth than a lot of recent discourse about jokes, put it that way. Anyway, I bought one of his short story collections off the back of this, and so far I'm feeling vindicated in that decision. Swings and roundabouts: I also removed another contributor's collection from my Amazon wishlist because the broke-backed sentences and unremarkable observations in their offering suggested I wouldn't relish more time reading them. Nor was that the only dud, and in another case I'll name and shame, not just because it feels like less of a dick move with someone better known, but also because reading this was the first time I learned that Nicholas Royle the novelist and Nicholas Royle the critic, despite similar areas of interest, are two different people! Which feels thematically appropriate, doesn't it? Though confusingly the criticism here is by the novelist, who got my back up with the purported objectivity of his assertion that James Herbert's The Fog has no power to chill, unlike the various obscure stories by his mates which he cites approvingly. Not that popularity proves merit, per se, but surely you don't become a bestselling horror writer without chilling some of the people enough of the time, so even as someone who's never been into Herbert's stuff, the angle here still riled me with its casual snobbery. Mercifully, that's very much the exception. Elsewhere, if there are a few too many touchstones which, for all their merit, see their strangeness sapped by overuse (the opening/closing lines of The Haunting Of Hill House are a particularly glaring example), you're seldom far from a worthwhile insight. I was especially taken with Catriona Ward's suggestion that the scary thing about ghosts isn't the reminder of death, it's the fear of being trapped forever in the same futile moment, an action repeated endlessly without result.

*Granted, this is exactly the sort of book where at least some of the contributors would draw firm distinctions between the weird and the uncanny. But a) micro-classifying such things seems entirely inimical to the concepts themselves and b) I'd rather not strip 'uncanny' of all meaning for the rest of the day by excessive reuse throughout a review, so fuck it, I'm going off-road.

[Lisa · Rating 3 out of 5]

Writing the Uncanny is a collection of essays focusing on Freud's Das Unheimliche - that is, the titular uncanny which stands in contrast to what is homely and familiar. This concept has long been seen a vital tool for understanding and writing "strange fiction" and this book focuses on on the craft of these stories. If you're hoping for practical advice about writing your own strange fiction should be aware this book delivers little on that front. That said, the analysis and discussion of uncanny fiction is still useful for writers, since by understanding why the work of Shirley Jackson or Robert Aickman unsettles, we gain a better sense of how to reproduce our version of that unsettling effect.

As with all collections of essays, there is a mixed bag. The first section - "Approaching the Uncanny", about what the uncanny is and how to get - is fairly solid. I found Lucie McKnight Hardy's essay "Negative Spaces and Ambiguity" both enjoyable and useful, Robert Shearwater's discussion of uncanny comedy was interesting and entertaining but not, perhaps, relevant to my interests while Michèle Roberts's essay was interesting but meandering. The essay dedicated to Shirley Jackson by Alison Moore disappointed, particularly when the second half abandoned Jackson for Moore to discuss her own work. Jackson is such an influential writer that she's discussed in many other essays, particularly notable is Catriona Ward's.

The next section, "Land and Lore", focuses on various settings for strange fiction. Garry Budden looks to the "humdrum" uncanny and Claire Dean to the forst while Nicholas Royle looks to the sea. I wished I got more out of these essays than I did, but Chikọdịlị Emelụmadụ's brilliant essay, "Potluck: Making the Most of Your Little Horrors" made up for them. Jeremy Dyson's essay on Robert Aickman made me go digging through the bags of books to be donated for my copy of Cold Hand In Mine.

The final section, "Ghost In The Machine" zeroes in on the ghost story as a particular locus for the uncanny. This section was easily my favourite - Catriona Ward's analysis of The Haunting of Hill House and Melmoth The Wanderer was fascinating (and might be the kick I need to get a copy of the latter), while both Jenn Ashworth and Rowan Hisayo Buchanan's essays were the perfect of mix of insightful, creative and also a great joy to read - Buchanan's may be my favourite essay overall. The collection then concludes with Timothy J. Jarvis's essay on Freud's uncanny and E. T. A. Hoffman's "The Sandman", which was - in my experience - a bit of a let out after the heights of the previous section but still interesting.

[Magdalena Morris · Rating 5 out of 5]

Such a brilliant collection published by an indie publisher Dead Ink! I love to read (and write) uncanny stories, and these essays not only discuss many fascinating ways to look at strange fiction, but also provide tons of books to add to your TBR.

I loved the range of the contributors as each and every one of them had a unique view on the topic and completely different experiences with the uncanny. So many writers mentioned my queen, Shirley Jackson - I loved it and nodded eagerly as I was reading. I can't wait to explore the uncanny even further and find possibly new favourite authors who contributed to the collection - Jenn Ashworth and Lucie McKnight Hardy have been on my radar for way too long and I'm getting their novels ASAP. Others including Rowan Hisayo Buchanan, Michele Roberts and Catriona Ward are good old favourites and I can't recommend their books enough.

Writing the Uncanny is a treasure, and I've found it so, so inspiring. Excellent stuff!

[Stephen Bacon · Rating 5 out of 5]

This is a terrific book. Writing the Uncanny, edited by Dan Coxon and Richard V Hirst, is a collection of essays and observations covering the area of speculative (although not always) fiction sometimes called the weird tale. Whether it be ghosts, the unheimlich, automata or simply locations that evoke such feelings of disquiet, this book encompasses a variety of themes and explorations.

Firstly, the contributors themselves have all produced sufficient work in this area to justify their involvement, but this would count for nothing if the essays were not engaging and illuminating. But they are. There is insight and personal reflection and a nice list of recommended reading at the back - both longer and short work - which sends you off with an urge to explore further.

Recommended to authors who aim to write in this area, and readers looking for an overview of the respective facets.

[Bethany Dark · Rating 4 out of 5]

This collection of essays covers a great breadth of topics in good depth, covering the great writers of the uncanny as well as the great critics. It opens with some excellent conceptions of strange fiction, and contains some excellent essays on the practices of individual writers. As with all essay collections of this kind, however, the quality varies from piece to piece, and many of the essays felt rather pedestrian.

The stand-out essay in this collection is the one on comedy and unease by Robert Shearman, which provides some excellent formulations regarding short story writing as well as close readings of Dahl and du Maurier.

Overall, this is definitely a valuable book for anyone wishing to study or write uncanny fiction.

[Rosebud · Rating 5 out of 5]

I completed my MA lit. Dissertation on the notion of the uncanny in literature, so this book appealed to me. As others have mentioned, there is a little self promotion from some writers, but this didn’t distract from the interesting insights given into uncanny texts. As well as the writers’ opinions and experiences of reading and writing the uncanny, the book also suggests a range of authors and stories to read, so my ‘want to read’ list has grown!


If you are interested in the uncanny, it’s worth a read, even if just to get suggestions for more stories in the genre. I really enjoyed the essays and read them all.

[Katie · Rating 5 out of 5]

This collection of essays was compelling and fascinating. Each tackles an element of weird or scary fiction and unpacks what makes it so. Rather than specific writing tips, each author reflects on their own work, or the work of others, with plenty of examples given for further reading. From humour to ghosts to setting to automatons, and referring to everyone from Freud to Austen, Hoffman to Shirley Jackson, there is so much her to prick the imagination. I know I'll return to this book again and again.

[Emma Jones-Gill · Rating 4 out of 5]

This is a great essay collection that makes the uncanny feel accessibile and less intimidating than if you were to dive into Freud's 1919 essay, or Jentsch's 1909 essay.

The reason this doesn't get a five stars is purely based on my enjoyment of the essays. There was only one I really enjoyed and a couple more that I liked reading. But some of them I was bored by, and I think is due to the aspects of the uncanny I'm interested in rather than the essays themselves. 

I would recommend this, both as a casual non-fiction read and an introduction to the uncanny through an academic lens.

[Dan Howarth · Rating 4 out of 5]

As with anthologies, this book has ups and downs that vary from writer to writer. There were some absolutely outstanding pieces here and two that I found myself flipping ahead of to see how many pages I had left.

Overall, a really interesting read. A book this is not only useful but also slightly different to anything else on the craft book shelf right now. Worth a read!

[Elliot J Harper · Rating 5 out of 5]

Similar to The Weird and the Eerie by Mark Fisher that I read a few weeks before, this book dives deeply into the Uncanny. It covers a wide range of authors like Shirley Jackson, Robert Aickman as well as Freud and his Unheimlic. It’s a fascinating read for any writer or reader who, like myself, likes to dabble in the unusual, the strange and the weird.

[Mitchel Rowe · Rating 4 out of 5]

An interesting set of essays with a range of different writers from different cultures. It was completely approachable, if not a little broad at times. I really liked the author spotlights on Jackson and Freud. A useful companion to reading any horror! Not as much of a guidebook as it is an interesting top-down look at the uncanny effect! :)

[Susan · Rating 5 out of 5]

A great collection from writers I admire on a genre/style that I love.
My favourite piece was by Rowan Hisayo Buchanan, I felt this one widened my vision somehow.
There are some spoilers in this (probably to be expected when reading an analysis of something, but just a heads up)

[Lyn Lockwood · Rating 5 out of 5]

A great set of lively and well researched essays on all aspects of the Uncanny story. Lots of modern and classic stories referenced and some very in depth analysis of Freudian ideas and the Gothic, but also lighter overviews of tropes and themes.

[connie · Rating 4 out of 5]

Some of the reviews make this collection sound so boring, but it really isn’t. Might do an update later breaking down some of my favourite essays, but on the off chance I don’t, feel free to privately message me if you want more information on what to expect from this :)

[Brenda · Rating 5 out of 5]

This is a book with many essays. All centered around what makes fiction unsettling. Some essays were better than other, but all in all it's a great book to reflect on the uncanniness that obsesses me.

[littleghostelli · Rating 3 out of 5]

This was certainly interesting, but as others have pointed out, this is mostly literary analysis, not technical advice as it was marketed. Some of the essays are fantastic, others came off a little pretentious for me.

[Cheryl Sonnier · Rating 5 out of 5]

Excellent resource for writers who want to dip their pen into the ink of the uncanny.

[Connor Girvan · Rating 3 out of 5]

3.5 / 5 stars