An Interview with Leigh Kenny: The Queen of Irish Horror

Recently I talked with Irish horror author Leigh Kenny. The author of ‘Cursed’ and ‘Hush, My Darling’ shared some fascinating insights on her life as a writer. From current writing routines to the origins of her interest in the dark side of prose, Leigh discusses the intricacies of her craft. Leigh and myself recently appeared in Kevin J. Kennedy’s Horror Tales from Ireland, which you can get here, free with Kindle Unlimited!

Everyone in the Irish Horror Sphere knows the name Leigh Kenny. And just as many have a copy of ‘Cursed’ lurking somewhere on their shelves. Growing up on the Irish coast, what initially drew you to the horror genre? 

Growing up, I actually avoided horror stuff, at least on a conscious level. Subconsciously, I think I’ve always been drawn to the macabre. As a neurodivergent, I’ve always loved psychology as a means to figuring people out, and I think it’s in the darkest parts of the psyche that can sometimes offer the most insight. When I was young I was drawn to darker stories like Grimm’s fairy tales. I had my first introduction to grief at a young age when I lost a beloved pet. To work through that loss, I wrote a poem which would be cast firmly as grief horror today. That was the first thing I ever wrote so maybe it’s always been in my bones. It feels like I fell into horror by accident as an adult and yet I cant imagine myself writing in any other genre.

We all have bizarre and distinct writing routines. Stephen King wrote best under the hellfire of a heavy metal vinyl, aiming for 2-3 thousand words per day. Whereas our own homegrown genius, James Joyce, tallied on average 90 words per day (with crayon on cardboard, they say). What does your writing routine look like? Do you have a designated area? Is it strict, or do you allow yourself some flexibility?

If I had to liken myself to either of those examples, I’d definitely be more of a James Joyce. I’m a mother first and foremost, and one of my kids is autistic so I pour as much of myself as possible into ensuring his needs are met and that he’s fully supported in every endeavor. When it comes to writing, I’m a complete pantser and I write fast when an idea takes me, which is just as well because I have no set schedule and very little free time. Anyone with ADHD will tell you that sticking to routine and staying on track are some of the more difficult things so it’s an absolute miracle that I get anything finished. I’m definitely the type to be distracted by newer, shinier ideas but I try to be as disciplined as I can, which generally isn’t very. I tend to edit as I go and don’t write multiple drafts. The finished product for me usually looks pretty similar to how it starts, and I only need to know the beginning or the end to get going. I need mostly silence when I write and if I get too stressed about deadlines, I become completely impotent until I can regulate myself.

From Ireland’s contemporary writers such as Conor O’Callaghan and Brian McGilloway, to long-established household names as Bram Stoker and Oscar Wilde, us Irish folk have long been striving to capture the darkest aspects of the human experience. Do you believe Irish horror is distinct from, say, American or British?

I think so. Ireland has such a long and varied history. From the mythological and folkloric ancient past to the more recent turmoil ridden days of the Famine and the Rising, I think we’ve managed to come through many bleak times with our compassion intact. We understand hardship and we all the carry the generational scars of our ancestors on this small island which gives us insight that not many seem to possess. We seem to have an uncanny ability to write about subjects outside of Ireland with a much more balanced approach than other nations use when doing the same. If you compare an Irish author writing a piece set in America versus an American writing about Ireland, the difference is usually quite staggering. The Irish seem to be much more sensitive to other nations and cultures than most, and perhaps that’s borne from our land seeing so many seismic shifts in terms of traditions and beliefs over the years. 

Blake Snyder talks of two kinds of writers: ‘marauders’ and ‘planners’. When a story idea comes to you, how in-depth do you (if at all) plan it before setting off on the first paragraph?

LK: When I get a new idea, I open the notes app on my phone and write a couple of lines. Sometimes, I’ll add a couple of potential titles to the bottom of the note. I’ll let the idea marinate in my head ove rhte next few days as I go about my daily life, and if the story has expanded in that time, I’ll just sit down and write. The most planning I’ve ever done for a story was while I was writing Hush, My Darling. It was a larger cast of characters than I had used before, and there were timeline jumps, so I wrote the character names on an A4 pad and used that to keep track of who belonged where. Mind you, in that same pad I spent almost double the amount of time coming up with chapter titles for the same book. It was definitely my favourite part of the process and I’m still super proud of those chapter titles because to an outsider, they make absolutely no sense but as you read, they make all the sense in the world. I get a ridiculous amount of joy from little things like that. I’d also like to let people know that anytime one of the characters in Hush cracked a joke or said something amusing, I laughed. 

What horror media (books, television, movies etc.) has had a lasting impact on you? Have you ever found yourself drawing inspiration from your favourite works, and exploring similar themes or scenarios in your own stories?

I loved Marita Conlon McKenna’s Children of the Famine series growing up. They were intended as historical fiction for kids, but I was awestruck by the absolute horrors of the Famine, and it never really left me. Same goes for To Kill a Mockingbird. I have a soft heart, and social injustice hurts me deeply, so for me the worst horrors can usually be found in the everyday seemingly mundane things. A mother watching her kids starve to death is more horrifying than any monster under the bed. A child ridiculed and beaten for being a different religion or colour than their peers is far harder to swallow than a final girl being chased by an axe murderer. My writing started out by focusing on the make-believe monsters but the older I get and the worse the world becomes, I find myself writing horror rooted in real life. If I can make one person uncomfortable about the things they accept, if I can change one mind or persuade one person to alter their perspective, then it’s worth it. I’m trying to be the change I want to see in the world.

Back in September, you dropped Test Town on us without much warning, to the horror of those with pediophobia (mannequins, man…) Have you got any more surprises up your sleeve, and what does Leigh Kenny have in the pipeline as we reach the second half of 2025?

Definitely more surprises up my sleeve! I’m not good with deadlines so I prefer to tease different projects and then cold drop stuff without much warning. I have a bunch of projects going on at the moment. A couple of sequels (including a full-length follow up to Test Town!), a couple of short story collections, a bunch of anthology invites, a collab or two… I’ve no idea what will be ready first because I jump between projects so much. I’m very lucky to have a couple of publishers interested in some of my upcoming projects, and even luckier still that they’re acknowledging my differences and difficulties by giving me time and space to complete things at my own pace. I’m also hoping to query some agents next year with an Irish eco/zombie horror I’m currently developing. So lots of upcoming stuff with no solid release plans in mind. Which sums me up as a person quite well. 

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I speak for everyone when I say: we can‘t wait to read what is next!

Make sure to follow Leigh Kenny for updates on instagram @leighkennywrites.