Joe Conroy on his first novel In Out: ‘An unhinged twink untethers himself from society’s norms’ (EXCLUSIVE)
Joe Conroy speaks to Attitude about writing a novel that finds humour in the trauma experienced by his anonymous queer protagonist
By James Hodge
A lifelong reader and literary enthusiast, Joe Conroy’s first novel, In Out, will be released in October. It tells the tale of a nameless protagonist who abandons social norms in a bid to find freedom amid a melting pot of drink, drugs and sex.
It’s a dark and compelling read set against the intensity of the Brexit referendum, and as the world seems to collapse around him, he too surrenders to his own chaos. Here, Attitude speaks to Liverpudlian Conroy about finding queer escape through urbanity, the importance of mothers, and discovering an unlikely source of inspiration in Amy Winehouse.
Attitude: Where does your passion for queer storytelling come from?
Joe Conroy: I am very inspired by Toni Morrison’s mantra: I write the stories I want to read. And writing queer stories – whether about positive or negative experiences – creates a sense of solidarity and comradeship. In the case of an anti-hero, it can save us. We learn from their errors.
When you were pitching the novel, what was the one-line sales pitch?
An unhinged twink untethers himself from society’s norms.
Have you ever felt untethered yourself?
I grew up in Liverpool: it’s home, it’s the most gorgeous city in the world, and Scousers are the best people. It’s produced so many queer heroes: Paul O’Grady, Pete Burns. But in some ways, it’s quite a rigid city, and growing up queer, I felt quite isolated. That isolation is exaggerated within my protagonist. Moving to London felt to me like an untethering in a way too, but positively – it provided me hope and allowed me to find myself in what is undoubtedly the best clubbing scene in the world. Although it becomes dangerous for my protagonist, he feels safe there. He’s like the foxes he is so fascinated by, wandering the dark streets alone.
Why did you choose not to give your demon twink protagonist a name?
I didn’t want to limit him, or box him in, when he so hungers for liberation. Names say a lot about a person. I think it’s intriguing when a protagonist remains anonymous.
It’s a very dark novel and there’s a real trend for queer anti-heroes. Why did you want to tell such a tragic tale?
Because sometimes, life is tragic, and to deny that these things happen is itself a tragedy. The novel grapples with drug use, alcoholism, abusive sex – the protagonist is utterly nihilistic. I’m thrilled that queer joy is so celebrated in literature. I’m immensely grateful for texts like Heartstopper that have told such heartwarming queer stories. But equally, to deny the bleakness would be to deny people’s experiences, and that would be wrong as well.
You ground the novel against the backdrop of the Brexit referendum. Why was that such a significant cultural moment for you?
I was only 13 when Brexit happened. For me, it was a very visceral time – it dominated the news. I associate it with a fracturing of our nation and such sociopolitical change. It was a moment where everything shifted in a way. The protagonist may be privileged and can turn his back on normalcy, but ultimately, even his life, like everything else, eventually goes to shit.
Is the title In Out reflective of the Brexit referendum?
Partly. The protagonist chooses to leave society and becomes increasingly binary. In the same way, in/out is one of many universal binaries – the ultimate being life and death. And of course, it’s a sexual reference too.
At points, the novel almost veers into body horror…
The world is thrust onto the protagonist. Despite his privilege, he wrestles with life. His body almost becomes its own separate entity from a mind that can’t process it. That’s why I chose to write it as a first-person narrative predominantly. I wanted the reader to really feel what he feels as he escapes into drink, drugs and violence.
In Out by Joe Conroy will be published 1 October.
This is an excerpt of a feature appearing in the September/October 2026 issue of Attitude, available on digital platforms and in print now.