Let's start at the very beginning, Allen. What inspired you to become a writer?

Allen replies: Like most people, I started as a primary school child. It seems incredible when there are so many demands on my time now, but as a kid I was an avid reader, churned out hundred word adventure stories, was always over the park playing football, knew every song in the pop charts and still managed to hand in my homework on time. I was into Science Fiction, myth, history and fairy tales from an early age. At secondary school I became great friends with John Keogh. We wrote a few things together but also got extremely competitive. In a productive way. I've been submitting to magazines since I was 14. Writing's a lifelong habit.

Are there particular issues you feel strongly about that influence your writing?

Allen: There are recurring themes in my work. Creation versus evolution, perceptions versus commonly agreed reality, myths versus the mundane… if you read the stories in "Somnambulists" in their printed order, you'll probably spot several more conflicts and issues. I have never belonged to a political party but believe I write from a highly politicised though personal point of view. "Downsize" ("Roadworks 11" / reprinted in "Somnambulists", Elastic Press 2004) is a good example to quote. How far will they make you go to keep your job?

Your work spans many genre types, from fantasy, through horror to satire and beyond, and often seems to have subliminal messages behind what is essentially just a story. To what extent do you attribute your success to this clever technique? How conscious are you of using this method when you're writing?

Allen: If by subliminal messages you mean subtext then I'm completely conscious of what I'm doing. For better or worse, I'm something of a perfectionist. I aim for a level of subtlety and wit in my stories that may not be immediately apparent on a casual skim. There's usually several threads unravelling at once in my stories. A reviewer such as Peter Tennant or editors such as yourself, Andy Cox, ("TTA"), Debbie Bennett ("Dark Horizons") and, of course, Andrew Hook (Elastic Press) understand the care and attention I've taken with pieces such as "Pumpkin Coach" or "Somme-Nambula" (both in "Somnambulists", Elastic Press 2004). Occasionally, however, my work gets ignored or treated as if it's at the same level as an "I Killed My Wife With The Kitchen Knife" chiller knocked out in a 10 minute tea break.

To what extent is your "The Dodo Has Landed" column in "The Third Alternative" just an excuse to have a good old moan about modern life? Do you really consider yourself to be a Dodo? How would you define the label?

Allen: It's a stance. A lot of what I say is meant to be taken with a pinch of salt - it's tongue in beak, if you like. Andy Cox (editor of "TTA") has started putting a tag line that not all progress is good progress and that's fair enough. My view of the column is that I want it to be provocative. I want people to pick up a new issue of "TTA" and think, "I wonder what that silly sod's moaning about this time?" And then a thousand words later are nodding in agreement!

A Dodo is cautious, unaffected by the airheaded dictates of fashion, not afraid to say actually this new idea / directive / proposal / innovation is badly thought-out and, frankly, shite. "Dodo" is a compliment as well as a term of endearment. I use it in the same way I might use the word "geezer".

What inspired you to write "The Planet Suite"? What is it about? Why should people buy it?

Allen: "The Planet Suite" is my only published novel to date. I wrote a story called "Seven Rides to Venus" which caused quite a ripple when it appeared in "TTA 3". I had loads of ideas left over and worked up two more stories - "Jupiter And Beyond" and "The Last Martian Artefact". After several discussions with Andy Cox, I embarked on a complete series of stories about the planets and debris of the solar system which all link together to form "The Planet Suite". Roger keen described it as the "ur-slipstream novel" and Rhys Hughes called it "one of the most important debuts of the 1990s". I'm quite well read in Golden Age and New Wave SF and I believe "The Planet Suite" is a unique concept in fiction. If that hasn't made you want to buy it, the book was recently trading on Amazon USA at $110. (TTA Press have it for £4.99!).

Do you prefer writing short stories, novels or non-fiction? What do you feel is the key to your success in these fields?

Allen: I suppose short stories are my natural home these days. In the past I've written dozens of songs, poems, novellas, novels, novel outlines and so forth. Non-fiction requires a slightly different mindset. Often my tone is intentionally lighter, even if I'm striving to make some critical or cultural point; whereas a story such as "Siberia" (in "Somnambulists") is deeply serious. However, I'm starting to discern a convergence, as my recent fiction output has been more playful and relaxed. What is non-fiction, anyway? I still made up most of it!

Tell me about "Somnambulists", your latest short story collection. How did it come about?

Allen: I've been touting a short story collection since Darwin got back from the Galapagos. When I saw on the TTA message boards that Andrew Hook was starting up Elastic Press, I was in with a proposal as soon as possible. Initially, I sent him 3 stories then, after a favourable reply, a selection of 20 or so. Eventually we settled on 16, four of which are previously unpublished. My original 3 - "Somme-Nambula", "Sequel" and "In Search Of Guy Fawkes" - all made the final cut. I think we agonised more over the running order than the track selection. If you read the collection from start to finish you'll see themes, ideas and images echoing and repeating in fascinating ways. The collection is book-ended by "Somme-Nambula" - a dreamy piece set in the First World War trenches - and "State Of The Ark" - a dreamy piece set on the banks of the Nile. The book can be read as a journey from the world war to end wars through to the apocalyptic end of the world due to global warming. With plenty of fun along the way!

To what extent do you feel that the small press is the saviour of genre writing? What changes have you noticed over the years?

Allen: This may be a misconception but there seem to be fewer reliable, regularly published print magazines than there were back in the 1990s or late 80s. My list of likely markets is only in single figures. Maybe it always has been. As for the small press being the saviour of genre writing - the days of "The Saturday Evening Post" and the other places wherein Roald Dahl, Kurt Vonnegut et al honed their craft seem like prehistory now. The independent press is the only credible outlet for short fiction by anyone other than TV chefs / gardeners or "Big Brother" contestants. The theory is that the best of us will serve an apprenticeship and somehow osmotically move into the Big Name world. I hope I've still got some teeth left when I finally graduate!

Would you say that the type and quality of your output has changed significantly over the years or not?

Allen: I would hope the quality has improved but it's not really my place to make such a judgement. I've broadened my outlook and these days will attempt stuff I've not done before or not succeeded at before. Adapting my story "Pumpkin Coach" for dramatic performance at my book launch on 31st July 2004 is an example of that. At base, though, I'm still the 14-year-old New Wave science fiction nut who submitted a poem to "New Worlds" back in the seventies.

How important is it for a writer to vary their writing style and the type of work they produce? Is it more important to stick with a formula that has proved to be successful in the past?

Allen: I think it's important to never artificially limit oneself. For example, don't say, "I can only write first person" / "I can't do strong female characters". Have a go… then revise, rewrite and improve. Currently I write stories, articles, reviews, football skits and previews. In the past, I've also written songs, poems, sketches and music criticism. Each format engages slightly different parts of the creative consciousness, which has got to be healthy.

I don't have a formula. If I was selling bucket loads of books like Stephen King or Jackie Collins, I might be tempted to develop one and stick to it. My master plan, though, is to create an instantly recognisable body of work. "Somnambulists" is a key building block.

Do you like living in London? Why? Are you inspired by city life?

Allen: I read something in "Time Out" which said if you say you come from Chichester or Aldershot or somewhere, people will ask where exactly is that but everybody in the world recognises London. Like most other inhabitants, I have an ongoing love-hate relationship with the metropolis. It's dirty, constantly noisy, it stinks and the air is almost as bad as L. A. But you don't realise all these things until returning from absence. On the other hand, you can find and buy anything, live in a clique or subculture and travel all day for just over a fiver. One can't fail to be inspired by the tension and conflicts of urban life. Many of my stories are set in thinly disguised London locations. With "The Saurian", for example, I could take you to the sorting office and the supermarket car park and point out "Fortescue Tower". If you were desperate enough to see them…!

What writers have you met? Are there any who have inspired you to write? Tell me about the qualities you admire in a writer?

Allen: I've met loads of writers - many of them more successful than I am but too canny to reveal the secret incantations. I met Chris Priest when I was only 17 and he was incredibly patient with this annoying, star-struck teenager. I've met J. G. Ballard a couple of times. I chatted with my first real role model Robert Calvert, the late lamented space poet / dramatist / novelist with the band Hawkwind. In more recent years, I'd like to pay tribute to Des Lewis who has always encouraged and supported me.

The thing I admire most is ideas. Hence the admiration for people like Ballard, Borges, Vonnegut, Bierce, Burroughs and Lewis. I can forgive quite a lot if the concept or the formal experiments thrill me.

In terms of the writing world, what would you say has been your most embarrassing moment (that you can safely relate)?

Allen: I was interviewing Joel Lane for "TTA" and reviewing his novel "From Blue To Black" which is about a singer-guitarist. So I mentioned in passing, "Of course, Joel, you wrote that really cool story which was full of indie song titles and band names." There was a short silence then he replied politely, "Actually, that was Nick Royle."

What has been your proudest moment?

Allen: Going way back, when "Fantasy Tales" published my (now famous) story "Dead To The World", I was dancing around the room. With "The Planet Suite" there wasn't a defining moment as such. Launch day for "Somnambulists" was pretty good - all those people there to support me and my achievements. But I have to blow my own trumpet a bit louder and say I played Town and Country Club, Brixton Academy and Hammersmith Odeon with Hawkwind, so I can die happy!

And finally, that old chestnut: What advice would you give someone who is just starting out on the hard road of writing?

Allen: There's a whole swathe of useful advice I could offer. I'm probably better at giving one to one specific advice relating to a particular story, but here goes: You're not professional, you may never be professional, but you should still follow submission and presentation guidelines properly.

You're going to be rejected many more times than you're accepted. Develop a thick skin. If an editor offers you advice or suggestions, at least consider them even if you find you can't ultimately follow them.

Don't call yourself a writer unless you've actually written something. Better still, not till you've got a suitcase of returned manuscripts / or a shelf of credits. If you're really committed to writing, you'll soon have both.

Beyond that, develop an individual voice. And, it sounds trite but, have something to say. I'm probably going to get a lot of flak for this but - putting on my editor's hat for a moment - before submitting writers should ask themselves what they are actually doing. Is it a) indulging anger management therapy; b) auditioning to join a tribute band; or c) attempting to add something, however minor, to the pool of human wisdom, consciousness and culture? Only the lucky "c's" should bother sticking a stamp or clicking "send" on the e-mail.

Many thanks, Allen.

Allen: Cheers, Trevor.