A horror story is not a kind of book you would buy for a friend as a wedding gift or read as a form of unburdening yourself.
10 Chilling Writing Tips From Horror Authors
Some readers will rather not read anything at all than pick up a horror novel. At the other side of the coin, there are some unique readers whose novel collection is ninety percent horror, these kinds of readers like to be scared and are not afraid of picking up a horror novel. These are the people waiting on you for a good and well written story and letting your audience down is not an option.
Below are step by step instructions on how write a good horror story. This to a large extent is true but can be proven to be untrue. This factor could make your writing tedious because you will have to look for a general ground for everyone and still try to maintain the general fear afflicting every human.
Feeling Stuck on Your Essay? She moved closer to him with each step heavier than the last. He was still dressed in his black night dress, looking exactly like the devil he is. He stood at the kitchen sink washing his blood stained hands while he licks his lips like a very thirsty man. He giggled like a school girl that was handed a candy. She gripped the butt of the cold metal and touched his shoulder. It's worth skimming for the good chapters, if nothing else.
May 04, H. Gravy rated it liked it. Many of the essays and articles within are written by some of the most well-known and prolific names in horror out there. While their advice is sound and generally touches upon many aspects of the craft, marketing, and style, it isn't a very comprehensive study in any area in particular. The information is a bit generalized to give a prospective or n On Writing Horror: A Handbook by The Horror Writers Association is an introduction to the world of horror fiction theory, publishing, and elements. The information is a bit generalized to give a prospective or novice author an idea of what they should be doing with regards to their careers, their ideas, and how to seek out more knowledge on the subject matters contained within.
I believe the title of the book should have reflected more upon what the book actually is. Something more along the lines of a Horror or Introduction to Horror Writing. In , a lot of the non-conceptual information is dated. Of course, this isn't something I hold against the book.
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Just something to point out to those who are reading this in the future. Self-Publishing has risen to epic proportions with Amazon. Small press publishers have a much greater reach now than ever before. Otherwise, the subjective materials about the craft, style, and generating ideas is still relevant today. While I don't think I got much out of this book, it does serve as a refresher course on how far the publishing world has gotten. If you are looking for a book with much more substance, I suggest checking out Crystal Lake Publishing's "Writers on Writing" series.
Oct 28, Matt Sautman rated it really liked it. The first six sections of this book are filled with ideas that can be useful to writers just starting to write horror or are looking to integrate elements of horror into their fiction. The last two sections feel somewhat dated in , with the subgenere section feeling overly general and the publishing section feeling as if it does not reflect the current market.
A general critique of this book: while there are a few female contributors, this book skews towards male writers. This same list also include L. Ron Hubbard, which also makes me fairly skeptical. I also find Harlan Ellison's interview more egocentric than helpful and his epilogue to be more masturbatory than useful for a guidebook to writing horror. Feb 01, Fatman rated it it was amazing.
About Writing Horror Fiction
One of the best, if not the best, books about writing I have read. Some of the information is a bit dated, but that only makes sense, given the publication date. There is no step-by-step manual that you will read and immediately understand how to write well - it comes down to talent and the willingness to work and improve.
Jul 17, Keith rated it it was ok. I can't say I was terribly impressed with this book. I guess I was looking for something a little more how-to and less pontificating. I'm not a huge splatter and gore fan, and that might be part of my ambivalence towards the book, and the essays seemed to swing between bloody horror and writers who wanted to be the next Bram Stoker or Mary Shelley. I enjoy writing, and sometimes I like to branch out and try new challenges, like horror.
My comfort zone is more general fiction or mystery. Whatever I can't say I was terribly impressed with this book. Whatever I was looking for in a book on writing horror, this wasn't it. Apr 06, Donyae Coles rated it really liked it Shelves: craft-writing.
7 Tips For Writing Horror Stories | The Creative Penn
A look into the business and craft of scary. This isn't a how to book so much as a resource book for those looking to move forward in a professional manner. A lot of the market information was out of date by the time I read it but the rest of it was solid. It covers genre conventions in theme, dialogue, narrative, etc but this is not a workbook for the aspiring horror writer.
I think this book is best suited to help someone who is already familiar with the genre and writing in general. Jan 07, Nikki rated it it was amazing. An earlier edition of this book is what I used to get prepared to start writing novels. Mort is one of the most brilliant minds in the horror field; this book is a gathering of those brilliant minds outlining the things they do best and how you, too, can do them.
If you want to write horror, this is the book you need to be consulting. Mar 24, Charlie rated it it was ok Shelves: supercontext-podcast. A lot of short essays, many of them oddly truncated. I read this less as a handbook than as a survey of authors, and I felt like I got a much better sense of how horror writers strategize careers and perceive their industry. Jan 14, Greg K rated it it was ok.
A mishmash of opinion pieces from different authors. Some are interesting, most are a bit hubristic and not very enlightening. Mar 04, Upen rated it really liked it.
Very informative and detailed just what I needed to understand how the horror genres work. May 05, Gary Smith rated it it was amazing. Always good to touch up. Oct 27, Tab rated it really liked it. A good introduction for a beginner. Jan 27, Sean Carlin rated it liked it. I second most of the other three-star reviews of this book. If you're looking for an instructional of codified writing techniques as they apply to the genre of horror, this handbook isn't for you.
For that, you're probably better off studying the first chapter of Blake Snyder 's Save the Cat! As a collection of anecdotal essays about the business and craft from authors accomplished in the genre I second most of the other three-star reviews of this book. As a collection of anecdotal essays about the business and craft from authors accomplished in the genre, however, On Writing Horror is perfectly serviceable, even very often informative if nothing else, the various contributors cite a healthy sampling of literary classics in the genre, some of which you may have never heard of, so if you do nothing more than note those titles and make the time to read them for yourself, you've already gotten your money's worth out of this book.
Given the copyright date of this revised edition -- a decade ago as of this writing -- its chapters on selling, marketing, and promotion are woefully outdated: They don't take into account the seismic shifts in publishing that have occurred over the last decade like e-books, self-publishing, online promotional platforms such as author blogs and Twitter, etc. That's a fairly substantial limitation to its usefulness. And that's ultimately the overall shortcoming of this particular manual: Though its content is well-organized, its practical information on the business of writing horror is outmoded, and its essays on the craft itself the artistry of the discipline don't offer any methodology -- tools and techniques that can be consciously and artfully applied -- but rather just general insights and advice, anecdotally interesting though some of it may be.
I certainly wouldn't recommend this book to those looking to learn the conventional requirements of the horror genre; in that sense, it's akin to one of those many how-to texts on writing that offers lots of theory , but precious little in the way of systemized principles. Dwight V.
Swain 's Techniques of the Selling Writer is also recommended. Point is, better to commit to learning narratology in general, and then studying the particulars of a given genre -- and this particular book should definitely not serve as your primary source for the latter with respect to horror. King's Danse Macabre , for starters, would probably be a better conspectus for that.
Jul 20, J. For the kind of reference book it attempts to be, this is a pretty good book. It's compiled well, has generally good advice by generally successful and well-received authors and industry professionals. One problem with this book is that most of the people that supply the contend for the book are now senior citizens, many of whom are form the pre-TV generation, and don't have an entirely modern viewpoint on the publishing and promotional mechanisms available toda Great Book, Needs To Be Modernized.
One problem with this book is that most of the people that supply the contend for the book are now senior citizens, many of whom are form the pre-TV generation, and don't have an entirely modern viewpoint on the publishing and promotional mechanisms available today. There is talk of the evils of vanity presses for example; which is silly, as modern platforms like the Kindle Self-Publishing Program render such things moot. Other examples are abound, but I won't get into it.
The point is, some of the information in this book is both dated, and told from a dated perspective. Thus, if you buy this book, keep in mind that you don't have to take all of their advice literally, and that there are many, many more options available to you when it comes to publishing. I'm not bagging on older people at all, mind you. I'm not saying that being a member of the pre-TV generation is a bad thing either; as a writer, it's a very good thing in my opinion. I just know that technology has opened about a half-billion doors that the people writing in this book aren't familiar with and haven't considered.
The other aspect of this book that I disagreed with is the great push for writers conferences and workshops.