Whilst writing my latest supernatural horror/conspiracy thriller novel The Irresistible Summons, I researched a number of paranormal, religious, and scientific subjects, as well as locations that were crucial to the narrative. However, in this article I’m going to skirt around some of what I delved into, for fear of spoilers.
One of the primary reasons I wrote the novel was because I wanted a haunted house story that wasn’t set in a traditional gothic house, but instead in a modern office building. The seeds of this idea came as far back as my university days. One particular building where I attended lectures had been designed in such a way that when lights were mostly switched off, the lobby, corridors, and staircases looked very sinister indeed. I even partially shot my dissertation film – a vampire short – in that building. The late, great Ken Russell himself saw a rough cut of the film, and rather liked it. But I am digressing (and showing off)…

When it came to write this novel, setting it in London became a no-brainer, because I wanted the climax of the film to take place in the labyrinth of abandoned and disused London underground railway tunnels. I often joke that the only thing I need to write a good story is an imperilled heroine and a sinister labyrinth. To that end, The Irresistible Summons features a haunted office block on Canary Wharf, where a software company and various other businesses are based. Underneath this building are secret lower levels where nefarious top secret experiments are taking place, which in turn connect with the passages that lead into the old railway tunnels, and even darker ancient secrets.

It’s not all set in the city. Some locations in the south-west are important to the story too, especially Wistman’s Wood on Dartmoor. This ancient and atmospheric forest of stunted dwarf oaks has now featured in several of my novels, and one short story. However, this novel features, in my view, my most vivid, memorable, and emotionally resonant use of the location.

As to the scientific fields I researched for the novel, I must remain tight-lipped so as not to spoil the surprise, but let me just say that one major theme of the story is far less outlandish than it sounds. Indeed, experiments and research into this particular field are being conducted and have advanced to an alarming degree. That’s all I’ll say, in the hope that it arouses curiosity about the novel.
Finally, it’s worth mentioning that the main protagonist in the novel, Naomi Levinson, is from a messianic Jewish background (although she is certainly what you might call “lapsed”). A minority religious group often derided by both Christians and Orthodox Jewish communities (especially in the Middle East), this proved an interesting subject to delve into, as I personally know a number of people in these groups. I used my own background in television as a knowledge base for the characters involved in documentary productions, but other obscure subjects touched on in the novel required more detailed research (Kabbalah exorcism, for instance).
In short, as ever, the research process for this novel proved fascinating and illuminating.
The Irresistible Summons is published by Dragon Soul Press, and is out now. Paperbacks or Kindle downloads can be ordered here (in the UK) and here (in the US).


Fatherland – The Irresistible Summons isn’t just a modern gothic horror but also a conspiracy thriller. In fact, I’d argue the tone throughout is more conspiracy thriller than horror. For that reason, I’ve included this novel, by Robert Harris, in my list of influential stories. The plot – set in a parallel universe where the Nazis won the war – has no bearing whatsoever on my novel. However, the tone of investigation into a gradually uncovered conspiracy was certainly something I strove to emulate in my telling.
Coma – Both Robin Cook’s novel and Michael Crichton’s film adaptation are key inspirations. The premise – a possible conspiracy in a Boston hospital whereby patients are being deliberately placed in irreplaceable comas – is a masterclass in escalating unease and paranoia, building to full blown suspense set pieces that are pure modern gothic. The film in particular is terrific, with Genevieve Bujold making a fantastic imperilled heroine. Michael Douglas is also good as her is-he-or-isn’t-he-in-on-it boyfriend. A real nail-biter, and a major tonal influence on my work (not just this novel either).
Riget (The Kingdom) – This Danish TV miniseries, partly directed by Lars Von Trier, was edited together for an epic cinema release in the UK, which I caught sometime in the mid-1990s. I’ve never forgotten it. Think Casualty/ER meets Ghostbusters/The Exorcist, with a healthy dose of Twin Peaks thrown into the mix. Quirky, mysterious, funny and frightening, I cite this as an influence mainly for the notorious segment where a woman’s pregnancy is gradually revealed to have a disturbingly supernatural origin.
The Descent – This brilliant Neil Marshall directed horror film, about a bereaved woman and her friends discovering more than they bargained for on a pot-holing expedition, was considered so disturbing that the ending was actually censored in the US, ending a few minutes before the version we see in the UK, and thus blunting the true horror of what has occurred. Said censored ending was certainly a key influence on one moment during the finale of my story.




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