An Interview with Allison M. Dickson
Interview conducted c. early 2010s
Introduction
Allison M. Dickson is a writer of speculative fiction whose work ranges from dystopian science fiction to psychological horror. Her stories often explore anticipation, dread, and the unseen forces shaping human behavior, favoring atmosphere and emotional tension over spectacle.
This interview was conducted during a period when Dickson was transitioning from treating writing as a private calling to pursuing it as a professional discipline. The conversation examines instinct-driven storytelling, genre boundaries, character imperfection, and the gradual development of confidence through sustained practice.
Dickson’s responses reflect a writer deeply attuned to intuition and emotional resonance. Her approach privileges discovery over planning, atmosphere over exposition, and lived experience as the primary fuel for imagination.
This interview is preserved as part of the Better Storytelling Archive, documenting the voices and working methods of contemporary genre creators.
AllisonMDickson_Interview
The Interview
Life as a Writer
How did you get into writing?
I’ve been writing since childhood and always knew it was my calling, but for a long time I struggled with whether to treat it as a hobby or a profession. The fear of becoming a “starving artist” was very real. In college, I realized that journalism and technical writing weren’t for me—I needed creative freedom, even if it meant supporting myself through other work.
About four years before this interview, I decided to commit fully to fiction and learn the business side of writing. I had ambition and some raw ability, but also a lot to learn. Since then, I’ve picked up small publishing credits, sold ebooks, and signed my first book deal. I’m still very much in the starving artist category, but I’m happier and more fulfilled than I’ve ever been.
When did you first realize that you have what it takes to be a writer?
I’m still not sure sometimes. Confidence is slippery for artists. I know I have ability, but I also know I haven’t reached my potential. Every story chips away at that barrier.
I suppose the moment that mattered was when I published my first short story—the first piece of fiction I’d written in over a decade. It was in a small anthology, but it told me I should keep going. And I’m glad I did.
Premise
Where do you get your ideas from?
From very random places. My brain is tuned to a strange frequency, and I’m constantly asking “what if?” What if a super-weed consumed the world’s grain? What if a spore from space ate every living thing? What if immortality came at the cost of memory?
Ideas often arrive while I’m driving or half-asleep. It’s inconvenient, but the good ones stick around no matter what.
How do you develop your ideas into a story?
I let them turn over in my mind for a few days and wait for more details to surface. I don’t take many notes because I like to preserve the discovery process for the actual writing. If an idea is worth writing, it won’t disappear.
Sometimes all I need is the right opening line. Other times, I have to work harder to extract it. Instinct tells me whether to keep pushing or let an idea rest. Writing is about 90% instinct and 10% actual work.
Genre
What kind of stories do you enjoy working with?
My work ranges from dystopian science fiction to psychological horror. I love contemporary fantasy and gravitate toward what people often call “Gaiman-esque” storytelling.
My stories can be grim, but I usually include a glimmer of hope. I’m more interested in what’s unseen than what’s shown outright. I want readers to feel anticipation, wonder, and a quiet sense of dread—so that when the story ends, they realize they’ve been holding their breath the whole time.
What genres would you like to explore in the future?
Crime fiction fascinates me, though I haven’t found the right story yet. I admire writers who do it well. I’m also drawn to gritty mainstream fiction in the vein of Chuck Palahniuk—work that forces readers to confront uncomfortable truths.
Structure
Do you work from an outline?
Traditional outlines are things of the devil. I hated them in school and hate them now. They kill my momentum and stall the writing process.
That said, I’ll sometimes jot down plot points if I’m dealing with something complex—like time travel—or if I’m collaborating with another writer. But in general, outlines drain the energy from the story for me.
Plot
How do you build your story?
I often fall into a three-act or Hero’s Journey structure, but not intentionally. The story builds itself. The key is creating strong characters and trusting instinct—especially with pacing and turning points.
Instinct is the writer’s most important tool.
Character
For you, what makes a great hero?
Heroes should have scars, flaws, and vulnerabilities. I’m drawn to antiheroes because they’re more like us—motivated, imperfect, and willing to act.
The worst hero is a passive one. A protagonist should never be dragged through the plot, and they should never whine. Ever.
If one of your characters were to describe you, what would they say?
“She really needs to finish our damn story.”
Or possibly, “She must really hate us.”
Setting
How much time do you spend researching the setting for your stories?
Not much. Research can become another form of procrastination. I mostly write what I know, which means a lot of Midwest and Pacific Northwest settings.
I often create fictional towns inspired by real ones. In The Stargazers, the town was modeled closely on where I lived as a teenager. I love small towns and rural settings.
What settings would you like to explore in the future?
A Dickensian London—though it wouldn’t be a straightforward version.
Theme
Do you like to know the purpose of your story before you sit down to write it?
Not always. Sometimes the theme is clear from the start; other times it emerges during revision—or is discovered by readers in ways I never intended.
I love that. It means readers are finding their own meaning in the work.
Dialogue
Do you have any favorite lines from your stories?
They’re all my children. But if pressed, I’m particularly proud of lines in Scarlet Letters and the short story “A Concealed Hand.”
Writing Process
Do you have a routine?
My routine is a little chaotic. I tend to write a few hours after waking or very late at night. I work on my laptop in my living room or on my patio. Music is essential—usually film scores or bands that match the tone of the story.
How do you deal with writer’s block?
I don’t believe in it. If the spark isn’t there, it means I need to live more—read, cook, watch movies, be social, or do nothing at all. Creativity needs fuel, and life provides it.
Story Development
How do you go about fixing a story?
I rely on feedback from a small group of trusted readers. Sometimes stepping away for a few weeks is enough to reveal the solution.
How do you know when to stop?
Instinct again. You learn when a story is finished. A truly unfinished story nags at you. When it’s done, your mind quiets and you can breathe again.
Words of Advice
What words of advice would you give to new writers?
Stop waiting. Stop trying to know everything in advance. Let go and write. The story is a byproduct of that abandon.
Final Thoughts
What’s the best thing you’ve ever written?
“Dust” has generated the most reader feedback, but my most personal favorites are “A Concealed Hand” and “A Debacle of Donuts.”
What are you working on now?
Several projects: a pulpy 1940s detective novel with robots, a science-fiction novel involving time travel and planetary catastrophe, and a grim novel about a failing marriage during Armageddon. A coin flip may decide which comes first.
Closing
This interview captures Allison M. Dickson’s instinct-driven approach to storytelling, shaped by atmosphere, emotional tension, and trust in the subconscious. Her reflections emphasize discovery over planning and resilience over perfection, offering insight into a creative process rooted in intuition and lived experience.
Presented here as part of the Better Storytelling Archive, this conversation preserves a voice defined by honesty, curiosity, and a willingness to follow stories wherever they lead.