VOL.93/2026.04

 

Writer Cho Ye-Eun

New Stories Found in an Imperfect Reality

 

2025.11.03

 

People are drawn to different charms, but freshness and entertainment are universally appealing. Writer Cho Ye-Eun, regarded as one of the “next generation of Korean literature,” says she finds inspiration in complex realities and empty spaces. The following is an interview with writer Cho Ye-Eun, who weaves new and entertaining stories from an imperfect reality with her singular imagination.

 

 

It’s an honor to have you with us on K-Book Trends. Please say hello to our readers with a brief introduction of yourself.

 

Hello, I’m novelist Cho Ye-Eun. I write across a wide range of genres ? SF (science fiction), horror, fantasy, thriller, and mystery - always striving to make stories that are fun to read.

 

You made your debut in 2016 with the short story, Overlap Knife, Knife, which won the 2nd Time-Leap Fiction Contest hosted by Goldenbough Books. The story, a time-slip tale about saving a loved one, was later adapted into an episode of the 2023 KBS Drama Special series. Could you tell us what inspired you to combine SF and thriller elements for your debut work?

 

I simply wanted to write an “entertaining story.” The theme of the contest happened to be “time leap,” so I wanted to write a story where readers could feel the pure thrill of the genre. I always write from a reader’s point of view, asking myself what kind of story would truly draw them in. I was lucky that many people enjoyed it, and thrilled to see it adapted for television.

 

 

Your first full-length novel, Shift (Vookda), won the grand prize at the 4th Kyobo Book Centre Story Contest. You moved on to writing a full-length novel right after your short story - wasn’t that challenging? Also, the concept of a character who can “transfer pain” is quite intriguing. How did that idea come about?

 

To put it simply, I was brave because I didn’t know better. (Laughs) If I had majored in literature or learned to write formally, I probably wouldn’t have dared to attempt it. I just wanted to write something enjoyable to read. Winning the contest with my short story, Overlap Knife, Knife gave me confidence, and naturally, I started thinking about writing a full-length novel. At the time, the prize money for full-length novels was also higher. I didn’t really have much hesitation or fear about writing a full-length one.
The idea for the special ability in Shift came from a conversation I overheard between some elderly people in an elevator while visiting my father in the hospital. When a family member is sick, people often say things like, “I wish I could take their pain instead.” The story began with that simple thought.

 

 

The Massacre in New Seoul Park (Safehouse) has a distinctive title. Including your debut work, Overlap Knife, Knife, as well as short story collections like Cocktail, Love, Zombies (Safehouse), and The Village of Stitched Eyes (Jaeum & Moeum Publishing), many of your titles spark curiosity. Is there anything in particular you pay attention to when deciding on a title?

 

Yes, I intentionally choose eye-catching titles. In particular, for The Massacre in New Seoul Park, I wanted to make a strong impression because it was being published by a new press with a debut author like me. Of course, the most important thing is that the title reflects the story well.
I usually decide on titles after finishing the manuscript, choosing from several candidates. Sometimes they come to me naturally while writing. As I try to choose titles that reflect the atmosphere and worldview of each story, I suppose that’s why many of them turned out rather distinctive. I plan to keep naming my works that way. Just as I pay close attention to titles and covers when I pick books, I believe readers also respond to the feeling a title gives.

 

 

Tropical Night (Hankyoreh En) is a collection of horror-thriller short stories that are both humorous and endearing. Dealing with seemingly mismatched elements like “humor and horror” or “love and thriller” together seems to reflect your affection for genre fiction. When did you first become interested in these genres?

 

I think I have been drawn to them instinctively since childhood. I naturally read and watched horror and thriller stories. It happened to be around the time when horror films like “Ring” and “Ju-On: The Grudge” were big hits, and countless B-grade horror movies were coming out. The comics I loved also carried that end-of-the-century mood. Growing up with those kinds of works definitely shaped my tastes. More than anything, I love “interesting and new” stories, regardless of genre. So, when I explore unfamiliar emotions within myself, horror feels like the right medium, and I also enjoy blending seemingly mismatched elements across genres.

 

 

Your stories often reference “dystopia,” dealing with issues such as stalking, women’s rights, cults, and the climate crisis. Are you particularly interested in social issues? Do you personally see the world today as dystopian?

 

Yes, I think our reality is completely dystopian. Sometimes I even feel scared by how dystopian the world has become. This naturally makes me more aware of social issues. After all, these are realities shared by everyone living in this era - including myself. So, it’s only natural that traces of these issues appear in my writing. Yet, as a writer who connects the real and the imagined, I try to plant humor and fantasy within it.

 

 

The Massacre in New Seoul Park was translated into English, while Tropical Night and Cocktail, Love, Zombies were translated into Chinese. How have international readers responded? Is there any work of yours that hasn’t yet been translated or published overseas, but you would like to see introduced abroad?

 

I haven’t had many chances to hear reactions directly from overseas readers. But, I did hear that Cocktail, Love, Zombies received great attention in China due to rising interest in feminism at the time. As for the English edition of The Massacre in New Seoul Park, I was told that many readers were drawn to it by the title alone.
The work I would most like to introduce abroad is The Ghost of the Jeoksan-gaok (Hyundae Munhak). I would love to share it with a wider audience, as it’s a work that stays true to the pleasures and conventions of genre fiction.

 

 

It is said that your hometown of Gunsan served as inspiration for Fins Inside the Mouth (Hankyoreh En) and The Ghost of the Jeoksan-gaok. How did Gunsan influence these works?

 

I really love my hometown, Gunsan - first of all, for the food! (Laughs) When I was in middle and high school, Gunsan still had many abandoned buildings. The area that is now a popular modern-history tourist district was full of ruins back then. My school was in the old downtown area, and my home was in the newer district, so I commuted between contrasting spaces every day. Naturally, empty spaces caught my eye. I’m deeply inspired by space, and I think my imagination grew from wanting to fill old houses and ruins with stories. Even the eerie, sticky sea breeze of the West Sea that I encountered during night walks with friends stimulated my sensibility. I have heard that visitors to the Gunsan Book Fair also said the city’s desolate atmosphere sparks their imagination.

 

 

You have consistently released short stories, full-length novels, anthologies, and serials since your debut. What has kept you writing so steadily?

 

I think it is the anxiety that my energy might run out someday. I always think, “I should write as much as I can while I still have the strength.” At the same time, I think the biggest reason is that I genuinely love stories themselves. I still have a strong desire to keep writing.

 

According to YES24, readers voted you as one of “Korea’s most promising young authors,” placing you third in 2024 and first this year. Why do you think readers continue to look forward to your work? And, do you ever feel any pressure from those expectations?

 

I’m simply happy that it means more readers are coming to enjoy my stories. I think it’s because they are drawn to the sense of “newness” my stories offer. To me, newness means “looking forward to what comes next.” When readers encounter something fresh and exciting, they start wondering, “What kind of story will the writer write next?” Thankfully, I don’t feel too much pressure from those expectations just yet.

 

 

I keep wanting to write simply because I love stories themselves.

 

 

You also worked on the storytelling for K-pop boy group SEVENTEEN’s single album “This Man,” featuring members Jeonghan and Wonwoo. You also participated in the audiobook version of The Ghost of the Jeoksan-gaok. What were those new experiences like?

 

Both were such enjoyable experiences. Writing a novel involves wrestling with the draft alone until it is done. In contrast, these collaborations involved communicating with many people and seeing my work reborn with visual beauty through the eyes of other artists. It was almost awe-inspiring. The audiobook gave me a similar feeling. Even though it was my own story, hearing it read aloud felt unfamiliar. I happened to be a bit exhausted from continuous writing at the time, and the experience recharged my energy and deepened my love for the creative process.

 

Are you currently preparing any new work?

 

I plan to release a full-length novel next year. I also have a completed draft of an occult story about demons and human desires - I’m not sure when it will be published, but I want to refine it carefully. I also hope to bring my ongoing cult-themed series, The Believers of the Green Cliff, serialized on Millie Seojae, to a satisfying close.

 

Last but not least, could you please share any personal goals or wishes beyond your writing?

 

I wouldn’t say I’m a workaholic, but whenever I get asked this question, I realize how few hobbies I have. One goal is to get my driver’s license. I would also love to try a temple stay. I have long wanted to visit a temple deep in the mountains, but I haven’t managed to go for years - probably because I don’t have a driver’s license. So, first things first: I’d better get that license! (Laughs)

 

 

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