Tag: writing advice

Horror Subgenres Part Six

In case you missed them, here are links to parts one, two, three, four and five. 

And this is it! We’ve come to the last post about horror subgenres. Did I get them all? Probably not. But that’s alright. We covered a lot. And hey, if I missed a subgenre you love or one that you wanted to know more about, please let me know in the comments. No reason I can’t do a part seven if I find enough new subgenres.

Techno horror

At the introduction of every technological advancement, there is fear. There will always be some that believe every new way to communicate with each other is the thing that will bring about the fall of society. As though it would ever be just one thing.

While we might like to think that Techno horror is a new subgenre, it’s really not. Sure, there are lots of good stories about internet urban legends coming true. Plenty of ghosts in the machines, hunters stalking innocent prey in comment sections and message boards.

But before there was the internet, there was television, radio and telephones. And we don’t have to look far to see that each had its own set of horrors.

I still think a phone with no caller ID is pretty damn scary.

The Ring is a great example, with a vengeful spirit trapped on a videotape. But we can go much farther back, to the classic film Videodrone. We’re always scared of what we don’t understand, and we don’t understand technology. Even as we’ve grown so dependent on it. And so the Techno horror subgenre is alive and well, with later installments including movies like Pulse.

Urban Gothic

I’ve not been shy about loving city life. Even as I write this I’m sitting in front of a window that looks out over my tiny little city. I can see windows that lead to people’s homes and offices.

And yeah, so many people living and working right on top of each other will lead to some horror stories.

This subgenre is full of dark alleys and dangerous shadows. It’s a drug store at two in the morning, empty but open. It’s someone you see on the other side of the road, who’s gone after a truck goes past. It’s a fifth-story window being opened from the outside. It’s a scream from your neighbor’s apartment, followed by silence.

This is a subgenre that goes back to London. Real horrors like dirty living conditions and clashing politics lead to stories like Dr. Jeckyl and Mr. Hyde. But we keep right on creating out of this gothic subgenre. Half the Purge movies would fall into this category, as well as the classic American Psycho.

Vampire literature

I don’t know how much I need to say about this one. I think we all know about vampires. The evil, the tortured, the sexy and brooding. Vampire lore has been with us for centuries, even before Stoker gave us the eternal Dracula. And it’s a subgenre that keeps updating along with the times. Capes are replaced with trench coats. What was once a monster lurking in the night becomes an influencer with millions of followers and a deal with Hot Topic.

As a teenager, I was in love with the entire vampire subgenre. As an adult, I’m rather over it. 

Weird Menace

This is another subgenre that is wrapped up in a specific timeframe. In this case, the 1930’s and 40’s. It’s a blend of horror and mystery, with a hero pitted against Satanic villains. This was largely a comic book subgenre, featuring graphic gore and sexual portrayals. Many of these comics lasted only one or two issues before there was enough public outcry to shut them down. One that did last a little while was called Strange Detective Stories. I hate that so many of these were shut down. While I don’t know that I’d call many of these old comics art, they might have evolved into some great works if left the hell alone.

What stories have we lost to the deadly boot of censorship? 

Werewolf fiction

Finally, we come to werewolf fiction. Another well-known subgenre, but a bit more nuanced. Because while werewolves specifically aren’t universal, legends of people turning into monsters under a full moon pretty much are.

I wonder why that is. Why does almost every culture across the world have stories of people turning into animal-like creatures? The styles might change, the animals they resemble differ. But these tales abide.

I wonder why.

There are some great examples of werewolf fiction out there. Underworld was fun, of course, as was I Was A Teenage Werewolf. 

So that’s it. Don’t forget to give this post a like if you enjoyed it. And if I didn’t get to your favorite horror subgenre, let me know in the comments. 

Quiet Apocalypse launches next week, on Friday the 13th! You can preorder it now on Amazon and Smashwords. 

The end of the world began with a winter storm.
Sadie’s quiet life is interrupted when a tree crushes the roof of her attic apartment. She’s forced to move to a smaller apartment in the building. Then, her aunt guilts her into clearing an ouija board of a particularly irritating spirit.
But it wasn’t just the roof that was broken by the tree. There was something trapped within the building, waiting. Waiting to wake and bring about the end of the world.
Not with screams, but with silence.

Paper Beats World is a labor of love. If you loved this post, please consider buying me a cup of coffee on Ko-fi. 

0

Horror subgenres, Part Five

Just in case you missed them, here are links to parts one, two, three and four.

This horror subgenre post might be my favorite because we’re going to talk about one kind of subgenre that I love. The Gothics.

Southern Gothic

Southern gothic is all about the dark corners of the southern American states. Which gets me every time. Aside from New Orleans, I don’t see much to enjoy below the Mason/Dixon line. If you’re from that part of America and you don’t like that, stop voting for politicians who are trying to take away reproductive rights.

That felt like a snarky point, but it does have something to do with the subgenre. You see, Southern Gothic tends to deal heavily with the complex political spectrum of the south. There is racism and hatred. Burning crosses and battered women. It’s hard for someone like me, who only spent a year there as a child then got the hell out, to grasp the weight of it.

The Southern Gothic subgenre has a lot of discussions of racism. A lot of focus is on the oppressive heat and the strangling kudzu. It’s the nightmares of men defeated in a war, and a people stolen from their homeland and sold as slaves.

Some great examples of Southern Gothic are Lovecraft Country, Texas Chainsaw Massacre, and this one episode of Monsterland. 

Southern Ontario Gothic

There’s a funny story about this subgenre. Author Timothy Findley was being interviewed about his book, The Last of The Crazy People. The interviewer said it had a very Southern Gothic feel. Findley responded, “Sure, it’s Southern Gothic. Southern Ontario Gothic.”

This sort of work is essentially horror with the aesthetic of Canada. This is what I love about gothic genres in general. It is something that can’t always be understood by outsiders, but it is deeply felt by those who have roots in a certain community. Because we are all outsiders to some, and we all have roots somewhere else. Gothic stories are all about those dark corners we know about in our communities.

Because everywhere has dark corners.

Splatter Film

This subgenre has a far different vibe than the others we’ve talked about today. A splatter film glorifies all the gore and blood your dark little heart could want. There are few holds barred in this sort of film. Guts and blood are so prevalent, this feels more like torture porn sometimes.

Other times it can be funny as hell, like in Evil Dead or Dawn of the Dead. 

Splatter films come in all sorts of flavors. A fun one from a few decades ago is splatterpunk from the ’80s. Back when everything was punk.

Suburban Gothic

This is the gothic subgenre I’m most familiar with. As someone who just moved out of the suburbs, which I hate, I know all about this one. 

The suburbs represent conformity. They’re a place many people dream of living, but only because they’ve never done it before. Everyone’s grass is always cut. Their trash is brought to the curb. Everyone’s car is clean. 

Too clean.

My favorite example of this subgenre is The House Next Door, which explores madness in many forms. Another example is Nightmare on Elm Street, where a mob of suburban parents went to extremes to protect their children. Then there’s Poltergeist, which explores the desire to afford to live in this sort of neighborhood, and what lengths someone might go to to achieve that.

Zombies

Ah, zombies. Another genre close to my heart, being from Pittsburgh and all. 

Zombies are pretty popular in pop culture. The fun thing is, that they can also fit into almost any of the other subgenres. You’ve got some zombie stories that are flat-out adventure tales, splatter films, gothic movies of every flavor.

What I love about the zombie subgenre is that it isn’t about the zombies. I mean, it’s a little about the zombies. But it’s more about how the living respond to this apocalypse. What do we do when there’s bad death threatening on all sides? When supplies are low. When we might be separated from people we love, unsure that they’re alright but with every reason to think they’re not. What do we do when the power goes out, the water goes out, the wifi goes out?

That’s the real terror of a zombie story. But it’s the real inspiration, too. Because the people who just look out for themselves, they’re the bad guys. They’re the ones who don’t make it. It’s the people who are looking out for their fellow man, who are risking their own lives to save others, that are the heroes. 

That’s one of the best things about horror in any genre. When faced with unimaginable odds, with the worst kinds of pain and horror, some heroes stand up and save others. Usually with nothing but the will to help and a double-barrel shotgun. Or a chainsaw arm. Whatever they have.

We’ve just got one more of these horror subgenre posts to go. Leave a like if you’ve enjoyed this, and I’ll see you next time. 

Quiet Apocalypse is available now for preorder! Check it out on Amazon or Smashwords. 

The end of the world began with a winter storm.
Sadie’s quiet life is interrupted when a tree crushes the roof of her attic apartment. She’s forced to move to a smaller apartment in the building. Then, her aunt guilts her into clearing an ouija board of a particularly irritating spirit.
But it wasn’t just the roof that was broken by the tree. There was something trapped within the building, waiting. Waiting to wake and bring about the end of the world.
Not with screams, but with silence.

Paper Beats World is a labor of love. If you found value in this post, please consider buying me a cup of coffee on Ko-fi. 

1

Horror Subgenres, Part Four

If you missed them, here are links to parts one, two, and three.

Welcome to part four of our series of horror subgenres. I’ve been loving the research I’m doing for these posts. My TBR pile keeps growing with every one. And, if you’re a writer like me, this can help a ton when marketing your horror stories. Knowing what you’re working with can certainly help you narrow down your markets.

So let’s get into the subgenres.

Monster literature

This is a pretty easy to define subgenre. A monster story is all about good against evil. Evil is usually in the form of a monster. Of course, it could just as easily be in the form of the absolute idiot who put together a human being out of spare parts and then took off and left it. Or the human who made a potion to turn himself into a different man so he could do all the dirty twisted shit he wanted to do and not get noticed. Or the human who thought all the creatures who couldn’t go out into the sun were going to kill him. 

What I’m saying is, even if this subgenre seems straightforward, it’s really not. These examples (Frankenstein, Jeckle and Hyde and I Am Legend) are much deeper than most people give them credit for. I’m not saying the Chipmunks Meet Frankenstein wasn’t a delight. I’m just saying there’s more to the story than popular media would have us believe. 

Mumblegore

Most horror content is fake. We’re all fully aware of this. And if it’s not, it’s called a snuff film and that’s a sin against God and Man. 

The blood is fake, the lines are rehearsed. The acting is well paid. Even in my horror podcast, we use a ton of sound effects and other fakery.

Mumblegore focuses on a more natural approach. It focuses more on improv. The actors aren’t well known, the budget is a shoestring. It’s basically an amateur film, but on purpose. 

I haven’t had the chance to watch many of these films yet. But some examples from recent years are Save Yourself, Rent a Pal, and The Rental.

New Weird

This subgenre is an updated version of Weird Fiction. Starting in the ’90s and early 2000s, it’s a lot of pulp, lots of camp. There are always some sci-fi and speculative fiction elements, of course. And since this was the time I was starting to get into writing, and since I write speculative fiction, I’d say this is more my genre than any we’ve talked about so far.

Organ Transplant 

The first thing I thought about with this one is the old kidney heist urban legend. The one where a guy wakes up in a bathtub full of ice, about 160 grams lighter than when he passed out. 

And that’s the subgenre. We’re talking about people donating organs who didn’t plan to, or people getting extra bits grafted on that they didn’t need.

A classic example is the story Donovan’s Brain. But another good one is the storyline in the show Gotham. Fish Mooney is captured by a man who calls himself the Dollmaker. He’s taking bits off people to sell to others who need them. The rich eat the poor. Nothing new.

Penny Dreadful

Penny dreadfuls were the trashy entertainment of their day. That day being the 19th century in the UK. They were cheap paperback horrors full of gore and rather risque content. For the time, I mean. They sound like they were damn fun. 

Several were based on some true crime stories that were happening around that time. Most notably, the tales of Spring Heel Jack and Sweeney Todd. 

Psychological Horror

This is the stuff that gets to you. Most adults aren’t lying awake at night quaking because of a clown in the sewers. They’re thinking about whether they’re going to run out of food before payday. They’re thinking about what would happen if their kids didn’t come home after school. They’re thinking about that lump they felt, and whether they should make a doctor’s appointment.

The best horror makes us think of these sorts of things.

Psychological horror reminds us of our mortality and that of those we love. It makes us question the safety of our immortal souls. It relies not on monsters, but on the monstrosity, we all fear might lurk within us. There might very well be some supernatural elements. But that’s just a vessel to get us where we need to go. Smack in front of a mirror that shows us our darkest self, and the darkest corners of our world.

Some great examples of this are Saw, Butterfly Effect, and Split. The first two, I have no intention of ever watching again.

They scared me too much. 

That’s it for this time. I’ll be back soon with more horror subgenres.

Sleep tight.

Quiet Apocalypse is available for pre-order now! You can get it on Amazon or Smashwords

The end of the world began with a winter storm.

Sadie’s quiet life is interrupted when a tree crushes the roof of her attic apartment. She’s forced to move to a smaller apartment in the building. Then, her aunt guilts her into clearing an ouija board of a particularly irritating spirit. 

But it wasn’t just the roof that was broken by the tree. There was something trapped within the building, waiting. Waiting to wake and bring about the end of the world. 

Not with screams, but with silence. 

Paper Beats World is a labor of love. If you found something of value in this post, you can buy me a cup of coffee on Ko-fi. 

2

Horror Subgenres, Part Three

Just in case you missed them, here are links to part one and part two.

Horror of demonic

Some of these subgenres are pretty self-explanatory. Like this one. This subgenre is based on the theory that the world is a dark, dangerous, and scary place. And that it is that way because of demonic beings who want to destroy our very souls. 

Most possession stories would fall squarely into this category, like The Exorcist or The Exorcism of Emily Rose. And of course, Rosemary’s Baby. 

Horror of personality

When I first read about this subgenre, I thought it sounded a lot like a cult of personality. And I wasn’t that surprised to find out I was right.

Horror of personality revolves around one person. They usually don’t have any sort of supernatural abilities or magic. Unless being a psycho is a superpower now.

This is the subgenre in which our serial killers fit. Our crazy cult leaders. So one real fun example of this subgenre is American Horror Story Cult. You can read all about what I thought of that series on Haunted MTL.

Japanese Horror

Japanese storytelling differs from American in many ways. Their horror tends to be more psychological than ours. You’ll find a lot of ghost stories. And, of course, some of the scariest damn urban legends I have ever heard. The amount of screaming, long-haired vengeful spirits these people have is amazing. 

Of course, the most well-known film to come from Japan is Kwaidan. You might know it better from the name of its American adaptation, The Ring.

Jiangshi fiction

I didn’t know this was a thing until I started doing research for this series. And I’m so glad I found out about it! 

This subgenre revolves around reanimated corpses, controlled by Taoist priests. 

That’s right, this is about zombies. Specifically, Chinese zombies. And that is so cool.

I haven’t yet gotten a chance to watch any of these films, but I want to. Some great examples of this subgenre are Spraying water and Demonic Corpses. 

Lovecraftian Horror

See, I told you we’d get to this. 

Lovecraftian horror is about the least cheerful thing you can imagine. It’s based on cosmic dread. A dark, terrifying, Elder God horror that we mere mortals cannot hope to escape from. 

The distinguishing feature of Lovecraftian horror is that there is no escaping the horrific end for the main character. It’s not a situation where you can outsmart the bad death. You didn’t do anything to incite the bad death. It simply came for you, like a force of nature, and took you. And no matter how clever you might be, how good of a person you might be, you’re not getting away.

Surprisingly, Lovecraft Country isn’t actually a Lovecraftian story. If you don’t remember, this book was so good it made it onto my top ten list for 2021.

Some good examples of Lovecraftian horror are 2019’s The Lighthouse. And the absolutely horrific movie, The Mist. 

Macabre 

Macabre is not a form of storytelling, at least not in literal words on the page sort of way. It’s art about death.

It is no surprise that macabre art has been with mankind as long as we’ve been on this earth. Death has always been a mystery, coming with emotions that are too great to contain. And so, it comes out in art. 

You can find examples of Macabre art almost anywhere. But my personal favorite is the collection of bone chandeliers you can find. Not one, but several people in the history of the world thought, “You know what this room needs? Some human bones dangling from the ceiling to hold candles.”

You know what, this is pretty cool. When I die, someone please make me into a chandelier. Read by my light.

That’s it for this installment. I’ll be back soon with part four.

Don’t forget, you can preorder my latest book, Quiet Apocalypse now on Amazon and Smashwords.

The end of the world began with a winter storm.

Sadie’s quiet life is interrupted when a tree crushes the roof of her attic apartment. She’s forced to move to a smaller apartment in the building. Then, her aunt guilts her into clearing an ouija board of a particularly irritating spirit. 

But it wasn’t just the roof that was broken by the tree. There was something trapped within the building, waiting. Waiting to wake and bring about the end of the world. 

Not with screams, but with silence. 

Paper Beats World is a labor of love. If you found something of value in this post, please consider buying me a cup of coffee on Ko-fi.

3

Horror subgenres, Part Two

Welcome to our series of horror subgenres, part two. We’re taking a look at some of the many flavors that encompass our beloved genre of horror.

If you missed it, here’s part one

Ghost story

Ghost stories are my favorite. I mean, my absolute top-tier favorite. It’s not a hard subgenre to define. Any story that involves a ghost is, duh, a ghost story. 

These come in all sorts of varieties. Haunted house stories, haunted woods. Haunted highways, hospitals, insane asylums. Haunted objects like lockets and music boxes. Even haunted cars. Literally, anything can be haunted. 

Do I even need to give examples of this one? Well, there’s mine, of course, Quiet Apocalypse. House on Haunted Hill, American Horror Story Murder House. Some of the best are urban legends, like the vanishing hitchhiker. 

Then there are the real ghost stories that everyone seems to have. Most people haven’t seen a cryptid or run into a serial killer. But everyone’s got a ghost story.

Giallo

This is an Italian subgenre, named for the color that the covers generally came in. Which is, if you don’t speak Italian, yellow.

A lot of horror from America was translated and put on these yellow covers, including Agatha Christie novels.

These stories tended to be a blend of horror and thriller with a little bit of romance. The cornerstone of this subgenre is that the killer would never be revealed until the last act. 

Some examples of this subgenre are Eye in the Labyrinth and The Girl Who Knew Too Much.

Gothic bluebooks

Okay, this is a little funny and a little sad. And it’s got nothing to do with the comic ‘bluebooks’. Also called shilling shockers or sixpenny shockers, these were full-on plagiarized stories. A sleazy writer would condense a popular novel, telling the whole story in their own less talented words. Then they would sell the result for a fraction of the price. 

As much as I would love to say this is a product of a bygone time, we see the descendants of these works today. Go into any dollar store and you’ll find crates of DVDs that look similar to but aren’t popular films. We used to call them grandma bait because we figured the only people who bought them were grandmothers looking for gifts for their grandkids who didn’t get popular culture.

Grotesquerie 

I thought at first this subgenre was going to be about the goriest of the gory. But that’s not the case. 

This is a term used to describe a blend of sci-fi and horror. It’s dark stuff, that’s got one tentacle in the world of reality while the other seven are waving in the wild. 

Some authors who did well in this subgenre are Ambrose Bierce, Katherine Anne Porter, and H.P Lovecraft.

Dark Fantasy

This is a subgenre that I’ve gone over a lot, so I won’t spend a lot of time on it here. Dark fantasy is anything that takes the fantasy genre and the horror genre and blends them. As I discussed here, this is easily done. Because of course, if there are good and friendly fantasy creatures, then there are horrifying ones as well.

Honestly, how does anyone read old stories about the fai and think they’re our friends?

Witcher is a great example of a recent dark fantasy that was a lot of fun. 

Supernatural fiction

Finally, this is kind of a blanket subgenre that most of the others could easily fit into. It is any horror story that contains a supernatural element. Ghosts, vampires, demons, werewolves. Any cryptid you could imagine.

This subgenre is kind of silly when it can be broken down so much more. But next time we’re going to be digging into some much more complicated stuff. 

See you then.

My newest novel, Quiet Apocalypse, is available now for pre-order on Amazon and Smashwords! 

Paper Beats World is a labor of love. If you enjoyed this post, please consider buying me a cup of coffee on Ko-fi. 

4

Horror Subgenres, Part One

I once did a series about science fiction subgenres and it was pretty popular. So sometime later I decided to do a series about fantasy subgenres. It was also fun, and also still popular. 

Now that I’m getting ready to publish my first horror book, it seemed like a great time to dive into one more collection. So today we begin a six-part series about the many different subgenres that horror can fall into. Horror is as varied and complex as are those of us who love it. Sometimes it’s bright and shiny, blood and guts spilling out while a sexy blond lets out a braying, insane laugh. Sometimes it’s a man alone in a room with his memories. Sometimes it’s a whisper from under a bed, or in a closet. Sometimes it’s the sound of chewing, grinding teeth.

Sometimes, it’s a scream.

I love horror, in almost any form. So let’s talk about what different flavors we can experience when partaking in the horror genre.

(Note: much of my research was done on Wikipedia. If you like this, consider donating to them.)

Art house Horror

Sometimes called elevated horror, art-house horror is a more sophisticated example of the genre. At least, that’s what it would like to be. It’s not about jump scares or a room full of blood. It’s more about subtle, psychological chills. It’s a horror that might not gross you out but instead upset you on a more basic level.

I’m not a huge fan of this subgenre. I think horror suffers when the artists start crawling up their own asses. But when it’s done well, it’s exemplary. Some notable examples of art-house horror are Get Out, The Babadook, A Quiet Place, and The Shining. Art house horror seems to be having a moment. And while I’m thrilled to see more artists exploring the genre, I wouldn’t mind a few more slasher flicks.

Body Horror

Body horror explores body mutilation. It’s the rotting zombies, the bloated corpses. This subgenre relies on the gross-out factor, but it can go beyond that. The way this horror subgenre works best is when it preys upon our sympathies. When we see a mutilated body, it’s awful. When we start wondering what it would be like to live through that sort of mutilation, that’s where it starts getting really scary.

House of A Thousand Corpses is the first film that comes to mind with this subgenre. But really, almost any slasher flick is going to have components of this. Everything from the Scream Franchise to Hannibal. And the reason is simple. As Stephen King says, we’re afraid of the bad death. Body horror explores bad death to the extreme. 

Cthulhu mythos

I used to have a virtual pet Cthulhu on my tablet. It’s not super relevant to this. It’s just an example of a creature that was once feared being turned into a cuddly cartoon. 

As the name would apply, Cthulhu mythos is stories that contain Cthulhu as a character. He is the original creepypasta when you think about it. One great writer, HP Lovecraft, made him up. Now everyone writes about him.

The character first appeared in the holy Weird Tales in 1928. And Cthulhu has continued to capture hearts, and unwary sea goers, ever since. Some fun examples of this subgenre are The Color of Outer Space and the 2005 movie, The Call of Cthulhu. 

(Note, this subgenre differs from Lovecraftian, which we’ll be talking about later in this series.)

Eighteenth-Century Gothic

This is a subgenre we can’t reproduce, as it only describes stories written in a specific time frame. From 1760 to 1820 to be specific. But we can copy the style, and that’s something.

Eighteenth-century gothic was all about taking medieval stories and giving them a ‘modern’ feel. I mean, modern for the eighteenth century, of course.

There were a lot of supernatural elements to these stories. It’s described as supernatural plots with emotionally realistic characters. Ghosts haunting castles. Dead loved ones returning with cryptic messages. All things dark and eerie, but also uptight and proper. Some examples of this subgenre would be The Castle of Otranto and The Old English Baron.

Erotic horror

Porn. This is porn. It’s Dracula shirtless spilling blood over his chest, then going down on the three vampire seductresses. It’s a woman being undressed and screwed silly by a ghost. It’s a wet dream that gets you pregnant for real. 

There’s almost always an element of sex in horror. Sex is both the best and most terrifying thing most of us can think of. Think how many horror movies have a sexy time scene right before someone gets slashed to bits. It’s even one of the three rules for surviving a horror film. Don’t have sex. Don’t drink or do drugs. And don’t say I’ll be right back. But the first, and most important, is don’t have sex.

Often sex is the lure that ends someone’s life. A hot blond girl or dark mysterious man sweet talks you into going somewhere more private with you. Erotic horror just goes ahead and shows you all the good bits before the gory ones.

And I swear, it’s like half of American Horror Story Hotel. There is just a lot of sex in that season.

Fantastique

Fantastique is fantasy horror, which I’ve discussed at length. But apparently, it’s a big thing in France.

One distinction of Fantastique is that there is little to no explanation regarding the supernatural elements. Things just are what they are. There is magic. There are dragons. There is a thousand armed monster who lives under that house and will rip you apart if you go in there. No, we don’t need to know where it comes from. It’s just there. 

And I kind of love that. I love that there’s just no explanation. There’s no explanation why this horrifying thing is. It just is. 

That’s it for this time. But I’ll be back soon with more horror subgenres to explore. 

And don’t forget to pre-order Quiet Apocalypse now on Amazon or Smashwords.

Paper Beats World is a labor of love. If you enjoyed this post, please consider buying me a cup of coffee on Ko-fi. 

5

My horror heroes, Wes Craven

When I think of Wes Craven’s films, I’m struck with a flood of memories. Nightmare on Elm Street is the first horror movie I remember watching, with a babysitter who probably shouldn’t have let me watch it. I was little, curled up on our old couch in our trailer in the dark, eyes big as the moon and glued to the gore. 

Nightmare on Elm Street

I remember watching Scream at a sleepover, complete with pizza and sodas and a gaggle of girls. Everyone else was a little off the pizza after the first scene. 

I was not.

Wes Craven created some of my favorite slasher movies of all time. Nightmare on Elm Street, Scream, The Last House on The Left. All of them leave people sick to their stomachs in the very best way possible. 

And can I also just mention that this guy won the name lottery? His actual birth name is Wesley Craven. I always thought that was a stage name. How lucky do you get?

Craven always allows the main characters to be the heroes. And his main characters are very often teenage girls. There’s no boyfriend, father, or parent jumping in to save them. It’s Nancy or Sydney saving everyone else’s ass, even after no one wanted to listen to them. They never once came across as scream queens. They also didn’t suffer from what I call the Alice Problem. By that, I mean Alice from Resident Evil. She had no personality, could have been anyone. I can’t think of a single thing about her that would distinguish her from Jill Valentine.

Scream poster

There’s none of that with Craven’s leading characters. They are their own people. 

I’ve never watched a Wes Craven film and not had a good time. In addition to being wonderfully bloody, they’re often funny. Especially the Scream movies. I love a good laugh to go along with the gore. I love that his movies aren’t afraid of being silly. They’re never taking themselves too seriously. 

I have no problem with fiction that has a message. Some of my favorite books and movies are all about that. Pleasantville, Dogma, Jacob the Liar. These are great films. But not everything has to have a message. Sometimes a piece of art can just be there to be enjoyed. And I love that Craven does that.

Finally, Craven figured out how to avoid one of the biggest issues with the horror genre. Almost everything has been done. Most viewers are genre-savvy. So, to surprise an audience, you’ve got to embrace the meta.

And Craven has made a habit of doing just that. The Scream series is a great example, giving us film after film full of in-jokes designed for horror fans. Even better is my favorite horror film, Wes Craven’s New Nightmare.

In this film, the actors from Nightmare on Elm Street are attacked by Freddy. Even Robert Englund, the actor who played Freddy himself. This was a ton of fun for a super fan like me. 

So, what have I learned from Wes Craven? And what can you, as a writer learn from him?

-Understand that your fans are probably genre-savvy, and have fun with that

-Have fun with your art in general. Don’t be afraid to go big.

-Give your main character a real personality. 

Don’t miss the other posts in this series, where we talked about Stephen King, George Romero, and R. L. Stine

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My Horror Heroes, RL Stine

Can I be honest with you? For someone as devoted to stories as I am, I learned to read very, very late. I was in third grade before I learned. In a year, though, I went from illiterate to college level.

The secret? I fell in love with Goosebumps. 

Goosebumps, The Barking Ghost

It turns out all I needed was a story about a monster librarian to inspire me.

R.L Stine is a monster in the children’s literature field. He’s published over a thousand books so far. So far! Can you imagine the work ethic and dedication it takes to create that many stories? This is not a man who knows what it feels like to be tapped out. This is not a man who lacks inspiration. This is a man who sits down at his desk every day and puts the words on the page.

I loved Goosebumps and Fear Street, his series for older kids. I loved how scary some were, and how silly others were. I loved that the characters felt like kids I might know. And I loved the twist endings. Even if you could usually see them coming from a mile away.

I loved that it never felt like Stine was talking down to me. The stories didn’t pull any punches. Kids died, or got turned into squirrels, or were already dead to start with. There were real consequences to the actions they took or the situations they found themselves in.

Goosebumps, The Ghost Next Door

A happy ending isn’t always assured. Which I kind of love, because it’s honest. It’s also honest that sometimes bad things happen when you didn’t do anything to cause them. Some of these characters did things to incite the horrors that befell them. They went places they shouldn’t go. They were mean to their friends. They didn’t listen to their parents. All the usual stuff. But some of these kids didn’t do anything wrong. 

They went to summer camp.

Their family bought a new house. 

They went to the library.

These are innocent things that people do, yet the kids still suffered. 

Again, that’s honest. It’s real. Maybe you won’t be attacked by a ghost dog if you move into a new house. But maybe the roof is bad and you didn’t know before. That’s not on you. 

Aside from the clear lesson that anything horrible can happen to you at any time, there weren’t a lot of morals in these books.

And I kind of love that they were for entertainment purposes only. I get that we want kids to learn, and learn a lot. Their brains are so mushy at that age, we can just shove a ton of facts in there and they’ll stick. Anything that is just for fun seems like a waste of that precious prime learning time.

Goosebumps The Haunted Mask

But that’s exhausting for kids! And it can be a big reason why kids don’t want to read. Everything is educational, everything takes effort. Nothing can just be fun for fun’s sake. 

Fun is something we’re missing out on in our lives. As adults, and as kids. Reading should be fun. Stories should be fun. And sometimes, they can just be fun, without trying to sneak learning or morals in there too. Sometimes we can just have macaroni and cheese, without sneaking broccoli into the recipe. 

Here then are the lessons that I learned from R.L Stine.

-Don’t talk down to your audience. They’re probably tougher than you think.

-There is a never-ending well of stories. You have as many books in you as you have the time to write. 

-There doesn’t have to be a moral to every story. Even if it’s a story for kids. 

-Stories should be fun first, before anything else. 

Don’t miss the rest of this series, where I talked about Stephen King and George Romero. 

My first horror novel is ready to debut! You can preorder Quiet Apocalypse now on Smashwords or Amazon. 

Paper Beats World is a labor of love. If you got something from this post, please consider donating on Ko-fi. 

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My Horror Heroes, George Romero

Don’t miss the first episode of this series, about Stephen King.

Long-time readers of PBW will know that I am in love with Pittsburgh. I wasn’t born here, but I’ve lived most of my life in Butler, which is close enough to consider Pittsburgh my hometown. So it’s no surprise that I have a little-sister-like admiration for George Romero.

Night of The Living Dead poster

Romero spent most of his life in Pittsburgh. He got his start in the field on a small show, maybe you haven’t heard of it. 

Mr. Rodger’s Neighborhood. 

If you know anything about Pittsburgh, you know what a big deal that is. Mr. Rodgers, being the supportive saint that he was, was a lifelong cheerleader for Romero. He even went to the premiere of Romero’s iconic film, Night of The Living Dead. 

Speaking of Night of The Living Dead, you may not know that the film was done on a shoestring budget. And I mean a thin shoestring. Like, this shoestring would have probably broken if someone else had been handling it. $114,00, to be specific. I know that sounds like a shit ton of money. It’s more than I make in a year, that’s for damned sure. So to put that in context, Rosemary’s Baby came out the same year. Another horror classic, by the way. That movie cost 3.2 million. And I’d argue that both movies are equally scary.

Creepshow poster

Romero committed himself to the horror genre. He found what worked for him, and he went with it. And it worked! Romero went on to create 26 films, most of which were about zombies. He revolutionized the zombie genre and is a large reason why it’s so well-loved today. And, he put Steel City on the map for zombie lovers. There are still massive zombie events held here every year.

All of this Romero was able to do because his work is fun. I have never seen a Romero film that I didn’t love from start to finish. Even as time goes on, they hold up. 

I think this is largely because everyone working on these movies was just having a blast. The actors are having fun. The special effects crews had fun. The makeup people might have had a little too much fun. Romero’s movies were a great time, from start to finish.

To sum everything up, here’s what any creator can learn from George Romero

– Money doesn’t matter as much as a good story told well.

-Find a place in the world where you’re happy. 

-Having supporting mentors is priceless. 

-When you find something you’re good at, do it! 

-Have fun with your work, and other people will have fun with it too. 

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My Horror Heroes, Stephen King

I’m starting a mini-series today, covering some of my heroes in the horror genre. I’ve been a horror fan all my life, ever since the first time I watched Nightmare on Elm Street. Horror has always been my favorite form of entertainment. Bad horror, good horror, it rarely matters. I love zombies, haunted houses, Poltergeist. Give it all to me.

So I thought it would be fun to talk about some of my favorite horror creators of all time. I want to talk about why they’re amazing writers, creators and people in general.

Anyone who’s read this blog for any amount of time knows I love Stephen King. Even if I don’t love many of his endings. I’ve learned so much from him as a working writer, as a storyteller, as a creative person who has to exist in the real world. And I’m far from the only one inspired by him. He is, after all the reigning king of horror and has been for basically my entire life. Who else has that long of a career, honestly?

Cover of Stephen King's Bag of Bones

King knew he wanted to be a writer as a kid, something I relate to. In his book, On Writing, he tells stories of nailing rejection letters on his wall with a railroad spike. But since writing rarely pays the bills, at least at first, he got a teaching degree. Jokes on him, teaching usually doesn’t pay the bills either. 

But the part of him that wanted to teach never went away. It fairly does with those passionate about helping others learn. And so King has written several books about writing and the horror genre. I talked about On Writing extensively here. I also talked about his amazing book, Danse Macabre on Haunted MTL. It’s a formative education on the horror genre, and everyone with even a passing interest in horror should read it. 

King has always been generous with his knowledge. He wants to help people be better writers. And he enjoys talking about his favorite topics. He’s also very good at talking about his favorite topics, which makes sense. After all, he’s made a fortune telling stories.

Most people are fully aware that King suffered from substance abuse. He’s never shied away from that. He’s critical of himself for it and honest about how his addictions hurt his family. This bravery is something to be admired. I’m sure it opened him up to armchair therapists who want to label people who create horror as sick individuals. People like that will be quick to say that something must be wrong with him. People like that will be quick to say that about almost anyone, though.

But his honesty should inspire all of us to talk more openly about substance abuse. If it was easier to find help without judgment, more people would.

King makes it clear that he never needed drugs or alcohol to create. There are a lot of jokes in the creative world that the real geniuses are always tortured. That artists and writers are always drunks or drug addicts. I hate that suggestion. It’s an excuse for bad behavior, and an invitation for young creatives to experiment with things they should be staying far the hell away from. And King didn’t need that shit to write horror that scares the hell out of us. Neither does anyone else.

Cover of The Stand by Stephen King

King was able to get himself clean and stay clean largely because of his family. When reading On Writing, it’s clear that King is devoted to his wife, Tabitha. She is his partner in every sense of the word. I admire that. He’s fully aware that he wouldn’t have been able to create what he did without her.

On a personal note, I read On Writing for the first time when I was sixteen. I dreamed of having that sort of partner then. I’m blessed to have found that sort of partner. The kind who will tell me clearly when my writing sucks, and then tell me how awesome I am in the next breath. I am always grateful for that.

The point I’m trying to make here isn’t to get married. It’s the same point King makes, again, in On Writing. I can’t say it better than him, so I’ll just go ahead and quote him.

Art is a support system for life, not the other way around. 

I try to keep this in mind. When it feels like the words want to suck up my whole day. When I want nothing but the page staring back at me. When I feel like I’m behind on all my projects, and I want to start even more, and who needs to sleep anyway, I remember that good advice from my teacher. And I put the work away for a little while. I walk Oliver. I play chase the pen with Harper. I watch tv with the darling husband. I sing along with the music while I wash the dishes and I remember that I am more than the words I put on the page. I am a writer, but I am more.

The great thing about this lesson, putting your life before your art, is that it doesn’t mean you don’t create. King has published 64 novels, plus his short story collections, nonfiction works, and all the work he does adapting his books into tv shows and movies. The man is a creative machine. And it’s for one simple reason. He treats the writing as work. This is to say that he shows up every day at the blank page and writes. He does not wait for the muse to come to him. He sits down and starts writing. And eventually, the muse shows up.

King does not believe, and I do not believe, in writer’s block. If you’re a writer, you write. If you’re not writing, you need to figure out why you’re not. Or, you can do what King does and what I do. You sit down and write anyway, even if it’s shit writing. Even if it’s the worst thing you’ve ever written. Because the only way to get past writer’s block is to write.

Honestly, I don’t know that I’ll ever hit the 64 novel number. I have four, and four novellas, and one radio drama podcast. And I’m pretty sure you could stack all my work together and it wouldn’t match the page count of the extended version of The Stand. But I’m young, and I still have a full-time job. I’ll get there.

Turning now to the quality of King’s stories, I don’t think anyone can argue that they’re popular. And if you ask him, he’ll tell you that this comes from two things. Reading a lot and writing a lot. 

I think it’s a little more than that, of course. King has been a horror fan his whole life. He has lived the genre. He knows the classics. He knows what scares the hell out of people. And he uses it. This takes time, years really. But it’s the only way to get good at something.

TLDR, here are the lessons that any writer can learn from Stephen King

– Put your life before the work

-You don’t need drugs to create

-Writing is work, treat it as such

-Know your genre inside and out

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