From Psychological Horror to Children’s Tales and Interactive Gaming
Shaun Allan discusses his bestselling novel Sin, the therapeutic nature of writing, adapting stories for film and gaming, and his upcoming Cure trilogy, blending horror, hope, and imagination.
Shaun Allan, the masterful storyteller behind bestselling novels such as Sin and HERO, is a writer who defies easy categorisation. With a career spanning psychological horror, emotive poetry, young adult fiction, and even quirky children’s tales, Allan’s work is as diverse as it is compelling. His ability to weave deeply personal experiences into his narratives creates characters that resonate with authenticity and emotional depth. Whether exploring the darkest corners of the human psyche or crafting whimsical adventures for younger readers, Allan’s storytelling is always rooted in a profound understanding of the human condition.
In this exclusive interview for Reader’s House Magazine, Allan opens up about the inspirations behind his acclaimed novel Sin, the therapeutic nature of his writing process, and the challenges and opportunities of adapting his work into interactive formats like the Chapters game Straitjacket Lover. He also shares insights into his collaborations with major film studios, including Warner Brothers and Blumhouse, and reflects on the joy of inspiring young writers through his school workshops.
As we delve into his creative world, Allan offers a tantalising glimpse into his forthcoming book, The Cell, the first instalment in the Cure trilogy. Promising a fresh take on the zombie genre, this new series is set to expand the interconnected universe that began with Sin. With his trademark blend of dark humour, introspection, and imaginative storytelling, Shaun Allan continues to push the boundaries of narrative fiction, inviting readers to explore worlds both familiar and fantastical.
Join us as we uncover the mind of a writer who thrives on defying expectations and whose stories linger long after the final page is turned.
What inspired you to write your bestselling novel “Sin,” and how do your personal experiences influence your storytelling?
Originally, I only wrote short stories, naturally ending after a few thousand words. Sin was originally one, too, at 19,000 words. I thought that was it and I’d move on.
But…
With this book, it was the first time I’d really put myself into the character. As such, Sin refused to stay quiet. He still does, actually. Writing his story was very therapeutic. It was me, sort of, on the page. He had my random thoughts. We shared experiences. Fit gave him the flesh to cover what might have only been a skeleton. I knew him.
I do know all my characters, intimately, immediately. I’m sure this is because – even though their favourite colour might not be the same as mine (blue) – they’re based on aspects of me. This is therapeutic and fun. I can twist my parts into new little dark tales, weaving alternate histories. Serial killers and ghosts and zombies, oh my!
You write across multiple genres, including psychological horror and children’s literature. How do you approach writing in such diverse genres, and do you find any common themes among them?
Actually, I don’t think about it too much. I’m sure people who know me would agree I can be a big kid sometimes, so that helps! I find it easy to slip into the relevant mindset, sometimes accidentally. Once, I was working on Sin’s sequel and ended up writing a story about Rudolph saving Christmas!
As much as children’s stories or poems often have a lighter tone, thematically they can be very similar. There are fears to face and victories to achieve.
With “Sin” now being an interactive game on Chapters, how do you feel about the evolution of storytelling into interactive formats? What challenges and opportunities does this present for authors?
Imagination is one of our greatest gifts, but adaptations can be hit or miss, being either epic or missing important aspects. Interactive formats, such as the Chapters Sin game, have another battle. They must fit the format, energy and users of the devices they’re on. As such, what succeeds in ink and celluloid (or digital) doesn’t necessarily transfer easily.
With Sin, the story was modified somewhat, adding new elements. Initially, I wasn’t sure I agreed, but I found they brought an unexpected challenge. Sin has a diary, chronicling the people in his asylum. All sorts interact with him, so I felt the game touched on these, expanding the world.
Plus, of course, it was interactive. The user could make choices to drive the narrative, and I loved this. It’s more of that lovely ‘imagination’ stuff, and that can’t be a bad thing!
Can you share your experience working with Warner Brothers, Universal, and Blumhouse? How do you adapt your writing style when creating stories for established franchises?
Imposter syndrome, especially when I received that first email from Wattpad, asking if I’d like to work with the film company behind The Purge movies! I scrolled through it half a dozen times, sure it was a mistake. I enjoyed the Purge, and they wanted me?
Nooooooooooo way!
Once I’d recovered, I felt there was no way I’d be able to produce something suitable – or good enough. But, they’d come to me, meaning they saw something, right? My mind, however, was blank. Usually, it’s teeming with ideas. Suddenly, they’d all fled, leaving a void.
When I did have an idea, or first sentence, I knew the very last line. I just had to make them meet. For this, I was writing until 2 am and researched gunshot wounds and the taste of blood. In the first weekend of release, over 100,000 people read Mr. Composure. I was overwhelmed to see comments telling me it was ‘the best story ever’ and ‘the best plot twist ever’!
I was similarly stunned when asked to write for the subsequent films, A Quiet Place and It. Me? Really? Me?
Regarding my writing style, I didn’t really adapt it. I didn’t feel the need. I’m a horror writer and fan, whether that’s psychological (Sin was #1 in Psychological Horror on Amazon) or supernatural. For some of the projects I worked on, I had seen the first films and understood the world I was entering. For others, like The Boy, it was more difficult. Initially, as the twists in the film were being kept under wraps, all I had was the trailer. I think I wrote two full stories, with neither suitable. Eventually, they gave me more information so I had a direction.
Even with the more difficult projects, I was still almost breathless with excitement. For each, I didn’t feel quite worthy. Based on their reception, perhaps I should think a little more of myself. Not easy!
You regularly hold writing workshops at local schools. What do you hope to impart to young writers, and what have you learned from them in return?
I love this! I have another coming up for World Book Day. I’ll be at a local school and they’re using my books Zit’n’Bits and Rudolph Saves Christmas as inspiration for the day. How wonderful?!
It’s always a delight, and they really engage with me. I hope to give them a look into the world of a writer, and how rewarding it can be to build these worlds, but to also encourage an interest in reading. It’s not just about escapism. Books, fiction included, are educational. They build vocabulary and widen our horizons magnificently.
When children who are generally quiet and introverted excitedly tell me they write their own stories at home, and I’m told by their teacher they never interact, it’s them who inspire me. The energy given back is empowering and validating.
Can you give us a sneak peek into your forthcoming book, “The Cell,” and what readers can expect from the Cure trilogy? What themes or messages are you hoping to convey through this new work?
Sure!
Many of my books share a common universe, which started with Sin. There are cross over characters and places, though not always intentionally!
I wrote HERO, a dystopian story about the only boy in a world of superpowers who had none. I’d also started a fantasy book set thousands of years in the future. As I was writing that, I realised the events in its past tied into HERO, and Cell, which I’m close to finishing, was the distant past of that!
I hadn’t planned to bring these separate books together in any way, but they naturally coalesced into a ‘sort of’ continuation.
Cell is the chronological start of that continuation. It’s my first series, which is fairly anxiety inducing! The second book will be Cult, with the third being Captive. Overall, though it’s not obvious yet, it’s going to be a ‘hopeful’ twist on the zombie genre – but I’m not telling you how!
