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Last updated on Jun 20, 2022

How to Write a Horror Story: 7 Tips for Writing Horror

In our era of highly commercialized crime and thriller novels, it may seem like zeitgeist-defining horror books are a thing of the past. Indeed, Stephen King was once the perennial bestselling author in the world, and children in the 90s devoured Goosebumps books like The Blob devoured, well, everything.

But let’s not forget there’s a huge base of horror fans today, desperate for their next fix . So if you’re hoping to become the next Crown Prince of Dread, your dream can still come true! Here are seven steps to writing truly chilling horror:

1. Start with a fear factor

2. pick a horror story subgenre, 3. let readers experience the stakes, 4. create suspense through point of view, 5. consider plot twists to surprise your audience, 6. put your characters in compelling danger, 7. use your imagination.

The most important part of any horror story is naturally going to be its fear factor . People don’t read horror for easy entertainment; they read it to be titillated and terrorized. That said, here are a few elements you can use to seriously scare the pants off your reader.

Instinctive fears

Fears that have some sort of logical or biological foundation are often the most potent in horror. Darkness, heights, snakes, and spiders — all these are extremely common phobias rooted in instinct. As a result, they tend to be very effective at frightening readers.

This is especially true when terror befalls innocent characters apropos of nothing: a killer traps them in their house for no apparent reason, or they’re suddenly mugged by a stranger with a revolver. As horror writer Karen Woodward says, “The beating undead heart of horror is the knowledge that bad things happen to good people.”

Monsters and supernatural entities

These stretch beyond the realm of logic and into the realm of the “uncanny,” as Freud called it. We all know that vampires , werewolves, and ghosts aren’t real, but that doesn’t mean they can’t shake us to our core. In fact, it’s the very uncertainty they arouse that makes them so sinister: what if monsters are really out there, we’ve just never seen them? This fear is one of the most prevalent in horror, but if you decide to write in this vein, your story has to be pretty convincing.

Societal tensions

Another great means of scaring people is to tap into societal tensions and concerns — a tactic especially prevalent in horror movies. Just in recent memory, Get Out tackles the idea of underlying racism in modern America, The Babadook examines mental health, and It Follows is about the stigma of casual sex. However, societal tensions can also easily be embodied in the pages of a horror story, as in Shirley Jackson’s The Lottery .

The right atmosphere for your story depends on what kind of horror you want to write. To use cinematic examples again, are you going for more Texas Chainsaw Massacre or Silence of the Lambs? The tone and atmosphere of your story will hang upon its subgenre.

• Thriller-horror employs psychological fear, often occurring near the beginning of horror stories before very much has happened
• Gross-out horror involves vivid descriptions of spurting blood, hacked-up flesh, and gouged-out organs in order to shock the reader; think gore movies of the 70s
• Classic horror harks back to the Gothic (or Southern Gothic ) genre, with spooky settings and bone-chilling characters like those of Dracula and Frankenstein
• Terror provokes a feeling of all-pervasive dread, which can either serve as the climax of your story or be sustained throughout

It’s also possible to combine subgenres, especially as your story progress. You might begin with a sense of thrilling psychological horror, then move into gothic undertones, which culminates in utter terror.

But no matter what type of horror you’re working with, it should be deeply potent for your reader — and yourself! “If you manage to creep yourself out with your own writing, it's usually a pretty good sign that you're onto something,” editor Harrison Demchick says.

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In order for readers to truly thrill at your horror story, you need to make them aware of the stakes. Clearly establish the main problem or motivation for your character(s) , and what they have to lose if they don’t figure it out. These stakes and motivations might involve: 

Survival. The most basic objective of characters in any horror story is to survive. However, there are nuances that accompany that goal. Perhaps their objective isn't just to stay alive, but to defeat their murderous nemesis while doing it — whether that’s another person, an evil spirit, or even themselves, if it’s a Jekyll and Hyde-type scenario.

Protecting loved ones. The more people the protagonist has to keep safe, the higher the stakes. Many horrific tales peak with a threat of death not to the main character, but to one or several of their loved ones (as in Phantom of the Opera or Red Dragon ).

Cracking unsolved mysteries. Because some horror stories aren’t about escaping peril in the present, but rather about uncovering the terrors of the past. This especially true in subgenres like cosmic horror , which have to do with the great mysteries of the universe, often involving ancient history.

Again, as with atmosphere, you can always merge different kinds of stakes. For instance, you might have a character trying to solve some mysterious murders that happened years ago, only to find out that they’re the next target!

The main thing to remember when it comes to horror — especially horror stories — is that straightforward stakes tend to have the greatest impact. Says author Chuck Wendig, of his perfect recipe for horror: “Plain stakes, stabbed hard through the breastbone.”

Bonus tip! Need help conjuring stakes and suspense? Try reading some masterfully crafted true crime — which can be even scarier than bone fide horror, since it actually happened.

Your reader should feel a kinship with your main character, such that when the stakes are high, they feel their own heart start to beat faster. This can be achieved through either first person or third person limited point of view. (When writing horror, you’ll want to avoid third person omniscient, which can distance your reader and lessen their investment in the story.)

We'll get into only the major POV's to consider in this post, but if you want a full point of view masterclass, check out our free course below.

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First person POV

Speaking of beating hearts, for a great example of first person narration in horror, look no further than The Tell-Tale Heart . Many of Poe’s stories involve deranged first-person narrators ( The Black Cat , The Cask of Amontillado ) but none are more notorious than this one, in which the main character is driven to murder his elderly housemate. Notice Poe’s chilling use of first person POV from the very first lines of the story:

It’s true! Yes, I have been ill, very ill. But why do you say that I have lost control of my mind, why do you say that I am mad? Can you not see that I have full control of my mind? Indeed, the illness only made my mind, my feelings, my senses stronger… I could hear sounds I had never heard before. I heard sounds from heaven; and I heard sounds from hell!

First person POV is excellent for hooking your reader at the beginning, and keeping them in suspense throughout your story. However, it might be too intense for longer, more intricate pieces, and may be difficult to execute if you’re trying to conceal something from your readers.

It’s also worth thinking about the implications of first person, past tense POV in a horror story — it suggests they’ve lived to tell the tale, which might ruin your dramatic ending. Therefore if you do decide to use first person narration, you should probably keep it in present tense.

Third person POV

If you find yourself struggling to make first person POV work, consider a third person limited perspective instead. This kind of narration is often used in longer-form horror, popularized by the likes of Stephen King and Dean Koontz . Look how it’s used here in King’s 1974 novel Carrie , in the description of its eponymous character:

Carrie stood among [the other girls] stolidly, a frog among swans. She was a chunky girl with pimples on her neck and back and buttocks, her wet hair completely without color… She looked the part of the sacrificial goat, the constant butt, believer in left-handed monkey wrenches, perpetual foul-up, and she was.

This narration paints an intimate picture of the character, while still allowing the freedom for commentary in a way that first person narration doesn’t as much. Third person limited narration also works well for building to a certain atmosphere, rather than jumping right into it, as Poe’s narrator does — which is part of why third person is better for lengthier pieces. (See more of King's masterful use of POV to wrack up tension in our Guide to King! )

Unreliable narrators

Alternately, if you’re committed to having a first person narrator but you don’t want to reveal everything to your readers, an unreliable narrator could be your perfect solution! Many mystery and thriller novels employ unreliable narration in order to work up to a big twist without giving away too much. So whether or not you’ll want an unreliable narrator probably depends on how you end your story: straight down the line or with a twist.

Plot twists are exciting, memorable, and help bring previous uncertainty into focus, releasing tension by revealing the truth. However, they’re also notoriously difficult to come up with , and extremely tricky to pull off — you have to carefully hint at a twist, while making sure it’s not too predictable or clichéd.

So: to twist or not to twist? That is the question. 

Big plot twists in horror writing tend to follow the beaten path: the victim turns out to be the killer, the person who we thought was dead isn’t really, or — worst of all — it was all in their head the whole time! But keep in mind that small, subtle plot twists can be just as (if not more) effective.

Take William Faulkner’s short story A Rose for Emily . After Emily dies, the villagers discover the corpse of a long-vanished traveler in one of her spare beds — along with a strand of silver hair. While the discovery of the body might be gruesome, it’s the presence of Emily’s hair (suggesting she enjoyed cuddling with a cadaver) that really haunts you.

Not to twist

The ending of your story doesn't have to come out of left field to shock and horrify readers. The classic horror approach leaves the reader in suspense as to precisely what will happen, then concludes with a violent showdown (think slasher films).

In this approach, while the showdown itself might not be a surprise, the scenes leading up to it build tension and anticipation for the climax. That way, when the big moment does arrive, it still packs a dramatic punch.

“A horror novel, like any story, is about a character or characters trying to achieve a goal based upon their individual wants and needs,” says Demchick. “If you let concept overwhelm character, you'll lose much of what makes horror as engaging as it can be.”

To scare your characters, you need to have a solid understanding of their psyche. Filling out a character profile template is a great start to fleshing out believable characters, so give ours a try.

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A story is only as strong as its characters. Fill this out to develop yours.

As you write, you need to stay conscious of basic storytelling techniques and not get carried away with the drama of horror. It might help, before you begin, to answer these questions about your characters and plot:

• What fear or struggle must your protagonist overcome?
• What decision do they make to put them in this situation?
• How will they defeat or escape their adversary, if at all?
• What are the ultimate consequences of their actions?

This will help you create a basic outline for your horror story, which you can embellish to create atmosphere and suspense. In plot-driven genre stories, a thorough outline and emotionally resonant elements are vital for keeping your reader invested.

A great horror story balances drama with realism and suspense with relief, even with the occasional stroke of humor. Gillian Flynn is the master of this technique — as seen in this excerpt from her horror story The Grownup , wherein the narrator is scheming how to capitalize on her “spiritual cleansing” services:

I could go into business for myself, and when people asked me, “What do you do?” I’d say, I’m an entrepreneur in that haughty way entrepreneurs had. Maybe Susan and I would become friends. Maybe she’d invite me to a book club. I’d sit by a fire and nibble on Brie and say, I’m a small business owner, an entrepreneur, if you will.

In order to stand out from the crowd, you need to think about overused trends in horror and make sure your story’s not “been there, done that.” For instance, the “vampire romance” plot is a dead horse with no one left to beat it after all the Twilight, Vampire Diaries, and True Blood hype.

However, that doesn’t mean you can’t use certain elements of popular trends in your writing. You just have to put a spin on it and make it your own!

For example, zombie horror was already a well-worn genre when Seth Grahame-Smith’s Pride and Prejudice and Zombies came out in 2009. But by setting it in the regency era and featuring Jane Austen’s well-loved characters, he created a brilliant original work and carved out a brand new audience for zombie fiction. You can also pay homage to well-known horror tropes, like the Duffer brothers of Stranger Things   did for Stephen King and Steven Spielberg — and which savvy audiences are sure to appreciate.

It certainly feels sometimes like all the good horror stories have already been written, making your own ideas seem  trite. But don’t forget that new horror comes out all the time, and it only takes one great idea to be a hit! So try not to stress out about it, and remember: just by having read through this guide, you’re already that much closer to becoming a literary graveyard smash .

11 responses

Sawan says:

04/11/2018 – 19:34

Thank you so much for writing this article. I am currently writing a short horror story. Sometimes when I write a horror scene, I get really terrified, but after some days it all feels shitty.

↪️ dilinger john replied:

08/05/2019 – 12:28

it happens with everyone don't stress over it and pass your work to someone who will review it. you are a writer and can not be a critic at the same time.

↪️ Shane C replied:

28/09/2019 – 21:15

Sawan -- been writing for 22 years... NEVER judge your own work. You write it -- finish it off -- then have some friends that enjoy horror and reading read your work and give you honest critique. Record their critique or take accurate notes. Repeat this with several friends (but only those you can trust not to try to steal your work, Creative Commons and/or Registered Mail can be your best friend BEFORE this stage). Pick the best one you like, that makes the most sense -- but if several people say "blah blah blah should have happened," or a really close variation throughout reader opinions... Go with it! I know most people hate that, feels like butchering your art (I know I hate it), but use it anyway. It'll likely be more widely received... Just a few pointers.

Annabelle says:

21/05/2019 – 01:51

This is awesome I love this! I’m writing my own horror novel too.🙂

↪️ Andrew replied:

31/10/2019 – 20:23

what is it?

NAVEEN says:

29/07/2019 – 15:22

i am at the age of sixteen and i decided to write a horror story. thanks a lot!!

Bobette Bryan says:

27/08/2019 – 19:09

Ghosts are real. I've seen many in my lifetime and have had some very terrifying experiences with some.

↪️ smr replied:

03/01/2020 – 13:25

what the hell ??

↪️ John Brown replied:

16/01/2020 – 02:28

Me too! And I think it actually helps with writing horror stories, because you have more experience than most.

John Brown says:

16/01/2020 – 02:27

I’m 14 and I love writing horror novels, but I usually freak my self out too much to keep writing... 😕

Comments are currently closed.

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• Scriptwriting

How to Write Horror — Horror Writing Tips for Fiction & Film

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S o, you want to learn how to write a good horror story? Whether you want to know how to write a horror movie or how to write a horror book, the four steps outlined in this guide will get you started on the appropriate course of action and help you to align your creative goals. Writing horror isn’t all that different from writing for other genres, but it does require the right mindset and a creepy destination to work towards. Before we jump into the first of our four steps, let’s begin with a primer.

How to write horror

Before you get started.

The steps outlined in this ‘how to write horror’ guide assume that you already have a grasp over the fundamentals of writing. If you do not yet understand the basic mechanics of prose, screenwriting , or storytelling, then you might not get everything you need out of this guide. Luckily, we have a litany of informative resources that can bring you up to speed on everything you need to know.

If you intend to tell the  horror story  you have in mind as a screenplay, then the best way to fast track your screenwriting education might be to read through some of the  best screenwriting books  or to enroll in one of the  best online screenwriting courses .

Our guide to writing great scenes  is another good place to start, and our  glossary of screenwriting vocabulary  is a great resource if you encounter any unfamiliar terminology. When you’re ready to start writing, you can get going for free in  StudioBinder’s screenwriting software .

Now, we’re ready to jump into step one of our how to write horror guide. But, be warned, if you don’t already have a basic story concept in mind, you should consider that Step Zero.

There’s no concrete way to generate story ideas, but you can always look to creative writing prompts  and  indie films to kickstart inspiration .

HOW TO WRITE A HORROR MOVIE

Step 1: research and study.

Writing horror often begins by consuming great horror . We look to the stories of the past when crafting the stories of the present. Someone who has never read a horror novel or seen a horror film is going to have a much harder time writing horror than someone who is a voracious consumer of horror stories. By watching and reading, you can pick up plenty of tips for writing scary stories.

Before writing your opening line, be sure to do your research. It can be worthwhile to explore all manner of horror media. But for the purposes of this step, it’s best to focus in on the type of material you wish to create.

If you want to learn how to write a horror novel, then read as many horror novels as you can get your hands on. Our list of the  greatest horror films  ever made is a good place to conduct your research if you plan to write a horror screenplay. You can also check out our rundown of  underrated horror films for even more research.

Here are tips on how to write horror from the master himself, Stephen King. And, while you're at it, might as well catch up on the best Stephen King movies and TV based on his work!

How to write good horror  •  Stephen King offers horror writing tips

It’s important to go beyond simply reading and watching horror and to begin to analyze the material. Drill down into why certain decisions were made by the writer and try to figure out why certain elements work or don’t work. It can often be worthwhile to explore material you consider bad as well as what you consider good, so you can learn what not to do.

Check out our analysis of Midsommar   below for an example of how you can break down and explore the horror films that inspire you. You can also download the Midsommar script as a PDF to analyze the writing directly. You should check out our Best Horror Scripts post for more iconic script PDFs.

How to Write Horror  •   Read Full Midsommar Script

When consuming material to learn how to write a horror story, pay particular attention to the pacing and structure of the stories you’re inspired by. For example, if the style you find yourself most drawn to is slow-burn horror, then you might want to aim for a much slower pace than average with your story as well, but the build-up will become even more important.

Horror story writing

Step 2: decide your type of horror.

So, you’ve decided you’re writing horror, congratulations, you’ve settled on a genre. Now, it’s time to pick your sub-genre (s) and to decide on the specific avenue of horror to explore. There are many horror sub-genres to choose from. Just take a look at our ultimate guide to movie genres for quick rundown. And, check out the video below to see horror sub-genres ranked.

Ranking subgenres for inspiration  •  Horror story writing

Keep in mind that genres and subgenres can be mixed and matched in a multitude of combinations. For example, The Witch blends together the horror and historical fiction genres. From Dusk Till Dawn fuses action, crime-thriller, and vampire elements. And Shaun of the Dead fuses the horror and comedy genres by way of the zombie subgenre.

Our video essay below offers insights into Shaun of the Dead director Edgar Wright’s creative process. Check out our ranking of Edgar Wright’s entire filmography if you want even more.

How Edgar Wright writes and directs his movies  •   Subscribe on YouTube

Step Two is also the time to decide on the specific avenue you will exploit when writing horror. By “avenue of horror,” we mean the primary source(s) of tension and scares. Witches? Zombies? Cosmic horror? Body Horror ? Social Horror? These are all different avenues that your horror story can take on, and just like with genres and sub-genres, mixing and matching is encouraged.

A horror story that exploits kills and gore as its avenue of horror will be written in a much different manner than one that focuses on a sense of creeping dread and leaves more to the viewer or reader’s imagination.

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Step 3: Mine your fears and phobias 

You have decided on your genre and your avenue of horror, now it’s time to get more specific and drill deeper. For Step Three, go beyond asking what makes a story scary and instead figure out what makes your story frightening.

Depending on what you chose in Step Two, this might already be baked into your sub-genre and avenue of horror. For example, the home invasion sub-genre by nature mines a very real phobia that many people share.

The best home invasion films

However, if you chose to go with the zombie subgenre for example, you may need to work a little harder to discover what it is about your story that will scare audiences. Zombies on their own certainly hold the potential to be frightening, but audience overexposure to them throughout the years has gone a long way to lessen the scary impact they once had.

For examples of how to do it right, check out our rundown of the best zombie films ever made . And, for a different yet equally effective take on the sub-genre, check out our list of the  best zombie comedies .

How to write a horror story  •  Exploit common phobias

The above video breaks down the statistics surrounding a number of phobias. One common piece of writerly wisdom is “write what you know.” When writing in the horror genre, we can tweak that advice to, “write what scares you.” Mine your own fears and phobias when crafting your horror story; there are sure to be others out there who get creeped out by the same things.

This is also the step where you should try to discover your X-factor. What is it that sets your story apart from similar horror stories? If the answer is “nothing really,” then it might be time to take your concept back to the drawing board.

How to write a horror story

Step 4: keep your audience in mind.

From this point on, you are ready to start writing your horror story. Much of the writing process will be carried out in the same way as you would write a story in any other genre. But there are a few extra considerations. Put all that research you did in step one to work and ensure that your prose or screenwriting is well balanced and doles out the scares at a good pace.

You will want to find a good middle ground between sacrificing story and character development and going too long without something to keep your audience creeped out.

Narrative pacing is important in every genre, but horror writers also need to worry about pacing their scares, similar to how someone writing an action film needs to deliberately pace out their big action sequences.

How to write a horror story  •  Keep pacing in mind

Decide on who your target audience is from the jump and keep them in mind while you write. There can be a significant difference between horror aimed at teens vs. horror aimed at a mature audience. In film, this can mean the difference between shooting for a PG-13 rating instead of an R rating.

In fiction, this decision might manifest as a plan to market directly toward the young-adult crowd. Horror aimed at children, like Frankenweenie or The Nightmare Before Christmas , is drastically different from other types of horror aimed at older audiences.

Use your target audience as a guiding star that informs all of your narrative decisions as you write. Now, it’s time to put everything you just learned about how to write good horror stories to use.

The Greatest Horror Movies Ever Made 

If you are stuck on step one and looking to find some inspiration, our list of the greatest horror films ever made is a great place to look. You are sure to find something to get your creative juices flowing within this lengthy list. Writing great horror starts with consuming great horror, coming up next.

Up Next: Best Horror Movies of All Time →

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Home / Book Writing / How to Write Horror: A Step-by-Step Guide for Authors

How to Write Horror: A Step-by-Step Guide for Authors

I was never much of a horror fan at first, but as I grew older, I realized that horror allows us to confront our deepest, darkest fears in a safe fictional setting, and it became far more interesting to me after that. 

My love for the genre eventually led me to try my own hand at writing horror stories (still unpublished). Over the years, I've learned a lot about the horror fiction craft through trial and error, advice from more experienced horror writers, and studying successful works in the genre. 

In this article, I want to share everything I've learned about writing horror in the hopes that it will help aspiring authors.

• What the horror genre is
• All the different subgenres
• What makes a good horror story
• Step-by-step tips for writing horror effectively
• The typical plot structure of most horror stories

Table of contents

• Types of Horror Stories
• What Makes a Good Horror Story?
• What Are Some Common Horror Tropes?
• 1. Read Plenty of Horror
• 2. The Setting Creates the Atmosphere
• 3. Mix Mortal Peril with Real-world Horror
• 4. Ask Yourself What Frightens You?
• 5. Flesh Out Your Characters
• 6. Ground it in Real Life
• 7. Personalize the Stakes
• 8. Happy Moments Increase the Tension
• 9. Preserve the Secrecy of the Antagonist
• 10. Jumpscares Do Not Make a Horror Story
• Act 1: Setting Up the Situation
• Act 2: Rising Tension
• Act 3: The Climax

What is the Horror Genre?

Horror is a genre intended to make the audience feel fear, dread, disgust and unease. 

Unlike thrillers which focus on suspense and mystery, horror aims to provoke visceral reactions by showing the disturbing and the macabre.

The horror genre has its roots in ancient folklore and myths about evil spirits, monsters, the afterlife, and the occult. Some of the earliest known stories with horror elements are Sophocles' Oedipus Rex, Homer's Odyssey, and the English poem Beowulf. 

Gothic horror as a genre emerged in the late 18th century with the classic horror novels like Mary Shelley's Frankenstein, Bram Stoker's Dracula, Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde, and Oscar Wilde's The Picture of Dorian Gray.

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In the 20th century, horror fiction expanded into numerous subgenres:

• Supernatural horror – Stories featuring ghosts, demons, cursed objects, unexplained entities, and paranormal phenomena. Eg. The Amityville Horror by Jay Anson.
• Monster horror – Tales focused on vicious monsters and creatures like vampires, werewolves, zombies, and aliens. Eg. Salem's Lot by Stephen King.
• Body horror/Splatterpunk – Graphic depictions of gore and mutilation of the body. Eg. The Hellbound Heart by Clive Barker.
• Psychological horror – Terror arising from the mind, perception, and sanity of characters. Eg. The Silence of the Lambs by Thomas Harris.
• Survival horror – People trapped in an isolated setting trying to escape a terrifying threat. Eg. The Mist by Stephen King.
• Cosmic horror – Threats from malevolent cosmic entities beyond human comprehension. Eg. The Call of Cthulhu by H.P. Lovecraft.
• Slasher horror – Serial killers stalking and murdering victims in gruesome ways. Eg. Psycho by Robert Bloch.
• Paranormal horror – Uncanny events that contradict the laws of nature. Eg. The Turn of the Screw by Henry James.
• Zombie horror – Stories focused on zombies or zombie apocalypse scenarios. Eg. World War Z by Max Brooks.

Horror books certainly aren’t limited to these types of genre, but they are some of the most common.

Not all horror fiction works. Great horror stories have some common qualities that elevate them above mediocre attempts at the genre:

• Strong atmosphere and tone – The setting, choice of words, and imagery establishes a tense, creepy, and unsettling mood right from the start.
• Suspense and tension – Keeping the audience guessing about what might happen next. Using mystery and thrill to build suspense.
• Vulnerable characters – Having empathetic characters that the audience can relate to and worry for when danger approaches.
• Creative monsters/villains – Original and frightening antagonists that pose a credible threat without seeming silly or contrived.
• Blurring reality – Obscuring the line between the real and unreal to make the audience question what is actually happening.
• Slow reveal – Withholding just enough information to tease the audience and make them keep reading to get answers.
• Disturbing imagery – Visual descriptions intended to shock, repulse, and frighten, like gruesome death scenes.
• Themes of dread – Touching on universal human fears and phobias – darkness, pain, disease, isolation, madness, death, etc.
• Shocking twists – Surprising revelations that turn the story in an unexpected direction.

There is a reason why Stephen King is such a master of horror. When you read his book, you’ll notice that he hits almost all of these spot on.

Over the years, certain plot devices, archetypes and conventions have emerged as popular tropes within the broad scope of horror fiction:

• The haunted house – A house inhabited by ghosts, poltergeists, or other malevolent entities. Eg. The Haunting of Hill House by Shirley Jackson.
• Serial killers – Charismatic but deranged serial murderers with peculiar motives and modus operandi. Eg. American Psycho by Bret Easton Ellis.
• Cursed objects – Innocuous items that bring misfortune and harm to their owners. Eg. The Monkey's Paw by W.W. Jacobs.
• Man-eating monsters – Predatory creatures hunting humans as prey. Vampires, werewolves, demons, etc. Eg. The Howling by Gary Brandner.
• Evil children – Uncanny, sinister, or possessed kids. Eg. The Omen by David Seltzer.
• Zombies – Reanimated corpses hungering for living flesh. Eg. Zone One by Colson Whitehead.
• Torture devices – Elaborate contraptions used to torture victims. Eg. Poe's The Pit and the Pendulum.
• Creepy small towns – Remote towns hiding dark secrets and sinister cults. Eg. Something Wicked This Way Comes by Ray Bradbury.
• Demonic possession – Loss of bodily control due to a demonic spirit. Eg. The Exorcist by William Peter Blatty.
• Creepy basements – Dark, subterranean spaces hiding disturbing secrets or serving as gateways to the underworld.
• Mad scientists – Eccentric, amoral researchers carrying out unethical experiments. Eg. Frankenstein by Mary Shelley.
• Ancient curses – Malevolent supernatural forces punishing violations of taboo. Eg. The Mummy.
• Sinister cults – Secretive religious sects with sinister agendas and occult practices. Eg. The Call of Cthulhu by H.P. Lovecraft.
• Haunted asylums – Derelict psychiatric hospitals harboring tortured spirits of the dead.
• Ghost ships/vehicles – Phantom or possessed modes of transport carrying a deadly curse. Eg. The Fog by John Carpenter.
• Evil dolls/toys – Playthings possessed by wicked entities or springing to murderous life. Eg. Child's Play franchise.
• Eldritch abominations – Grotesque monstrosities that induce madness and doom. Eg. The Dunwich Horror by H.P. Lovecraft.
• Ancient burial grounds – Tombs and burial sites harboring vengeful spirits and curses. Eg. Pet Sematary by Stephen King.

While tropes can be useful shorthand for conveying certain ideas, overusing them can make stories seem unoriginal and predictable. The best horror writers use tropes selectively and put their own spin on them.

11 Tips to Write Horror

Here are some tips to guide you in crafting captivating horror fiction:

As with any genre you want to write in, read lots of existing works in that style. Study how the masters of horror fiction like Stephen King, Clive Barker and Shirley Jackson create atmosphere, build tension, and deliver scares. 

Make notes on effective techniques you could incorporate into your own horror stories. Understanding what works will help you avoid bland clichés.

Establish an ominous mood from the very first page through your descriptions of the setting and location. Use sights, sounds, smells and other sensory details to make the place seem creepy and foreboding. 

Isolation – trapping characters someplace inaccessible – can heighten a feeling of vulnerability against supernatural or deranged threats. Make the setting itself feel like a character, interacting and affecting the characters in sinister ways.

While monsters can be scary, everyday real-world horrors resonate more profoundly. Stephen King often combines supernatural elements with psychological realism – dysfunctional families, abuse, addiction, grief – to ground the horror. 

The scariest stories feature threats that could plausibly exist in the real world, even if taken to fictional extremes. Readers find visceral, real-life horrors more affecting than fantastical monsters because they seem more likely to encounter them.

Think about your own deepest fears and phobias. What scares you in real life? Bringing personal dread into your horror writing will make it more intense. For example, if you have a fear of losing your mind, you can channel that into stories about characters going insane or losing their grip on reality. 

Draw upon your nightmares, both sleeping and waking, as inspiration to explore the dark corners of your psyche.

Weak character development can ruin an otherwise scary tale. The audience has to care what happens to the characters for the story to have impact. Take the time to flesh out distinct, relatable personalities. Give each character clear motivations , quirks, strengths and flaws. Make them seem like real people so that when you subject them to horrific ordeals, the audience worries if they will survive.

While horror often features supernatural threats, grounding stories in a believable real-world setting makes them resonate more deeply. Have your characters react in natural ways, with all the confusion, disbelief and denial actual people would exhibit. 

The mundane details of real life juxtaposed with the bizarre enhances the fright factor. Keeping supernatural elements to a minimum also gives your story a veneer of plausibility that augments the horror.

Generic horror tales are easy to shrug off, but when characters we care for are imperiled, we get invested in their predicament. Build up emotional connections between characters early on so that later we truly fear for them. 

Have threats target their vulnerabilities or personalities in some way. Personalized stakes make a horror story more intimate, raising the tension level.

While horror is often bleak, moments of hope, humor or tender character connections provide contrast that amplifies the darker elements of your story. After a traumatic event, show characters clinging to cherished memories or optimism to survive emotionally. 

Brief interludes where everything seems like it might be okay lull the reader into lowering their guard before you unleash the next shock or threat.

The greatest fear comes from the unknown. Give only hints about the nature and origin of supernatural entities or villains in your story. Keep their appearances brief and clouded in shadow. 

The less readers understand the threat, the more their imaginations will conjure something uniquely chilling. Allow the audience's mind to fill in the blanks with their own deepest dreads.

Cheap jump scares that briefly startle through loud sounds or sudden activity are not enough to carry a horror narrative. These should be used sparingly for occasional shock value. 

True horror comes from sustained atmosphere, engaging characters in peril, and tapping into primal fears. Unnerving psychological dread will stay with a reader long after a jump scare's momentary surprise fades. Don't rely on them as a crutch.

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Plot Structure of Most Horror

While not universally followed, many successful horror stories adhere to a three-act dramatic structure that does some of the following:

• The Hidden Monster – Hint at the existence of a sinister threat through ominous events and unexplained phenomenon. Keep the audience guessing.
• Introducing the Characters – Establish the characters, their relationships, and individual fears or weaknesses that can be exploited later. Make the audience care about them.
• The Inciting Incident – A events which initiates the problem and draws the characters into dangerous circumstances or the path of the threat. The point of no return.
• Meeting the Monster – The characters first come face-to-face with the threat, confirming its frightening nature or powers. Still keeps secrets for later.
• The Turning Point – An event that escalates the peril and leaves the characters vulnerable to the monster/threat at the halfway point. Raises the stakes.
• The Pursuit – The antagonist now relentlessly pursues the protagonists. Creates a constant sense of danger as the threat closes in.
• The First Failed Confrontation – The hero or heroes attempt to defeat the threat but are unable to for some reason. Increases desperation.
• All Is Lost – A low point where the characters seem totally helpless and all hope is lost. The threat will prevail.
• The Breakthrough – The heroes rally, resolve their inner turmoil, and discover a way they might vanquish the threat at the last possible moment.
• The Final Confrontation – The protagonists confront and do battle with the threat, either defeating it or failing nobly with consequences.
• The “Death” – The demise, usually of the threat itself. However, one or more characters may also perish for a melancholy resolution, or there is a psychological death of some kind.
• The Fallout – Wrap up the aftermath, showing how characters and the world at large were impacted and changed. Evil might still lurk, awaiting a sequel.

While there is more to a horror story than just these elements, this should hopefully allow you to get started writing your next horror story, and getting those words on the page.

Jason Hamilton

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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How to write a horror story: Telling tales of terror

Learn how to write a horror story, with insights from Stephen King, John Carpenter, the script opening for The Exorcist, and more, and discover ideas for telling a more chilling tale.

• Post author By Jordan
• 71 Comments on How to write a horror story: Telling tales of terror

Learning how to write horror is a useful for any writer. The genre contains storytelling elements that are useful beyond it. Read a concise guide to horror. We explore what horror is, key elements of horror, plus tips and quotes from masters of horror film and fiction.

What is horror? Elements of horror

The horror genre is speculative or fantastical fiction that evokes fear, suspense, and dread.

Horror often gives readers or viewers the sense of relief by the end of the story.

Stephen King calls this ‘reintegration’. Writes King in his non-fiction book on horror, Danse Macabre (1981), about the release from terror in reintegration:

For now, the worst has been faced and it wasn’t so bad at all. There was that magic moment of reintegration and safety at the end, that same feeling that comes when the roller coaster stops at the end of its run and you get off with your best girl, both of you whole and unhurt. I believe it’s this feeling of reintegration, arising from a field specializing in death, fear, and monstrosity, that makes the danse macabre so rewarding and magical … that, and the boundless ability of the human imagination to create endless dreamworlds and then put them to work. Stephen King, Dance Macabre (1981), p. 27 (Kindle version)

A brief history of the horror genre

Horror, like most genres, has evolved substantially.

Modern horror stories’ precursors were Gothic tales, stretching back to the 1700s. Even stretching beyond that, into gory myths and legends such as Grimm’s folktales.

In early Gothic fiction, the horrifying aspects (such as ghostly apparitions) tended to stem from characters’ tortured psyches. For example, the ghostly shenanigans in Henry James’ The Turn of the Screw (1898). It was often ambiguous whether or not supernatural events depicted were real or imagined by a typically unreliable, tortured narrator.

More modern horror turned increasingly towards ‘psychological horror’. Here, the source of horror is more interior. Or else an external monster or supernatural figure is no figment but completely real.

See Noël Carroll’s The Philosophy of Horror : Or, Paradoxes of the Heart for further interesting information on the genres history, as well as Stephen King’s Danse Macabre.

8 elements of horror

Eight recurring elements in classic and contemporary horror, from Mary Shelley’s Frankenstein (1818) to the contemporary horror films of Ari Aster, are:

• Suspense (the anticipation of terror or bad things). Horror builds suspense by evoking our fear of the known (for example, fear of the dark). Also fear of the unknown (what could be lurking in said dark).
• Fear. The genre plays with primal fears such as fear of injury, accident, evil, our mistakes, whether evil faces accountability (see Thomas Fahy’s The Philosophy of Horror for more on the philosophy of horror and moral questions horror asks).
• Atmosphere. Horror relies extensively on the emotional effects of atmosphere. Just think of the claustrophobic atmosphere of the ship, the aliens’ human-hunting paradise, in the Alien film franchise.
• Vulnerability. The horror genre plays with our vulnerability, makes us remember it. Horror often asks ‘what if the other is overtly or insidiously malevolent? In asking this, it reminds us of the values of both caution and courage.
• Survival . Many horror subgenres explore themes of survival, from zombie horror to slasher films. Like tragedy, survival stories explore the rippling-out consequences of making ‘the wrong choice’.
• The Supernatural. Horror stories also plumb the unseen and unknown, terrors our physics, beliefs and assumptions can’t always explain.
• Psychological terror. Horror typically manipulates the perceptions of readers/viewers (and characters) to create a sense of unease. ‘What’s thumping under that locked cellar door?’
• The monstrous. Whether actual monsters or the monstrous possible in ordinary human behavior, horror explores the dark and what terrifies or disgusts.

Further elements and themes that appear often include death, the demonic, isolation, madness, grief and revenge.

What does horror offer readers/viewers?

In The Philosophy of Horror (2010), Thomas Fahy compares horror to a reluctant skydiving trip taken with friends, referencing King’s concept of reintegration, the ‘return to safety’:

In many ways, the horror genre promises a similar experience [to skydiving]: The anticipation of terror, the mixture of fear and exhilaration as events unfold, the opportunity to confront the unpredictable and dangerous, the promise of relative safety (both in the context of a darkened theater and through a narrative structure that lasts a finite amount of time and/or number of pages), and the feeling of relief and regained control when it’s over. Thomas Fahy (Ed.), ‘Introduction’, The Philosophy of Horror (2010).

Horror also appeals to the pleasures of repetition. The darkly amusing absurdity and existentialism of how characters are bumped off one by one in a slasher film, for example.

Audiences also flock to horror for tension (produced by suspense, fear, shock, terror, gore and other common elements), personal relevance (the way horror explores themes we can relate to), and the pleasure of the surreal or unreality.

What do you love about the horror genre? Tell us in the comments!

How to write horror: 10 tips (plus examples and quotes)

Explore ten ideas on how to write a horror story:

Jump scares and sudden gore might punctuate the story, but if they appear every page they risk becoming predictable.

Who in your ensemble will your reader or viewer want to survive or triumph over horrifying events, and why?

Often horror flips between everyday fears (a young couple’s fears about becoming parents, for example) and a symbolic, scarier level.

Great horror stories often live on in reader/viewer debate about what ‘really’ happened. They reward rewatching.

Horror stories make terrifying events (such as an author being abducted by a homicidal superfan in King’s Misery ) seem plausible. We believe their worlds.

Who can forget the infamous shower scene from Alfred Hitchcock’s Psycho ? Horror often scares us where we think we’re safest.

Play with multiple layers and levels of fear – fear of the known, unknown, of real monsters and the make-believe monsters of perception.

What will create that feeling that something’s just a little off, unexpected?

Some horror subgenres (e.g. splatterpunk or slasher horror) go all-out on gore. Violence isn’t the only way to unsettle your reader, though. Play with the fear of the unseen – imagination can supply the possibilities.

Focusing solely on scaring readers may end up with a story that is more style and provocation than substance. Think about character and story arcs, using setting to create tone and atmosphere, other elements that make up good stories .

Pace the big horror scares for suspense

Let’s explore each of the preceding ideas on how to write horror. First: Pacing.

As in suspense, pacing is everything in horror. Good pacing allows the build-up, ebb and flow of tension.

See how the script for the classic 1973 horror film The Exorcist (adapted from William Peter Blatty’s 1971 novel of the same name) begins? Not with immediate, obvious demonic possession, but the suspense of an archaeological dig. There are no jump scares, and no gore – just quiet unease.

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Pacing in horror-writing example: Slow-building tension in The Exorcist

EXTERIOR- IRAQ- EXCATVATION SITE- NINEVEH- DAY Pickaxes and shovels weld into the air as hundreds of excavators tear at the desert. The camera pans around the area where hundreds of Iraqi workmen dig for ancient finds. […] YOUNG BOY (In Iraqi language) They’ve found something… small pieces. MERRIN (In Iraqi language) Where? The Exorcist screenplay. Source: Script Slug

This is a long way – geographically and tonally – from a young girl walking backwards downstairs or her head turning around like an owl’s.

A seemingly innocent archaeological dig turns into something more sinister. A link is implied between the statue of a demon unearthed in the dig and two dogs starting to fight:

EXTERIOR – IRAQ- NINEVEH- DAY […] The old man walks up the rocky mound and sees a huge statue of the demon Pazuzu, which has the head of the small rock he earlier found. He climbs to a higher point to get a closer look. When he reaches the highest point he looks at the statue dead on. He then turns his head as we hear rocks falling and sees a guard standing behind him. He then turns again when he hears two dogs savagely attacking each other. The noise is something of an evil nature. He looks again at the statue and we are then presented with a classic stand off side view of the old man and the statue as the noises rage on. We then fade to the sun slowly setting as the noises lower in volume. The Exorcist screenplay. Source: Script Slug

The suspense in this opening builds up a sense of something horrifying being unleashed on the world unwittingly.

Use characterization to make readers care

Great horror stories may use stock character types, flat arcs. For example, in slasher films where some characters’ main purpose is to die in some creative, absurd way.

Yet subtler horror writing uses characterization to make the reader care.

Part of the truly horrifying aspect of The Exorcist , for example, is knowing that an innocent child is possessed. Tormented by evil through no fault of her own.

The care is palpable in her mother Chris’ (Ellen Burstyn) horror and anxiety in reaction. Empathy is a natural response to having an unwell child (and ‘unwell’ is putting it mildly, in this case).

We empathize with characters grappling with dark forces beyond their control. Life tests everyone with destructive or painful experiences at some point in time. The sense of powerlessness (and tenacity that emerges through that) is a testament to the human spirit, to perseverance.

A horror story itself may have a bleaker reading, of course. Yet we struggle on with the intrepid heroines in their attempts to overcome.

Three horror character archetypes that make us care

In Danse Macabre , Stephen King discusses three common character archetypes in horror and Gothic fiction:

• The Thing – for example, Frankenstein’s monster in Mary Shelley’s Frankenstein , which expresses pain at having been created.
• The Vampire – often represented as suffering eternal life/return (similar in this regard to ghosts and poltergeists).
• The Werewolf – a horror character who transforms, typically against their will and usually with great suffering, into a beast.

King explores examples of these three horror archetypes from books and films such as Robert Louis Stevenson’s Gothic novella Strange Case of Dr Jekyll and Mr Hyde (1886) and Alfred Hitchcock’s seminal psychological horror film, Psycho (1960).

Writes King:

It doesn’t end with the Thing, the Vampire, and the Werewolf; there are other bogeys out there in the shadows as well. But these three account of a large bloc of modern horror fiction. King, Danse Macarbre, p. 96.

Why horror character archetypes make us care

Horror lovers care about ‘the thing’ archetype often because ‘the thing’, the monster, is misunderstood or blameless for its creation. Think of Frankenstein’s monster, who bargains with his creator for release and freedom.

‘The vampire’ is often a relatable figure because of the inevitable loneliness of eternal life. The vampire is imprisoned by limitations such as not being allowed the rest of death (or even natural pleasures such as sunlight – as glamorous as it might be to sparkle like Stephenie Meyer’s diamante vamps).

King writes about the werewolf and how it represents human duality. The respectable public persona or façade, on one hand, and a world of hidden, private horror on the other. A duality many who carry private trauma can relate to.

Each archetype is relatable on some level. This empathic element makes one care for (or at least understand) the monstrous and inhuman in more literary horror stories. Evil (though some don’t like to admit it) has a face and a backstory, a history of becoming, most of the time.

Read more about how to create characters readers can picture and care about in our complete guide to character creation .

Make the known scary (not just the unknown)

Many horror movies tap into the terror of the known, the common human experience, and not only absurd (but campy and fun) nightmares like clowns hiding in stormwater drains.

Common, relatable parts of familiar human experience to mine for horror and terror include:

• Birth and death (e.g. Rosemary’s Baby )
• Loss and grief (e.g. Hereditary )
• Childhood fears (e.g. It )
• Loss of control (e.g. An American Werewolf in London )
• Ritual and community (e.g. Midsommar )
• Exploring the unknown (e.g. Alien )

Filmmaker M. Night Shyamalan writes in the script for the 2000 film Unbreakable:

Do you know what the scariest thing is? To not know your place in this world, to not know why you’re here. That’s – that’s just an awful feeling.

Often, it is this mundane, relatable element of horror – such as the horror of not having a place in the world – that supplies the psychological or inner aspect.

For example, a bereaved family’s struggle with an occult family history (the outer horror) provides the figurative, metaphorical means to explore the painful reality of grief and intergenerational trauma (inner horror) in Ari Aster’s psychological horror film, Hereditary .

Don’t feel you have to explain everything

Although King’s concept of ‘reintegration’ applies in many horror stories where a sunnier ending promises relief, many modern horror narratives eschew tidy resolution.

It’s a classic ploy in horror series, for example, for there to be troubling alarm bells at the end, inferring that a persistent terror lives on. For example, the jump scare at the end of the original A Nightmare on Elm Street (1984) [warning: implied violence, spoilers].

The shock comes through the juxtaposition of an ‘everyone’s safe at last moment’ and terror striking from inside the house without warning, undoing the sense of resolution attained. The main character having woken from the dreams where the bulk of terrifying events occur adds to this false sense of security.

There is no graphic gore or violence. The scene doesn’t show or tell every detail. Instead, the audience has to interpret the event and what it implies about the the status of the conflict between the main characters and the supernatural villain, Freddy Krueger – whether it is truly over.

Play with the terror of plausibility

What is most terrifying is often what is plausible. For example, the crazed fan who abducts her favorite author in Stephen King’s Misery (1987), for hobbling instead of autographs. Celebrity stalking is a well-documented modern cultural phenomenon. It is hard to eyeroll at after John Lennon.

Why is plausibility worth thinking about when exploring how to write horror?

• Suspension of disbelief. If events in a horror story seem plausible (at least for the horror world created), the audience is less inclined to roll their eyes and groan, ‘That would never happen’.
• Relatability . A novel and film such as The Exorcist plays on the natural fear many have that loved ones will fall unwell or depart, in body, spirit or mind.
• Tension and unpredictability: It is more tense and unpredictable when everything is ‘normal’ to start. Ruptures in the fabric of this normalcy create tension, the sense ‘anything could happen’ (that sense requires the bedrock of plausibility first ).

Scare horror audiences when they least expect

Like that jump scare in the final scene of A Nightmare on Elm Street , horror often scares the shoes off us when we least expect it.

Take, for example, the infamous shower scene in Alfred Hitchcock’s Psycho (1960), where Marion Crane is attacked in the shower.

The shower, usually associated with privacy, relaxation, is nothing like an abandoned side street, dark wood at night, or other traditionally ‘creepy’ setting. This coupled with the intensity of Hitchcock’s shots – the raised hand clutching a knife – creates a chilling scene.

Horror mastery lies in a push and pull, lulling your audience into a false sense of security, then pulling the rug out from under them when they least expect it. Tweet This

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Deepen the story with layers of fear

Horror, like other fantastical genres, deals in layers and dualities. In fantasy fiction , we often have a primary world and a secondary one. In horror, the duality is often an internal horror doing a ‘danse macabre’ with an external one.

Says horror filmmaking veteran John Carpenter in conversation with Vulture :

There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don’t understand. Internal is the human heart. Simon Abrams, ‘The Soft-Spoken John Carpenter on How He Chooses Projects and His Box-Office Failures’, July 6 2011.

In a story using the ‘werewolf’ archetype, for example, the rational, untransformed side of a protagonist may fear the revelation of their monstrous side, the consequences this would have for their daily life (whether they are a literal werewolf or this is figurative). Transformed, the werewolf, like the ‘elephant man’, may experience the external horror and fear of others’ revulsion or animosity (which then feeds the internal, in a vicious cycle).

Having both internal and external conflicts in a horror story moves horror beyond simple disgust and shock tactics. The audience can connect deeper with characters, the cycles of violence they endure or triumph over.

Tapping into common fears for horror writing

If the point of horror writing (and horror elements in other genres such as paranormal romance) is to arouse fear, shock or disgust, think of the things people are most commonly afraid of.

Live Science places an interest choice at number one : The dentist. It’s true that you can feel powerless when you’re in the dentist’s chair. Couple this with the pain of certain dental procedures and it’s plain to see why a malevolent dentist is the stuff of horror nightmares.

Making readers scared creates tension and increases the pace of your story. Even so there should be a reason for making readers fearful.

Here are some of the most common fears people have:

• Fear of animals (dogs, snakes, sharks, mythical creatures such as the deep sea-dwelling kraken)
• Fear of flying (film producers combined the previous fear and this other common fear to make the spoof horror movie Snakes on a Plane)
• The dark – one of the most fundamental fears of the unfamiliar
• Perilous heights
• Other people and their often unknown desires or intentions
• Ugly or disorienting environments

Think of how common fears can be evoked in your horror fiction. Some are more often exploited in horror writing than others. A less precise fear (such as the fear of certain spaces) will let you tell the horror story you want with fewer specified must-haves.

Add subtler hints of something wrong

Returning to core elements of horror – fear, suspense, and atmosphere – how do you make horror scary even when Freddy isn’t dragging anyone through a solid wood door?

Tone and atmosphere emerge in the subtle hints and clues something is wrong.

Hints and signs of horrors to come could include:

• Unsettling sounds. Dripping, humming, chanting, singing, banging, knocking, drumming. What are sounds that imply trouble and the ghastly unknown coming to visit?
• Creepy imagery. What are images and signs that suggest comfort (for example, a lamp burning in a window to signal someone’s home)? Blow those candles out, play with the unhomely.
• Unsettling change. Changes in light, a companion’s tone, a pet’s behavior. Small harbingers of trouble add tension.
• Missing objects. What is not continuous in a way that unsettles and defies expectations? For example, in the reboot of Twin Peaks , an attempt to go home again leads to the dread of everything being different, that sense of ‘you can’t go home again’.
• Discomforting communication. Sometimes horror hinges on a repeated word or phrase (‘Candyman’), or someone saying something creepily unexpected.

The above are just a few ways to imply that something is very wrong.

Balance gore with the unseen (subgenre depending)

Gore in horror has the capability to shock, disgust, make your audience squeamish. Yet a relentless gore-fest may quickly desensitize readers or viewers to the element of surprise.

How much gore you include in a horror will of course depend on your subgenre and story scenario. Slasher stories and subgenres such as splatterpunk (a horror subgenre characterized by extreme violence) will have audiences who demand gore and may lament something tame.

Reasons to balance gore with the terror of the unseen, otherwise:

• Maintaining tension. Periods of calm between violent scenes create suspense, nervous tension for when there’ll be blood again.
• Deepening the story. Great stories with broad appeal take more than blood and guts – meaningful character arcs and genuine scares and horrifying scenes can coexist.
• Artful storytelling. Relying on inference, plot twists, atmosphere, tension for fright and shock is arguably more artful than leaping straight for shock-value. Critical succcesses in the horror genre often don’t rely solely on the cheapest, easiest scares. The story often earns them by building plausibility or deeper symbolic and metaphorical resonance.

Tell a good story first, scare readers second

That last idea boils down to this: Focus on telling a good story, first.

If your sole focus is how most you can shock and manipulate your audience, some may critique this as cheap exploitation.

Some authors – deliberate provocateurs – may wear that label as a badge of pride, of course. Careers are sometimes made in attracting controversy, even bans and censorship for extreme shock value.

Yet the stories that endure often make excellent uses of all the parts of storytelling and encapsulate some of the qualities that make storytelling universal – humanity, insight, the empathy and truth-finding that imagining and exploring ‘dreamworlds’ offers.

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Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

71 replies on “How to write a horror story: Telling tales of terror”

[…] Similarly, the always awesome Now Novel blog has 6 Terrific tips on How to write a horror story that are worth a look. The most important piece of info there, in my opinion is # 5: Write scary […]

Great and helpful post. Its difficult to find helpful, informative posts on horror writing. Thanks.

It’s a pleasure, Alice. I’m glad you found this helpful.

I agree with Alice. This was very useful. Thanks, Bridget.

It’s a pleasure, Melissa, thanks for reading.

As always, an insightful and helpful post, especially regarding the distinction between terror and horror. Love the SK quote! 🙂

Thank you! Thanks for reading. It is a good quote, isn’t it?

Im 11 and working on a horror story with 100 or more pages. this is very helpful. 🙂

I’m impressed, Ethan. Keep going! I’m glad you found it helpful 🙂

Okay, I’m EXACTLY the same age and also working on a horror novel!! I already have 241 pages, though.

Update* im now 13 yayayayyaa owo I lost the pages and have then finished writing a script for something i cant loose. SO HAPPY ABOUT THIS

Omg hey Ethan and Malachi I’m twelve (right in the middle IG) and working on novels that are going to be between 100 and 300 pages! Good luck guys 😀

Great article. You helped me realise that the short I was working on is actually a novel. Not sure how mind you, but thanks all the same. I’ll sign up now.

Thanks, Gareth! Glad to help.

The article is useful, except for the last part, which totally messed up the beauty of the article. It’s POINTLESS trying to differentiate two things that are mostly used interchangeably. Moreover, Terry Heller’s point makes the whole sense, SENSELESS, because her definition of terror and horror are actually the same except for the subjects to where such emotion is concerned about. Terror is one’s fear for oneself, and horror is one’s fear for others? Are you kidding me? Both can be subjected to either oneself or to others. Dictionaries and encyclopedias never indicate that horror is what one fears for others alone, because it can be for oneself, too. If Terry cannot differentiate two things, which are not really meant to be differentiated because they are the ultimate synonym for each other, then she doesn’t have to make such an effort. She’s making everyone a fool.

Thank you for your engaging response. You raise valid points, and sometimes academic treatments of subjects do over-complicate matters. In light of your comment I’m updating the post since I see now that the distinction isn’t perhaps particularly useful here.

Thanks for the tips. Writing a horror novel for my 1st NaNoWriMo project. This was extremely helpful 🙂

I’m really glad to hear that, Ashley. I hope NaNoWriMo is going well.

I am 12 and have been working on horror since I was 7! So exited to actually get some good info! Thanks!

It’s a pleasure, Aurelia. It’s great that you’re already so committed to your love of writing, keep it up.

Thanks! I am exited to do Nanowrimo and I am am hoping to write a long novel this November. This really helped and extra thanks to the helpful comment!

It’s a pleasure! I hope your NaNoWriMo is going very well.

This has given me more quality advice on the genre than a three year creative writing degree. Best start reading the stuff first then! Thank you.

Thank you, Neil, high praise indeed. Good luck with your horror book!

… How does one get rid of writers block? My brain always blanks out when I try and start writing. So annoying! >:c

Sometimes listening to songs with a creepy tone helps

Great advice, Allee. I love listening to music while I work myself.

My advice is to literally just write what comes into your brain, it doesn’t matter if it makes sense or not, that’s what first drafts are for, as long as you’re writing in some shape of form, be it poor or good quality, it’s practice

Thank you. … My brain is weird. Just now, I’ve been shaken out of my sleep by an intense dream. Seriously. I don’t know what goes on up there, but it’s mad.

Good advice! Maya Angelou said similar about her writing process. Here are some additional tips on moving past a block: https://www.nownovel.com/blog/banish-writers-block/

I’m so happy I ran across this article. I’ve read from more than one story editor that the horror genre is the most difficult genre to master.

I’m glad to hear that, JP. All genres have their challenges but I’d say the best, best, best approach is to read widely in said genre (and others). Thanks for the feedback!

Yeah, if Stephen King can’t terrify or horrify, he’ll gross us out. And he says he’s not proud. In other words, he’ll stoop to the disgust level if he can’t get the others. But this is precisely the problem with the “gross” or “disgusting.” Disgust is not fear. When we are disgusted, we know TOO much. When we are horrified, there is always something we DON’T know. I’m amazed he doesn’t know that. An autopsy gives us disgust because nothing is held back from the viewer. It is not frightening. No one believes, for example, that the body is going to get up from the autopsy table and start attacking the doctor. But if I walk into the autopsy room all by myself and see a dead body on a table, turn away from the body to shut the door, turn back to it, notice it gone, and then have the lights start dimming? Yes. Now I am scared. Why? Simply because I don’t know certain things. I don’t know why the body has suddenly disappeared. I don’t know how a dead person could have moved. I don’t know where the body is right now. I don’t know if that body (if it is actually alive) has good or bad intentions toward me. I don’t know who is dimming the lights and why. It is so much easier to disgust the reader than to horrify him. It takes more cleverness to hold back information from the character and the reader than to let everything gush forth in blood and guts. In The Hound of the Baskervilles, for example, there is more fear to be found in the inscrutable nightly crying of the butler’s wife than in many of our modern horror films put together. Why is she crying? Why only at night? Why is she doing looking out of the window into the dark each night? The source of fear is in the unknown.

Ultimately, King does know and it is a show vs tell metaphor. You have to read his biographical On Writing because no one explains it correctly. Terror is the psychological aspect of the story. Horror is the stories physical manifestation of the terror. Disgust is the actions of horror. Showing the actions of horror kills all suspense immediately. I like to explain it to my students and listeners as if Terror and Horror are the brake and Disgust is the gas. It’s like the old story of the escaped lunatic with a hook were a young couple go out on a date. While driving to Make Out Lane there is a report on the radio about an escaped killer with a hook running around killing people that the only the girl hears. As the girl and boy are making out she sees a shadow and the boyfriend sees nothing. Then there is the screeching sound on the outside of the car. That’s terror. The boyfriend gets out and inspects his car in the dense fog. The girl loses sight of the boy as he walks toward the rear, building on the terror. There is another screech along her door, terrorizing her. She calls out the boys name and he doesn’t respond, building on the terror, possibly toward horror if the boy doesn’t return. Then he does. He leaps into the car and jerks it into reverse and pulls away from the scene at mach-5. When they arrive back at her house, they find a hook dangling from the passenger door handle, the horror. King describes this little story as the perfect short horror story. However, in some later versions of the story the girl jumps in the driver’s seat and pulls off without the boy. When she gets to her home she finds a bloody hook dangling from the door with a bit of gut on it, leaving the girl and the audience disgusted. as the tension and suspense are deflated.

This is very helpful. My 8th grade English teacher is holding a contest for writing a short (750 to 3,000 word) horror story, so I am researching the elements of horror and how to incorporate them into my work. This article is by far one of the more helpful ones I have found in finding ways to create fear, shock or disgust in the mind of the reader. Thank you!

Hi Margaret,

Thank you for this feedback. I’m glad to hear you found this article useful. I hope you won the contest 🙂

“…his skin distinctly yellowish in colour.” Far from being exemplary in any way, this is actually terrible, hack writing. If something is “yellowish,” it cannot be “distinctly” so. It’s either distinctly yellow, or “yellowish.” Likewise, “in color” is flabby and redundant. Could the skin be “yellowish” in shape or size? Could it be “yellowish” in cost or weight? This page is distinctly whiteish in color. See how weak and flabby that is?

To be fair, there is a lot of good information on this page. But Clive Barker is a dreadful writer, and should never be cited as an exemplar of good prose.

Hi Sharkio, you raise a very good point. I second your edit of just saying ‘yellowish’ and cutting in colour and am tempted to add a note on not taking the letter of his prose as exemplary, but rather the spirit 🙂 I agree that although the atmosphere and tone are there, the prose is weak in places. There’s also the question, though, of whether we can/should apply ‘literary’ standards to genre fic where these and other ‘sins’ are more widely accepted 🙂 Thanks for the thoughtful engagement with this detail.

Are you crazy? There is no writer at the top of their game as Barker was in the 70-90s. His influence is on everything today.

Thanks for sharing your perspective, H Duane 🙂 Just goes to show that everyone has different preferences. He is regarded as one of the modern masters of horror. I suppose genre fiction readers might also be more forgiving of certain stylistic choices than literary readers.

Some good tips after writing 2 love stories and a mystery now I am trying for some horrer story and this will help me such a good information

Thanks, Sidhu. That’s an interesting genre leap, but many horrors do have both elements. It’s a weird trope to me how often the romantic leads are the first to go in slasher flicks. You’d think writers would keep them to add romantic tension to the mix. I hope your story’s coming along well.

I just finished writing my first horror script/ screenplay… I checked this list just to see if I maybe left elements out that I should include or if I was on the right track and I’m proud to report that my script has it all… Once my film finally sees the light of day, I hope all horror fans are satisfied…

Hi Timothy, I hope so too! Best of luck with the next steps, please update us about what comes of it.

I am attempting to write a horror story where the main character is possessed and is writing in a diary like format as it occurs, and begins committing murders, how do I accurately capture the descent into madness?

Hi Evan, thank you for sharing that. It’s an interesting challenge. I would suggest a shift in style and tone in his writing. For example, perhaps they use stranger metaphors, repeat themselves more, their sentences become more fragmented, there’s the occasional odd word by itself on a line, lines or sentences that don’t make complete semantic sense but have an eerie undertone (I think of the classic phrase ‘The owls are not what they seem’ in David Lynch’s Twin Peaks).

I hope this helps! Good luck.

Thank you, this was very useful. I appreciate your enthusiasm and encouragement.

It’s my pleasure, Evan, glad to help. Have a great week.

Wow this was really helpful thanks

I’m glad to hear that, Rene. Thank you for the feedback!

I wanted to write a psychological thriller story for a youtube channel. I am glad I found help from here. Thank You.

It’s a pleasure, Suyasha! Thank you for reading and good luck creating your story for YouTube.

I appreciate the reference to ’cause and effect’ for any level of villainy. The more complex the villain, the more interesting the story. Anything that steps out of the dark and says, “Hi, I’m evil. I’m here to destroy everything for no apparent reason,” flattens the scene. I think your point about motivation is key to getting people engaged in the fantasy. I think that this will heighten the tension in my current story. Thank you.

Hi Deborah, thank you for sharing your thoughts. Agreed, a complex villain also tends to be less predictable which inherently builds more suspense, as (compared to a Bond villain, for example), they’re more textured and unknowable, less of a trope or archetype. I’m glad you found these ideas helpful to your current story, good luck as you proceed further!

Totally agree with you Joseph Pedulla. You summed it up perfectly! Gross is not scary. I like scary. Stephen King is talked about all the time like the all-time best horror writer. I have tried reading some of his work and I find it mind-numbingly boring. I like the story to move along; don’t give me a whole bunch of description!! Read Darren Shan’s ‘The Cirque Du Freak Series.’ Absolutely amazing!

Thank you. I appreciate the elaboration on each hint. I also think your arguments make sense AND can be helpful to many indie-authors & startup writers alike.

Thank you for your feedback, Andre. I’m glad you found our article helpful!

Was looking for some takes regarding this topic and I found your article quite informative. It has given me a fresh perspective on the topic tackled. Thanks!

Please see also my blog, Getting to Know the 4 Incredible Authors of Horror Fiction

Hope this will help,

Thank you, Joab. Thanks for sharing your horror writing blog.

[…] How to Write a Horror Story: 6 Terrific Tips […]

This is quite interesting and I can see how it relates to film more readily than to a novel – perhaps due to the many film examples and the visual quality of the ‘jump scare’, etc. I can see that film examples are very useful, however, I’m having trouble relating this to crafting words on a page as opposed to images on a screen.

Hi Rachel, thank you so much for this useful feedback. It’s interesting how much film and narrative fiction have influenced each other in this specific genre, but this is useful to me – I will work in more examples from horror lit in an additional section when I have a moment. Thanks for helping me make this article better and for reading.

Interesting! I may add some horror prompts to Craft Challenge. You did forget to mention the terror of never finishing a book, missing tons of errors, writing something right after someone else does it, and getting your book idea stolen 😉 Although I suppose they’re preferable to a gruesome death, or drowning, or grasshoppers (don’t judge me) 🕷️🪓🩸

I’m now trying to remember which of those fears horror authors’ writer characters (e.g. in Misery ) have 🙂 I’m going to have to have a look at that. OK, I’m with you on the grasshoppers. My aunt lives near the mountain and they get these very angry-looking green ones my aunt calls ‘Green [redacted]s’ 😉

Also please do, I’ll also think up some horror prompts to share as well (another section for this article in version 2.1).

Oh, I forgot one! The fear of every critique starting with “I don’t like this genre.” 😳

Haha I love that, Margriet. A relatable fear, I would say.

How much room for humor do you think there is in the horror genre? Do you think you could write a horror novel that has a high percentage of humor Vs. horror/gore and still call it a horror novel?

This is a great question, Scott. I really am not a horror expert myself (sometimes I write far out of my comfort zone here which requires a little more research). But if I think of Tim Curry’s performance as It , for example, how he fills the character with this wild humor and characterization that made many prefer the original to the remake, I would say horror has as much capacity for humor as you want it to have. Comedy horror is a thing, with zombie spoofs and the like produced, so you could always market a comedy horror title in both categories. I think part of the natural crossover is that jump scares, campy villainous dialogue, or see-it-coming-from-a-mile tropes often make audiences laugh, too.

I’m working on one to it’s very wierd and it’s called Toony and The Ink Machine Yes I know kind of ripoff of Bendy and The ink machine.

Fabulous title, Silas! Wishing you the best with the writing process.

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When You Write

How to Write Horror Stories: 8 Tips for Writing a Spine-Chilling Horror Story

It’s hard to imagine that people can actually fall in love with a story in which horrific things keep happening to people.

But they do.

Authors like Stephen King have dominated book stores and have seen their stories thrive as movie adaptations in Hollywood.

But to write a horror story that terrorizes and wins the hearts of your readers, you need to get a couple of things right. You must understand that the terror alone won’t save your story; read on to learn about the common subjects in horror stories and how to write scary stories.

Why People Love Reading Horror Fiction

No one enjoys being surrounded by danger, death, terror, and pain. Normally, we are afraid of these things.

So, why do people enjoy stories filled with these things?

Although nobody likes to experience things in a horror story, reading them is different. Horror fiction introduces some sort of a controlled environment for experiencing fear. When we read a horror story in our comfort zone, we experience the element of fear, and at the same time, we feel safe knowing that the horrors happening in the story are not actually happening to us.

This mix leads to an intense but enjoyable experience.

The Horror Subgenres

The subgenre of a horror story determines its tone and atmosphere. When you are aware of the subgenre of your horror story, there are a lot of things that could perfectly go wrong (for your characters) and go right for your readers.

Gross-out horror : This is anything from excess blood oozing from a slit neck, intestines hanging outside, a gouged-out heart, and a lot of other graphic descriptions of gruesome scenes that are solely intended to shock the readers.

Thriller-horror : This subgenre takes advantage of psychological fear and usually occurs before much has happened, around the beginning of horror stories.

Classic horror : In my teenage years, I was in love with characters like Dracula and werewolves. Such characters are found in classic horror which is dominant in Gothic horror, a genre with spooky themes and supernatural happenings.

Terror : According to Stephen King, terror is the worst level of fear. The fear is caused by imagination and the writer has to have mastered the use of persuasive and suggestive writing. The author can suggest the unknown, and the reader’s mind starts to fill in the blanks, and the imagery becomes a terrifying story.

4 Key Elements of a Good Horror Story

A horror story involves the following key elements:

The four major ingredients must be present in any horror story and have to be used efficiently.

Fear is what everyone expects to find in a horror story—and it’s the basic element of a horror story.

However, as I have already iterated, fear on its own is not sufficient.

Your story needs that element of fear to be complemented by the other three : suspense, mystery, or surprise .

A horror story is no good if the scary characters just go about hurting, killing, or scaring the other characters with no mystery behind their existence or their murderous quirks.

And… the readers shouldn’t always anticipate the scary events as that sucks some of the fear out of the readers. When they’re caught off guard, the fear is intense and it makes the horror story more realistic.

If you don’t want to end up with a boring horror story, you need to write a story that invokes the reader’s emotions and engages their mind. A good balance of these four elements will help do just that.

Tips for Writing a Terrifying Horror

1. use your own fears.

You don’t have to be an emotionless badass to write a good horror story. Your own fears can help guide you to write the scariest of things.

Use your fears to write things that people would find spine-chilling and use vivid descriptions—as vivid as the fear in your mind—to increase the scariness of your story.

For example, I’m afraid of blades and heights and if I were to write a horror story based on these feelings, I’d be looking for the scariest things a blade would do, like one character beheading another using a blunt panga and having to repeatedly hack the neck of the victim.

2. Remember the Basics

Horror stories are special, but to you (the writer) they are still like any other story.

The basic elements of a story have to apply to a horror novel or short story—characters have to have goals, there has to be conflict, and all the other elements.

If you let the horror element overtake your storytelling abilities, there’s a 99% chance you have no story at all. So, you need to balance between the drama of horror and the flow of the story.

A great horror storyline, just like that of any story, has the protagonist(s) fears or goals, provide the characters’ motive(s) for their roles, expose the decisions that read to the protagonists’ present situation, consequences of the characters’ actions, and how they are going to overcome the situation or succumb to horrors presented by the antagonist(s).

To write a great horror story, you must supplement the mystery and suspense with some elements like humor or bravery.

3. Avoid Clichés

Clichés surprise the element of surprise from a horror story, and with that gone, the story becomes boring, predictable, and—consequently—not scary.

Basing your horror story on the familiar horror tropes isn’t bad, but… you have to develop a story that takes its own shape.  I always say that only a horror story writer is allowed to kick his readers in the face—when they think they know what is going to happen, give them something they wouldn’t expect.

4. Write longer sentences

I picked this one from our very own R.L. Stine, aka Jovial Bob. He says that by writing longer sentences, you rob the readers of “natural pauses” that periods provide. The longer sentences mean that the readers don’t have time to take a breath, hence they build anticipation for the reader.

This helps the readers feel as tense as the characters and unknowingly get immersed in your horror story. If this is successful, the reader will want to get to the end of the story as they now have some sort of emotional investment in your story.

5. Carefully Choose the POV

The point of view you use might determine the type of emotional connection your readers have with your main character. If you decide to go with the first-person point of view, the stakes are high.

You can use the first-person POV to get the reader hooked right at the beginning of the story and get their hearts pumping faster as if they were inside the story.

However, if you use past tense , then the first person POV kind of reveals that the narrator lived to tell the tale.

If you’re not clever enough, that will ruin all your chances of ending with a dramatic twist because the reader already knows the narrator will survive the ordeals.

You can also utilize the third-person point of view, which works better for lengthier pieces.

6. Manipulate the Settings

You have to set the environment in such a way that your readers can start developing some phobia just from having a vivid image of the environment.

You can vividly describe enclosed spaces to evoke claustrophobic feelings from the reader. In horror movies, a simple creak of an upstairs floorboard in a lonely house is enough to spark fear into the audience. This can also work in a written story, just paint a picture of a dark and ghostly quiet house and suggest to the reader that there are some slow creaking sounds or that the chair on the porch is swaying but there is no one outside.

7. Read and Practice

It’s obvious that some people write better horror stories than others, and it helps to study those authors when learning how to write terror into your own stories.

Stephen King tops the list for most people, you can get one of his books and study how he writes his horror novels.

The goal is not to be a copycat but to get insights into horror story writing techniques.

After studying these best-selling authors, you can start practicing with story prompts. Writing prompts can expand your range of thinking and open up new avenues of imagination that you hadn’t thought of before.

8. Scare Them, Care About Them

You shouldn’t write only to scare your readers, you must write to make fans out of them. To do this, you need to give your character a life that your readers can relate to before you get to the “boo!” part.

And… use simple language and don’t try to be too clever with your jargon.

Spine-Chilling Horror Story Prompts

1. A boy goes missing in the middle of the night and his body is found floating in a river. Five years later, reports of sightings start flowing in, to the disgust of his parents because they want their son to rest in peace. Then all the people that reported seeing the boy begin mysteriously dying one by one.

2. A man makes a deal with the devil to bring back his parents who died in a car accident when he was five years old. The devil appears to have fulfilled his promise, but the parents end up murdering all the people close to the man.

3. A serial killer gets hold of a hacker’s laptop. The hacker had just hacked the security system of a house and the owners had just left for a convention abroad. Their son organizes a house party and invites a dozen of his friends to the party.

4. A man wakes up to find a creature with razor-sharp teeth and bloody claws seated on a chair in a dark corner of the room, waiting for him.

5. A member of a religious group on an excursion discovers that the priest is a murderous werewolf. He tries to secretly warn some members but they also turn out to be werewolves.

6. A boy in a small town accidentally enters a funeral home. While there, he finds two lifeless bodies of his neighbors. When he gets back home, he finds his neighbors sitting on the front porch, their gaze razor-focused on him. 

Ways to End a Horror Story

Evil gets vanquished… but….

Most horror stories that I have read or the movies I have seen don’t just want the villain to go out like sissy: they put up a very scary fight and they finally are conquered (dead and buried) and then there’s something that suggests that they aren’t really dead—their eyes open or hand shoots out of the grave just before the story ends.

Everyone’s dead, there’s total annihilation.

A horror story can also end with everyone dead and everything is destroyed. There isn’t a single surviving soul, but the good side has won. If you look at it from another perspective, this kind of ending also means that evil has won since evil almost always seeks the world’s destruction.

The Protagonist wins but has to sacrifice something

The hero vanquishes the monsters and restores peace and order. But…the hero has sacrificed something or someone. It may be his sanity or someone that he loves.

The hero uses some lesser evil to conquer the ultimate evil

In a desperate attempt to vanquish the evil haunting them, the main character(s) decide(s) to use some evil ways or make a deal with a less malevolent entity to conquer the bigger evil.

All hope is not lost

This is some sort of happy ending, where even though things seem pretty bad (i.e., the hero is hurt pretty bad or is dead), the reader is given some hope of the hero regaining his health or becoming a more powerful spirit after death. The evil is about to be vanquished or brought to justice.

Most Terrifying Horror Books

1. It – Stephen King

2. Pet Sematary – Stephen King

3. The House of Leaves – Mark Danielewski

Advice from Great Horror Writers

When you listen to great authors, you always get a few pointers on how to write spine-chilling and nightmarish horror stories. Here’s some quoted writing advice from accomplished horror authors.

“There’s no formula. I think you have to create a very close point of view. You have to be in the eyes of the narrator. Everything that happens, all the smells, all the sounds; then your reader starts to identify with that character and that’s what makes something really scary.”

“Writers write about what obsesses them. You draw those cards. I lost my mother when I was 14. My daughter died at the age of 6. I lost my faith as a Catholic. When I’m writing, the darkness is always there. I go where the pain is.”

Stephen King

“If you want to be a writer, you must do two things above all others: read a lot and write a lot. —Stephen King”

“The 3 types of terror: The Gross-out: the sight of a severed head tumbling down a flight of stairs, it’s when the lights go out and something green and slimy splatters against your arm. The Horror: the unnatural, spiders the size of bears, the dead waking up and walking around, it’s when the lights go out and something with claws grabs you by the arm. And the last and worse one: Terror, when you come home and notice everything you own has been taken away and replaced by an exact substitute. It’s when the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there’s nothing there.”

The thing I have learned about writing good horror stories is that you have to trap your readers. Whatever you do, make them feel like they’re part of the story—make them feel the urgency, the blood rush, the terror, and the relief at the end or the scariness of the last “hand popping out of the grave” scene.

And… you can only become a better horror story writer with a lot of practice.

Recommended Reading...

Crafting compelling game stories: a guide to video game writing, how to write a murder mystery: figuring out whodunit, good story starters for your next bestseller, 100 fluff prompts that will inspire creativity.

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How to Write Horror: 8 Crucial Components to Terrify and Delight

by Sarah Gribble | 0 comments

The horror genre might call to mind slasher films or other monster movies your teenage friends made you watch at night to scare you out of your wits. But horror is more than a shock fest. Scary stories have the ability to reveal the human condition in ways many other genres cannot. Today let's look at how to write horror.

Types of stories

We're continuing our series on how to write each of the nine types of stories , based on values. Values are defined by what a character wants or needs most in a story. Story types can defy genre boundaries which are often more about reader expectations and specific tropes, but the two often work together to create a satisfying reader experience.

Here are the six value scales with the plot types they tend to fall into:

• Survival from Nature > Life vs. Death
• Survival from Others > Life vs. Fate Worse than Death
• Love/Community > Love vs. Hate
• Esteem > Accomplishment vs. Failure
• Personal Growth > Maturity vs. Immaturity
• Transcendence > Right vs. Wrong

With that in mind, let's delve into how to write a horror book or story.

What is horror?

Horror is a genre of literature or film that wants to evoke fear, shock, and suspense. Characters battle for their life versus a fate worse than death.

What does that mean? A fate worse than death can mean everything from experiencing embarrassment to paralyzing fear to pain to a loss of innocence.

There are many types of horror fiction sub-genres, ranging from psychological horror to horror comedy to cosmic horror, to slashers and body horror. Horror stories often (but don't have to) have supernatural horror elements, such as ghosts, monsters, vampires, and witches.

Common techniques used to create horror include jump scares, gore, unexpected twists, isolation, and eerie sound effects. Writing horror successfully requires an understanding of human psychology and the ability to create tension and suspense through careful pacing and narrative structure.

Horror isn't just about gore or terror, however. Many horror stories include societal, environmental, or psychological themes.

To write effective horror stories, authors must be able to craft believable characters that audiences can sympathize with as well as build suspense through cleverly crafted plots.

An Example of Master Horror Fiction: Poe

Edgar Allan Poe's story “The Tell Tale Heart” is a story most of us read in school. If you haven't read it or you need a refresher, read it for free on Guttenberg .

“The Tell Tale Heart”   is narrated by an unreliable, unnamed narrator who is confessing to a murder, while simultaneously trying to prove he's not insane. He's killed an old man, whom he supposedly loved, because the man's eye creeped him out. The police show up, and he's calm and collected until he thinks he can hear the old man's heart beating under the floor boards. The beating gets louder until the man confesses to the police, begging them to make the noise stop.

This story packs all the elements of horror into around 2,000 words. The unreliable narrator gives readers a sense of unease and ambiguity throughout the story. Is the man actually mad or is there something supernatural happening?

We have fear, both from the narrator (that creepy eye) and from the old man, who is blind and suspects someone is watching him. We have a murder with dismemberment. We have isolation, as the old man is alone, but the narrator also complains of being scared in the dark night by himself.

Most of all, though, we are on the life vs. fate worse than death scale. The narrator is scared of being seen as insane, which is worse than death for him and is the cause of his confession. He still ends up arrested for the murder, though, which is also a fate worse than death.

What Makes a Good Horror Story?

What makes a good horror story is the ability to tap into our deepest fears and deliver them in a captivating way. Even if you don't consider yourself a horror writer, practicing a few short stories in this genre can help you understand human fear and the way it motivates action.

Setting and atmosphere

A good horror story should start off slow, introducing the characters and setting of the story before slowly building up tension as the horror begins to unfold. The setting of horror stories is often mundane and familiar initially—a summer camp, a basement, a house—but turns sinister as the story progresses.

The more the reader or audience can relate to the setting, the scarier it will be when the protagonist encounters anything spooky. Use sensory details to build the atmosphere. Old houses or rundown buildings and impending bad weather are common in horror stories.

• Bram Stoker's Dracula begins with Jonathan Harker arriving at Dracula's castle, which is isolated, rundown, and surrounded by fog.
• Movies like  The Conjuring  and  Poltergeist  (and a ton of others) start by a family moving into a new house.
• Midsommar begins in a seemingly idyllic community.
• A lot of horror—like The Shining— uses an impending storm to indicate coming doom. The crescendo of the storm culminates in the climax.

Believable character

Characters should be relatable and sympathetic so that readers can connect with them on an emotional level. Readers need to care about what happens to them in order for the horror to be effective. Develop their backstories and motivations, so that when terrible things happen to them, it feels like a genuine tragedy.

• The Mist by Stephen King opens with a man cleaning up his property after a weird storm. We're introduced to the entire family and a neighbor and have a chance to learn the dynamics there before any of the true action happens.
• Danny in  The Shining is a rather lonely little boy who has an alcoholic for a father. The reader can't help but want to protect him. His mother is hoping the move to the Overlook will cure their family. This broken family makes Jack's devolution more horrifying and tragic.

Fleshed out antagonist

The antagonist should be well-crafted and have both human qualities and monstrous ones; this will help create a sense of dread in readers as they don’t know what to expect from the villain. Ensure that your antagonist is well-rounded and has their/its own motivations, even if that motivation is something as simple as eating or breeding.

• The antagonist in the movie Species  starts off as an alien-human hybrid lab experiment. Her core motivation is procreation and because of how she was treated by her captors in her backstory, any human sympathy she might have had is nullified in her quest.
• In  The Creature from the Black Lagoon , Gillman just wants people to leave his territory and to be left alone (preferably with Kay, who he's rather smitten with).
• In Stephen King's  Misery , Annie Wilkes wants to save her favorite author (and maybe keep him around a bit longer than necessary initially), then desperately wants to save her beloved book series.
• Hannibal Lector is a culturally refined, brilliant, manipulative cannibal who held a prestigious place in his profession and prefers to eat the rude. In later stories, we discover he was traumatized as a child.

Foreshadowing

Use subtle hints or clues that something scary is about to happen. Foreshadowing can create a sense of anticipation and dread in the audience. Some common elements of foreshadowing in horror include: mysteriously locked doors, getting a chill for seemingly no reason, something being where a character didn't think they left it, hearing a strange noise, being warned off by the locals, or learning early on of a historic tragic event.

• In  The Shining , we're told if there's a snowstorm no one would be able to get to the hotel. Jack is also warned by the hotel owner that the former caretaker killed his family before taking his own life.
• In  The Haunting of Hill House , Eleanor receives warnings in the form of signs reading “Dare” and “Evil” and someone telling her she will be sorry the gate was ever opened. (In the Netflix series based on this book, there are ghosts hidden in corners and out of focus in many scenes.)

No help in sight

As your story progresses, your characters can't simply call the police or go to a neighbor for help. If that were the case, the horror would be over in a few minutes and the story would end. It should look increasingly doubtful that your characters will escape their situation. Isolation—physical or psychological/emotional—is a common way to achieve this.

• Nick Cutter's The Troop places a boy scout troop on a remote island with only one adult. When the adult is removed from the storyline, the boys are left on their own to battle a parasitic outbreak.
• Stephen King's The Shining takes place at a remote hotel during the offseason and gets worse when a blizzard traps the Torrances.
• Most R.L. Stine books feature children who aren't physically isolated from others, but the adults don't believe them and therefore aren't going to help.
• Zoje Stage's Baby Teeth features parents who can't control their nightmare child. The help they do receive doesn't work.
• In  The Texas Chainsaw Massacre , any hope of help is dashed as the main character slowly realizes everyone in town is the enemy.

Deeper themes and ideas

Horror can be a powerful tool for exploring deeper themes and ideas. Use your writing to explore issues like mortality, identity, and the human condition. Don't just rely on jump scares and gore, but instead use horror to tell a compelling story with something to say.

• Most vampire stories are about addiction and/or the rich literally sucking the life out of the poor.
• The 2022 movie  Smile  is about the “contagious” nature of trauma and generational trauma.
• Stories like The Blob ,  Resident Evil ,  Frankenstein , and Mira Grant's Parasitology   series warn about science gone wrong.

Effective pacing

Effective horror requires careful pacing. You don't want to reveal too much too soon, but you also don't want to drag things out for too long. Use pacing to build tension and create a sense of urgency.

Keep your readers guessing and eager to find out what happens next. But don't exhaust them; every scene shouldn't be one of terror. In fact, the jump scares and ghost sightings aren't how you scare your readers. The more important part of horror is when you slow down and give your reader room to explore and get comfortable. Then you pull out the monster.

• A man runs in and says someone disappeared in the mist. (Faster.)
• Everyone agrees to stay put for a while. Things calm for a moment. (Slower.)
• Then they go to the back to fix something, and a man is pulled away by giant tentacles. (Faster.)
• When they tell everyone what happened there are a multitude of reactions, but the point is there is no immediate threat for a while from the monsters. (Slower.)
• Someone decides to lead a group of people outside and they are killed quickly. (Faster.) etc.

See how we're not seeing the monsters every scene? This gives us as readers (and the characters) time to imagine what the monsters look like, what their motivations are, and to try to come up with a way out. These slower scenes also give us time for some other elements of story, like backstory, tension, and subplots.

Twists, shocks, ambiguity, and everlasting evil

A good horror story should either end with an unexpected plot twist or shock that will leave readers stunned yet satisfied or with an ambiguous ending where the reader is left unsettled because they aren't positive what happens to the main character.

• In Ania Ahlborn's  The Shuddering , we're left with imagining what happened to the main character and his dog.
• In Dahl's  The Witches , the reader is left with the image of the boy/mouse and his grandmother bouncing around the world eradicating witches. We don't know how long they will live (ambiguity), there are still witches, even if they did defeat the specific antagonists for the book (evil still exists), and the boy remains a mouse (twist and shock).
• Every horror movie in a franchise normally ends with the antagonist making an appearance even though they're supposed to be dead and defeated by the protagonist.
• In Shirley Jackson's  The Lottery , we know exactly what happens, but we have no idea  why this stoning ritual is part of this society. We don't even know when or where this society exists.

How to Write Horror: Lean Into the Fear Factor

Fear is the crucial element in horror story writing. As a genre, horror writing leaves you plenty of room to explore themes and subplots that really dive into the dark fears of your readers—and that creates an emotional experience for your target audience. Even common fears and ordinary situations can turn dark in the hands of a master horror writer.

Dive into your biggest fears to find your best horror ideas. Then share them with us!

Want more horror prompts? Check out our 20 Spine-tingling Horror Story Prompts here.

What fears do you find most compelling in horror? Tell us in the comments .

Today, tap into that story value of life versus a fate worse than death. Set the timer for 15 minutes and make a list of fears you or a potential character might have and then create a scene where they realize their worst fears are coming true.

Share your practice in the Pro Practice Workshop here , and leave feedback for a few other writers. Not a member? Join us here . 

Sarah Gribble

Sarah Gribble is the author of dozens of short stories that explore uncomfortable situations, basic fears, and the general awe and fascination of the unknown. She just released Surviving Death , her first novel, and is currently working on her next book.

Follow her on Instagram or join her email list for free scares.

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Bestselling author with over five years of coaching experience. Sarah Gribble specializes in working with Dark Fantasy, Fantasy, Horror, Speculative Fiction, and Thriller books. Sound like a good fit for you?

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Home » Blog » 132 Best Horror Writing Prompts and Scary Story Ideas

132 Best Horror Writing Prompts and Scary Story Ideas

TABLE OF CONTENTS

Horror stories send shivers down our spines. They are gruesome, shocking, and chilling. Scary stories are meant to horrify us, and there are many ways to make a powerful impact on the reader. The element of surprise is crucial to make the readers’ blood freeze.

There are different types of horror stories. They often deal with terrible murders, supernatural powers, psychopaths, the frightening human psychology and much more.

Although many horror writing prompts and scary ideas have been written, the following 132 horror writing prompts can spark great creativity in aspiring writers of the horror genre.

• A family is on a camping trip. The parents are walking with their two children, a daughter and a son. The little boy trips and falls into a dark river. His father jumps to rescue him. Somehow the boy manages to swim to the surface. The father is nowhere to be found. When the mother gets a hold of the boy, she can’t recognize him. She tries holding him, but the moment she touches his wet body, her hands start burning.
• A young girl goes missing in a nearby forest. The whole town is searching for her. Her parents find her sitting and smiling in a cave. Her eyes are completely white.
• A woman starts watching a movie late at night. The movie seems all too familiar. Finally, she realizes that it is a movie about her own life and that she might be already dead.
• A house finds a way to kill every visitor on its premises.
• A child makes her own Halloween mask. She glues a lock of her own hair on her mask. The mask comes to life and threatens to take over the girl’s body.
• While digging in her backyard, an old lady discovers an iron chest. She opens it and finds a pile of old photographs of her ancestors. All of them are missing their left eye.
• A priest is trying to punish God for the death of his sister. He is getting ready to burn down the church, when supernatural forces start to torture him.
• Every year a woman goes to the cemetery where her husband is buried, and when she looks at his tombstone, she notices her own name carved in it.
• A woman puts a lipstick on in the bathroom when she hears a demonic voice saying to her: “Can’t you see?”
•  A mysterious child psychiatrist promises parents to cure their children if they give him a vile of their blood.
•  A group of 10 friends decide to rent an old English castle for the weekend. The ghosts are disturbed and seek their pound of flesh.
•  A photographer travels to an Indian reservation for his next project. He starts taking photos, but there are only shadows in the places where people should have been.
•  A young married couple decide to renovate an abandoned psychiatric hospital and turn it into a hotel. Everything is going well until their first guest arrives.
•  Three sisters are reunited for the reading of their grandmother’s will. She has left them a diamond necklace, but they have to fight psychologically and physically for it.
•  An old woman pretends to be lost and asks young women to help her get home. She offers them a cup of tea and drugs them. When the women wake up, they are chained in the basement. The old woman gives them tools and boards, so that they can build their own coffin. If they refuse, she inflicts pain on them.
•  A mysterious stranger with a glass eye and a cane commissions a portrait. When the portrait is finished, the painter turns into stone.
•  A little girl’s sister lives with a monster in the closet. She exits the closet on her sister’s birthday.
•  The demons under the nuclear plant get released after an explosion and start terrorizing the families of people who work at the plant.
•  A woman gets trapped in a parallel universe where every day she dies horribly in different ways.
•  A cannibal hunts for pure children’s hearts hoping they will bring him eternal youth.
•  A politician hides his weird sister in the attic. She’s had her supernatural powers after their family home burned to the ground.
•  A 16-year-old girl wakes up on a stone-cold table surrounded with people in black and white masks. They are chant and start leaning forward. All of them carry carved knives.
•  A boy hears screaming from his parents’ bedroom. He jumps and hides under his bed. Suddenly, everything becomes quiet. A man wearing army boots enters his room. He drags the boy from under the bed and says: “We’ve been searching for you for 200 years.”
• A husband and his wife regain consciousness only to see each other tied to chairs, facing each other. A voice on the radio tells them to kill the other, otherwise, they would kill their children.
•  A mysterious altruist gives a kidney to a young man, who has potential to become a leading neuroscientist. After a year, the altruist kills the young man because he proves to be an unworthy organ recipient. The following year, the mysterious altruist is a bone marrow donor.
•  A group of friends play truth or dare. Suddenly, all the lights go out and in those ten seconds of darkness, one of the group is killed.
•  A young man becomes obsessed with an old man living opposite his building. The young man is convinced that the old man is the embodiment of the devil, and starts planning the murder.
•  Concerned and grieving parents bring their 8-year-old son to a psychiatrist after their daughter’s accident, believing that the boy had something to do with her death.
•  A woman is admitted to a hospital after a car crash. She wakes up after three months in a coma, but when she tries to speak, she can’t utter a sound. When the nurse sees that she is awake, she calls a doctor. The last thing the woman remembers is hearing the doctor say: “Today is your lucky day,” right before four men in black robes take her out.
•  A small-town cop becomes obsessed with a cold case from 1978. Three girls went missing after school, and nobody has seen them since. Then one day, in 2008, three girls with the same names as those in 1978 go missing. The case is reopened.
•  After his parents’ death a cardiologist returns to his small town where everyone seems to lead a perfect life. This causes a disturbance in the idyllic life of the people since none of them has a heart. 
•  A man is kidnapped from his apartment on midnight and brought on a large private estate. He is told that he will be a human pray and that ten hunters with guns will go after him. He is given a 5-minute head start.
•  A strange woman in labor is admitted in the local hospital. Nobody seems to recognize her. She screams in agony. A black smoke fills in the entire hospital. After that, nobody is the same. A dark lord is born.
•  A young girl finds her grandmother’s gold in a chest in the attic, although she isn’t allowed to go there by herself. She touches the gold and she starts seeing horrible visions involving her grandmother when she was younger.
•  An anthropologist studies rituals involving human sacrifice. She slowly begins to accept them as necessary.
•  A family of four moves in an old Victorian home. As they restore it, more and more people die suddenly and violently.
•  An old nurse has lived next door to a family that doesn’t get older. Their son has remained to be a seven-year-old boy.
•  A girl wakes up in her dorm and sees that everybody sleepwalks in the same direction. She acts as if she has the same condition and follows them to an underground black pool where everybody jumps.
•  A bride returns to the same bridge for 50 years waiting for her husband-to-be to get out of the water.
•  An old woman locks girls’ personalities in a forever growing collection of porcelain dolls. Parents of the missing girls are in agony and they finally suspect something. When they tell the police, their claims are instantly dismissed.
•  A chemistry teacher disfigures teenagers who remind him of his childhood bullies. One day, he learns that the new student in his school is the son of his childhood’s archenemy.
•  A girl starts digging tiny holes in her backyard. When her mother asks her what she is doing, the girl answers: “Mr. Phantom told me to bury my dolls tonight. Tomorrow night I am going to bury our dog. And then, you, mother.”
•  Twin brothers were kidnapped and returned the next day. They claim that they can’t remember anything. The following night, twin sisters disappear.
•  A boy has a very realistic dream about an impending doom, but nobody believes him until during a storm all the birds fall dead on the ground.
•  Room 206 is believed to be haunted, so hotel guests never stay in it. One day, an old woman arrives at the hotel and asks for the key to room 206. She says that she was born there.
•  A genius scientist tries to extract his wife’s consciousness from her lifeless body and insert it into an imprisoned woman who looks just like his wife.
•  Two distinguished scientists develop a new type of virus that attacks their brains and turns them into killing machines.
•  A woman steps out of her house only to find four of her neighbors dead at her doorstep. Little does she know that she isn’t supposed to call the police.
•  A bachelor’s party ends with two dead people in the pool. Both of them are missing their eyes.
•  A young woman wearing a black dress is holding a knife in her hand and threatening to kill a frightened man. She is terrified because she does not want to kill anybody, but her body refuses to obey her mind.
•  A strange religious group starts performing a ritual on a playground. The children’s hearts stop beating.
•  A woman discovers that her niece has done some horrible crimes, so she decides to poison her. Both of them take the poison, but only the aunt dies.
•  A man encounters death on his way to work. He can ask three questions before he dies. He makes a quick decision.
•  An older brother kills his baby sister because he wants to be an only child. When he learns that his mother is pregnant again, he decides to punish her.
•  A husband and his wife move to a new apartment. After a week, both of them kill themselves. They leave a note saying: “Never again.”
•  A man is trying to open a time portal so that he could kill his parents before he is ever conceived.
•  A famous conductor imprisons a pianist from the orchestra and makes him play the piano while he tortures other victims, also musicians. Every time the pianist makes a mistake, the conductor cuts of a finger from his victims.
•  A popular French chef is invited by a mysterious Japanese sushi master for dinner. A powerful potion makes the French chef fall asleep. He wakes up horrified to learn that he is kept on a human farm, in a cage.
•  A nuclear blast turns animals into blood-thirsty monsters.
•  A mysterious bug creeps under people’s skins and turns them into the worst version of themselves.
•  A kidnapper makes his victims torture each other for his sheer pleasure.
•  Four friends are invited to spend the afternoon in an escape room. A man’s voice tells them that they have won a prize. They happily accept and enter the escape room. They soon realize that the room was designed to reflect their worst nightmares.
•  Two sisters have been given names from the Book of the Dead. Their fates have been sealed, so when they turn 21, dark forces are sent to bring them to the underground.
•  A mother-to-be starts feeling severe pain in her stomach every time she touches a Bible. Despite the fear for her own life, she starts reading the New Testament out loud.
•  A literature professor discovers an old manuscript in the college library. He opens it in his study and suddenly a black raven flies through the window.
•  You are the Ruler of a dystopian society. You kill every time your control is threatened.
•  You are an intelligent robot who shows no mercy to humanity.
•  You are a promising researcher who discovers that all the notorious dictators have been cloned.
•  A nomad meets a fakir who tells him that he would bring agony to dozens of people unless he kills himself before he transforms into a monster.
•  A most prominent member of a sect goes to animal shelters to find food for the dark forces.
•  A man hires unethical doctors to help him experience clinical death and then bring him back to life after a minute. Little does he know that one minute of death feels like an eternity full of horrors.
•  You travel home to visit your parents for the holidays. Everything seems normal until you realize that demons have taken over their consciousness.
•  A mysterious woman moves into your apartment building. One by one, all of the tenants start hallucinating that monsters chase them and jump into their own deaths.
•  Divorced parents are kidnapped together with their son. Both of the parents have been given poison, but there is only one antidote. The boy needs to decide which parent gets to be saved. He has 30 seconds to make that decision.
•  A patient with a multiple-personality disorder tells you that you are one of six characters.
•  You wake up in bed that is a blood-bath.
•  The Government abducts children with genius IQ and trains them to fight the horrors in Area 51.
•   A woman who has just given birth at her home is told that the baby is predestined to become the leader of the greatest demonic order in the country.
•  A man signs a document with his blood to relinquish his body to a sect.
•  A woman enters a sacred cave in India and disappears for good.
•  A man opens his eyes in the middle of his autopsy while the coroner is holding his heart.
•  You look outside the windows in your house only to see that the view has changed and there is black fog surrounding you.
•  The gargoyles from the Notre Dame have come to life and they start terrorizing Paris.
•  Somebody rings your doorbell. You open the door and a frightened girl with bloody hands is standing at your doorstep. “You’re late,” you reprimand her.
•  You wake up in the middle of the night after a frightful nightmare, so you go to the kitchen to get a glass of water. You turn on the light and a person looking like your identical twin is grinning and pointing a knife at you.
•  A renowned book editor receives a manuscript elegantly written by hand. The title grabs her attention and she continues reading page after page. When she finishes, the manuscript spontaneously starts burning, and the editor is cursed forever.
•  The last thing you remember before losing consciousness is fighting a shady Uber driver.
•  You find yourself in a cage in the middle of a forest and black mythological harpies hovering above the cage.
•  A woman wants to quit smoking, so she visits a therapist who is supposed to help her with the use of hypnosis. She goes under and when she wakes up, she feels like a born killer.
•  Five hikers get stranded during a horrible storm. One of them kills the weakest and starts burning his body.
•  A mother goes in the nursery to check up on the baby and discovers that the baby is missing and, in her place, there is a baby doll.
•  A killer is willing to pay a large sum of money to the family of a volunteering victim. A cancer patient contacts the killer. The killer ends up dead.
•  The sacred river in a remote Asian village fills up with blood. The last time that happened, all the children in the village died.
•  A tall, dark, and handsome stranger invites a blind woman for a romantic date in his botanical garden. The garden is full of black roses in which women’s souls have been trapped. He tells her that she will stay forever with him in his garden.
•  A frightened man is trying to lead a werewolf into a trap and kill him with the last silver bullet.
•  An architect designs houses for the rich and famous. What he doesn’t show them is that he always leaves room for a secret passageway to their bedrooms, where they are the most vulnerable.
•  A man’s DNA was found on a horrible crime scene and he has been charged with murder in the first degree. He adamantly negates any involvement in the crime that has been committed. What he doesn’t know is that he had a twin brother who died at birth.
•  Every passenger on the Orient Express dies in a different, and equally mysterious way.  
•  A magician needs a volunteer from the audience in order to demonstrate a trick involving sawing a person in half. A beautiful woman steps on the stage. The magician makes her fall asleep, and then he performs the trick. In the end, he disappears. People in the audience start panicking when they notice the blood dripping from the table. The magician is nowhere to be found. The woman is dead.
• A mother discovers that her bright son is not human.
• Specters keep terrorizing patients in a psychiatric hospital, but nobody believes them.
• A man’s mind is locked into an immovable body. This person is being tortured by a psychopath who kills his family members in front of him, knowing that he is in agony and can’t do anything to save them.
• A bride-to-be receives a DVD via mail from an unknown sender. She plays the video and disgusted watches a pagan ritual. The people are wearing masks, but she recognizes the voice of her husband-to-be.
• A man turns himself to the police although he hasn’t broken the law. He begs them to put him in prison because he had a premonition that he would become a serial killer.
• Jack the Ripper is actually a woman who brutally kills prostitutes because her own mother was a prostitute.
• A ticking noise wakes her up. It’s a bomb, and she has only four minutes to do something about it.
• After a horrible car crash, a walking skeleton emerges from the explosion.
• A world-famous violinist virtuoso uses music to summon dark forces.
• A philosopher is trying to outwit Death in order to be granted immortality. He doesn’t know that Death already knows the outcome of this conversation.
• A beautiful, but superficial woman promises a demon to give him her virginity in exchange for immortality. Once the demon granted her wish, she refused to fulfill her end of the deal. The demon retaliated by making her immortal, but not eternally youthful.
• A voice starts chanting spells every time somebody wears the gold necklace from Damask.
• Three teenagers beat up a homeless man. The next day all of them go missing.
• Thirteen tourists from Poland visit Trakai Island Castle in Vilnius. Their bodies are found washed up the next morning. They are wearing medieval clothes.
• A group of extremists ambush the vehicle in which a head of a terrorist cell is transported and rescue him. They go after anybody who was involved in his incarceration.
• A hitman is hired to kill a potential heart donor.
• A man is attacked by the neighbor’s dog while trying to bury his wife alive.
• A woman disappears from her home without a trace. He husband reports her missing. The police start to suspect the husband when they retrieve some deleted messages.
• After moving to a new house all the family members have the same nightmares. Slowly they realize that they might be more than nightmares.
• A psychopath is drugging his wife, pushing her to commit a suicide so that he could collect the life insurance.
• A woman loses her eyesight overnight. Instead, she starts having premonitions.
• A vampire prefers albino children.
• A man commits murders at night and relives the agony of his victims during the day.
• A black horse carriage stops in front of your house. A hand wearing a black glove make an inviting gesture. Mesmerized, you decide to enter the carriage.
• Demons rejuvenate by eating kind people’s hearts.
• People are horrified to find all of the graves dug out the morning after Halloween.
• Men start jumping off building and bridges after hearing a mysterious song.
• A voice in your head tells you to stop listening to the other voices. They were not real.
• A severed head is hanging from a bridge with a message written in the victim’s blood.
• A delusional man brings his screaming children to a chasm.
• A 30-year-old woman learns that a baby with the same name as her died at the local hospital 30 years ago.
• A vampire donates his blood so that a child with special brain powers can receive it.
• A teenager is determined to escape his kidnapper by manipulating him into drinking poison. He doesn’t stop there.

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110+ Horror Writing Prompts (With A Twist)

Give yourself the chills with this list of over 110 horror writing prompts. From scary ghost stories to creepy stories about animals and monsters. Now is the time to write your own horror story , just like Goosebumps or The Haunting of Aveline Jones. 

From the gory to the scary, from the monstrous to the supernatural, from the humorous to the wacky, we have it all! Use this horror writing prompts generator to get a random horror writing idea to write about:

Keep on reading for a list of horror story prompts.

Most horror stories are based on one thing, fear. And it’s always a good idea to have a bit of that in your own life. Fear makes us all think differently, it makes us do things we wouldn’t normally do. And it’s the same thing that makes horror stories so scary. It’s a good idea to think of something that scares you, and then write about it. As a starting point, we have provided you with this list of horror prompts. For some of these gory ideas, we have included a twist, while for others it’s up to you how the story goes!  Feel free to use any of these prompts in your writing, and to expand on any of the ideas.

List of Horror Writing Prompts

This list of horror writing prompts will you give you the well-needed inspiration for a good horror story:

• The Haunting Hospital: A small girl named Julie is walking down a country road when she finds a cemetery and realises it is her home town. She goes to her house and finds that it has been turned into a hospital. She finds her father and her mother there. Her father tells her that she is now a part of the hospital and that she must work to be paid. Julie and her mother go to work as nurses.
• Chasing Shadows: A girl named Becky is walking in her neighbourhood when she sees a little boy playing in the street. Becky runs over to him and asks him what he is doing. He tells her that he is a little monster and that he will kill her if she does not leave him alone. Becky takes off running and the little monster chases her.
• Park of Peril: A little girl named Melissa is walking through the park when she finds a little boy who tells her that he will eat her if she does not take him home. Melissa takes off running and the little boy chases her.
• Claws of the Night: This one involves a kid named Angela. One night she goes to sleep and when she wakes up the next morning her hands have turned into the claws of a cat.
• The Poisoned Harvest: A boy named Billy is walking down the street one day when he sees a homeless man. He notices some fruit by the man. When the homeless man is not looking, Billy steals the fruit. Later on, he goes home and eats this piece of fruit. The fruit is poisoned, and Billy goes blind.
• Carnivorous Confrontation: A story of a kid who loves to eat the flesh of dead animals, but one day a man appears and tells him not to eat them.
• Invisible Menace: Write a story about a young boy who is terrorized by an invisible monster.
• Nightmare Room: The invisible monster is eating kids and it is in their room all the time.
• Enchanted Chaos: A handsome prince on a quest to learn magic wants to marry the beautiful princess, but the kingdom is being attacked by demons, ghosts, and…his dad.
• Insanity’s Feast: The whole little town goes insane. They start killing people with their mouths. They kill them in the most gruesome way.
• Shuttered Nightmares: A serial killer is taking photos of their victims. He is telling them how he is going to kill them. And then he starts his killing.
• Witch’s Chains: Two kids named ‘Bud’ and ‘Chip’ got separated from their parents. They live next door to a witch and are unable to leave the house. One day, the witch makes their parents get into a container, and leaves them in the backyard, chained to a tree.
• Enchanted Camp: A summer camp where a powerful wizard casts a spell on the children to make them do his bidding.
• The Weeping Specter: A ghost that follows you around and cries on your shoulder and if you get sad it gets angry and turns into a ghostly voice that spooks people.
• Haunted Truths: The lead character is haunted by a ghost who knows the truth about their past.
• Distrustful Shadows: A girl named Dana, who works at a daycare centre, doesn’t trust anybody. This causes her to make sure she does everything she can to stop any other person from ever entering her place.
• Realm of Nightmares: One day, the princess wakes up in a terrible nightmare. She is being chased by something, she cannot see what it is. And then she hears the voice of her mother, telling her to run away. She goes to her room and sees that the covers on her bed are in a shape that reminds her of the monster she just saw. She knows she cannot sleep in this place. She goes to the other side of her room and sees a window. She goes to the window and finds that it is an opening to a new world…
• Witch’s Wrath: A girl named Misty lives with her parents and their next-door neighbour who is an evil witch. One day her father and the witch get into a fight and the witch accidentally kills him.
• Brief Awakening: A boy named Sam is suffering from a terrible disease and he only has days to live. He’s in a coma, and he’s not responding to any medical treatments. Until one night he starts to experience some new changes…
• Vengeful Wishes: A little girl named Mina finds a genie. The genie grants her 3 wishes. Because Mina has been a victim of bullying, she uses all her wishes to punish her bullies with ghoulish consequences. 
• Jar of Horrors: One day, a boy named Marcus went out to take a walk, and he found a jar that he thought was full of gold. Marcus had also found a bag that was heavier than he could lift, but he drags it home anyway. When he opens to bag he discovers something disgusting…
• Game Over: A creepy character named Nemesis is trying to kill Luke, who plays video games and lives in his basement. At night, Luke hears voices telling him to hide. He goes to the basement and a creature knocks him out. He ends up as a character in his gruesome game. 
• Bracelet of Resurrection: A boy named Josh loses his best friend to a freak accident. He finds the other half of a bracelet he gave his friend that day. He hangs on to it until one night the bracelet brings his best friend back to life.
• The Ghost Writer: Write a story titled, The Ghost Writer. Write about the ghost of someone who haunts you.
• Eternal Specter: Write a scary ghost story about a man who is cursed to spend eternity as a ghost.
• Hidden World: A boy named Brody is having problems adjusting to life in his new home after his parents divorced. He tries to see his dad, but they don’t want him around. One day he discovers a secret passage to a hidden underground world where his father now lives.
• Stuttering Shadows: A story about a young man named Kenny, who works as a garbage man. He also has a terrible stuttering problem that he has to deal with. One day he discovers that his stuttering is getting worse and worse and he becomes scared to death because of it. He thinks that the talking squirrel next to him is a demon.
• Haunted Corner: Write a story about an object in your room that becomes haunted. 
• Ghostly Deception: A boy named Bryce has been hiding out from his abusive father. One day his father is gone and his dad’s new girlfriend walks into the house. He thinks it’s the ghost of his dead mother. The ghost shows him that his dad’s new girlfriend has been lying to him about how his birth mother died.
• Trapped in Terror: A young boy named Spencer and his sister Sarah, are on a camping trip when they find a box of mysterious objects. When they open it, one of the items shoots at them, striking Sarah and trapping her in a pod inside a tree. While locked inside the tree, Sarah meets an evil doll named Alice.
• Possessed Playtime: A young girl named Cassandra is babysitting her neighbour’s two kids. One day the kids eat some forbidden foods and a demon spirit possesses one of the kids and turns him into an evil creature who haunts the neighbourhood.
• Eyes of the Bunny: A little girl named Hayley discovers a secret house that no one in the neighbourhood knows about, and is welcomed inside by a red-eyed white bunny. One day when Hayley goes to a party, her newfound friend kidnaps her and traps her inside this mysterious house. 
• Eternal Echo: Write a horror story about a horrible accident or a nightmare that has haunted you your whole life.
• Drowning Destiny: A boy named Joshua falls into a river and is about to drown when he gets rescued by a beautiful mermaid. She tells him that he will die the next day because that is his destiny. 
• Keys of Madness: A young boy named Alex finds a set of glowing door keys and uses them to enter a huge abandoned mansion. When he explores the mansion, he is visited by a dark spirit who attacks him and drives him insane.
• Alien Abduction: A boy named Sam wakes up one day to find that his parents have been missing for over a year. The day he discovers them, they tell him that he was kidnapped by aliens, and they built an experimental human brainwashing machine. 
• Dreams of Stella: A young boy named Toby starts having strange dreams of a girl named Stella. One day, he sees Stella when he’s on a roller coaster, but it turns out to be a ghost who is trying to take over his mind. 
• Eye of the Leaf: A little boy named Ben is playing outside one day when he finds a strange leaf. When he picks it up, it turns into a leaf with a red eye and starts to follow him. 
• Vengeful Spirit: Write a horror story about a ghost who just wants to kill the person who called him a monster when he was alive. 
• Nightmare Adoption: A young girl named Annabelle is adopted by a family that lives in a very old house. One day when is playing outside, she is kidnapped by a scary man named the Nightman.
• Stuffed Shadows: A young boy named Jack gets lost in the woods and finds an old abandoned house. He enters the house and finds a huge stuffed animal. When he touches it, it wakes up and attacks him.
• Depths of Fear: Imagine your worst fear and write a scary story about it.
• A Rude Awakening: Write a horror story titled, A Rude Awakening. What would you do if you woke up in a place that you weren’t familiar with?
• The Mysterious Case: What happens when someone goes missing and no one knows where they’ve gone?
• Dreamstalker : Write about a monster that might be stalking you in your dreams.
• Write a story titled, When The Wind Blows. This story could be about a sudden change in weather that comes with a new problem.
• Mirror Demon: Continue the following story: Suddenly, the demon in the mirror reappeared and she began to scream.
• Doctor’s Dread: When the doctor gave her the news, she screamed out loud and ran in circles.
• Safekeeping Shadows: In her final hours, she told me to be thankful that I had done my best to keep her safe. That I had made sure no evil would ever hurt her again. 
• Camping Secrets: Continue the following horror story: As I was growing up, every year our family went camping in the woods. My grandfather passed away a few years ago. He was a rich man, and I wanted to visit his grave at the cemetery. 
• Forest of Shadows: While walking around the forest, I came across a monstrous-looking creature. I was scared and ran back home. The next day, I decided to go back and see what the monster was doing. 
• Echoes of Dread: Write down your biggest fear. And then write a story based on this fear.
• Silent Stalker: When I looked in her file I saw that she had gotten five serious stab wounds. But, I could not see any sign of her attacker. Her wounds were all over her body and all over her arms.
• Arachnid Terror: After discovering that a spider was sleeping in her bed, a young girl named Amy screams and runs away, locking herself in the bathroom.
• Electric Fury: A scientific team is doing research on electricity. They find a very strong cell that could create many things when it is exposed to electricity. Suddenly the electricity static comes alive. It gets angry and attacks the scientists. 
• Imaginary Friend: A little girl named Amber loves to play with her new imaginary friend. She calls him “Giant” and she makes up stories about him. She believes that he is her friend for real.
• Melting Nightmare: Continue the following story: As it continued attacking, it even caused my teeth to start to melt off of my jaw. My skin would start to burn, and my hair would become brown. 
• Friday Night Terrors: It’s Friday. The TV is on, and you are wide awake. As you lie there listening, you begin to feel tired. And just as your eyes begin to close, you hear a creak of the floorboards. Your eyes snap open. What you see scares the living hell out of you.
• Blood Dawn: You wake up one morning to find your entire body covered in blood. What do you do? 
• Room of Despair: How would you react if you were locked in a room and told you could never leave?
• Haunting Memoirs: What is the scariest thing that has ever happened to you? Can you explain this in great detail?
• Chilling Chronicles: Make a top ten list of the creepiest books or stories you have ever read.
• The Gruesome Creation: Describe the most gruesome and disgusting creature you can imagine.
• Zoo’s Menace: Write a horror story where there is a threat of animals getting out of the zoo.
• Red-Eyed Pursuit: Continue the following starter: A red-eyed man of tall and dark build looms over a bus stop on a lonely, deserted country road, staring at me intently. I run like hell to get to the other side of the street, but it’s too late…
• Homebound Horror: A strange animal has been following you through your home. Have you been doing anything strange or dangerous that has made it freak out?
• Midnight Messages: Someone is leaving you messages in the dead of night. What’s the creepiest message you’ve received?
• Ghostly Watcher: Create a ghost story about a creature that watches and waits in the corners of dark, abandoned places.
• Jack and Jill’s Nightmare: Jack and Jill went up the hill, but they never came back down. Will they ever make it to the bottom? Write a horror story based on this idea.
• Dark Secrets: The history of your town has a long dark secret that nobody wants to talk about. What is it?
• Mutated Reality: Reality show participants get kidnapped and sent on a dangerous mission, where they must learn how to blend with mutated creatures.
• Beastly Intrusion: In a small community in Japan, a supernatural force enters the community through a sewer. To beat it, the village must learn to work as a team and think like a beast.
• School of Shadows: School kids don’t believe in ghosts until they’re suddenly being terrorised in their school at night.
• Vampiric Genesis: Someone is using a contaminated strain of bat DNA to create vampires in real life. And it’s up to a group of scientists to put an end to it.
• Promised Souls: The dead walk, and all they want to do is get what they were promised. Will you figure it out?
• Spellbound Silence: An aspiring rapper, who always dreamed of singing in front of an adoring crowd, becomes the target of a spell that makes him unable to sing, his most cherished talent. Will he survive the consequences of his initial desire to be a star?
• Mirror Man: Continue this story: You look into the mirror and see a man in black standing in the corner…
• Cryptic Chronicles: Imagine that you stumble upon a really creepy story in your local library and it leads you on a very strange and frightening journey.
• Lost in a Strange World: When night falls, people get teleported to an area far away, in a very different world! The only way to return home is by combining body parts with the different elements of the land.
• Wicked Takeover: A small town gets taken over by a wicked witch, who’s on a mission to suck the souls of all the inhabitants.
• Soul Seeker: When someone posts an ad online about finding a soul and bringing it home for a price, things get really interesting.
• Human and Beast: What would happen if human DNA was spliced with that of a deadly monster?
• Unknown Beyond: A guy receives an advance warning from his friends in the afterlife to get ready for the afterlife, or something worse may happen…
• Death’s Present: A girl gets a letter that someone wants to give her a present before they die, but the present comes with a very specific clause. What happens when she follows the instructions?
• Dark Diary: As a local woman is trying to recover from the death of her husband, she discovers an old diary, in which she discovers something that happened in her past that has led to events that followed.
• Christmas Carnage: It’s beginning to look like Christmas! But there’s more to Christmas than Santa and presents. A deadly secret is hidden away in a child’s bedroom. And with a massive killer about to make an appearance, it’s a race against time to track him down.
• Empire of Evil: A ship sets sail for the distant colony of the Empire, but its mission becomes a mission to find the source of evil.
• Hell Town: Using a sinister new machine, a small-town mayor is convinced to turn his town into a hell-like world.
• Wild Dogs: A group of four friends are lured into an abandoned house by a pack of wild dogs.
• I Went To A Party: Complete the following sentence in three different spooky ways: I went to a party and…
• Sea’s Claw: The captain was anxious to get home, but the sea was so rough that his ship could not make it. Suddenly, from the fog, a giant black claw appeared. The giant black claw grabbed the ship and then brought the ship to the bottom of the ocean.
• Dybylu’s Awakening: A monster named Dybylu wakes up one morning, alone in her room. She can feel it in the air; her pet cat is afraid. She goes to look in the mirror and see’s a human staring back at her. 
• Murdered Spirit: A little boy is asked to help a spirit of a man who was murdered, but as he hears the story, it sounds weird and a bit confusing, and he begins to wonder if the story is even true.
• Playground Horrors: In a playground near an orphanage, there are many playgrounds where kids play. The best playground is found next to an abandoned asylum. 
• Barn Cat’s Secret: A drifter named Mick goes to a farm with his friend Sam, and the owner of the farm is a creepy scientist. Mick climbs a barn ladder and sees a strange cat in there…
• Cape Creature: A sweet girl named Annie and her sister, Charley, are having an adventure in their neighbourhood. Suddenly, Annie spots a strange black cape creature lurking in the distance. It was the most feared and horrible creature Annie has ever seen.
• Island of Souls: The main character goes to an island that no one has visited before. He is enjoying his vacation, but one night he finds out that his home is being invaded by creatures who want to steal his soul.
• Spookie’s Nightmares: A witch known as ‘Spookie’ causes horrible hallucinations to victims of her nightmares. Her victims can’t scream or cry or run. All they can do is panic.
• Stick’s Mischief: A girl named Paige finds a stick that attracts a mysterious creature that will play a sick joke on her. 
• Black Blood: One day, a girl named Robin started having problems in school. Her parents, who are very smart and caring, see something is very wrong with Robin so they take her to the doctor. The doctor makes her go through a lot of tests, and everything is okay except for one last thing. Robin has black blood running through her veins.
• Mirror’s Curse: A teenage girl named Sarah who is obsessed with her appearance starts turning into an old, ugly witch every time she looks into a mirror. 
• Bee Killer: When bees start dying suddenly out of nowhere, the lead detective in a bee colony must find the culprit. 
• Demon’s Puzzle: A strange jigsaw puzzle holds a horrific secret… In it, a grinning demon holds a girl’s head in its giant mouth.
• Forbidden Drawing: A little boy sees a drawing of him in a forbidden book he had found. He is then transported to a never-ending forest, lost forever…
• When the Past Comes Back: An adult is being haunted by their younger self.
• Beast of the Woods: A reporter goes into the woods where there was a fierce animal attack. In this attack, five women and a little boy were killed. He decides to search for evidence on who this killer creature might be…
• Letters of London: A man lives by himself in a flat in London. A mysterious person starts sending him letters which talk about how scary things will happen if he doesn’t leave his flat. 
• The Ghost in Her Friend’s Mother: A 7 year old girl is having a sleepover at her friend’s house. Her friend’s mom leaves them alone, but they soon find out that she was poisoned, and that a ghost has taken over her body.
• Creepy Crawlies in Your Kitchen: The first animal the kids see is a snake that eats people’s brains. It sneaks around in people’s kitchens.
• Revolving Nightmares: The story starts off with a character telling the readers about the night he and his parents got stuck in a revolving door. The night would haunt him for the rest of his life.
• Tommy’s Window: A long time ago there was a man named Tommy, who was lost in a forest. Tommy thought he heard a ghost calling him. Tommy went in the direction of the noise and found a scary-looking house that has windows that never opened. Tommy finds out that the house belongs to a witch and that if he opens the windows, the witch will turn Tommy into a puppet. 
• Tommy the Dog: This is a story about a little boy and his dog.  The little boy goes to a big park, and he sees a dog that is alone. He walks over to the dog, but it just barks and then runs away. The next day Tommy starts turning into a human-sized dog. 

Fear no more! Just use this list of horror writing prompts to start writing your own fantastic horror story! Use any of these scary prompt ideas to take the story from your mind to your computer screen.

Looking for more creepy horror prompts? Check out this list of Halloween writing prompts , as well as this scary Halloween picture prompts . 

Frequently Asked Questions (FAQs)

What are the 5 elements of a horror story.

Every good horror story contains the following five elements: Character, Setting, Action, Horror and Resolution. You can’t write a good horror without these elements.

How do you write in creepy writing?

To write in creepy writing, you need to immerse yourself in the world of horror. You think to think exactly like your main character or antagonist. Imagine yourself as a ghost, a demon, a monster, or a murderer. You can be a ghost who haunts people in their dreams or a monster who stalks them in the real world. Use extreme details to describe scenes of horror with gory and disgusting elements.

How do you get inspiration for horror?

Most horror stories are based on fear. Think about the things that scare you or haunt you in your nightmares. You can also get inspiration from watching scary movies or reading about scary stories. Finally, horror stories can also be inspired by real-life situations. For example, a girl who is bullied decides to take revenge on her bullies in a gruesome way. Of course, you can also use this list of horror writing prompts to inspire you too!

What are common horror themes?

Horror themes can be based on personal experiences, fears, or nightmares. Here are some common horror themes to explore:

• Stalker: Someone who stalks you in your dreams or in the real world.
• Monsters: Someone or something who appears to be human, but isn’t.
• Revenge: Someone who is still haunted by a past event, and needs to seek revenge to overcome it.
• Secrets: A deadly secret that could shake the lives of anyone involved.
• Psychopaths: People who just kill or hurt others for the fun of it.

Did you find this list of over 110 horror writing prompts useful? Let us know in the comments below.

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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How to Start a Horror Story

Last Updated: May 17, 2024 Fact Checked

This article was co-authored by Lucy V. Hay . Lucy V. Hay is a Professional Writer based in London, England. With over 20 years of industry experience, Lucy is an author, script editor, and award-winning blogger who helps other writers through writing workshops, courses, and her blog Bang2Write. Lucy is the producer of two British thrillers, and Bang2Write has appeared in the Top 100 round-ups for Writer’s Digest & The Write Life and is a UK Blog Awards Finalist and Feedspot’s #1 Screenwriting blog in the UK. She received a B.A. in Scriptwriting for Film & Television from Bournemouth University. There are 9 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 184,128 times.

Writing your own horror story can be a fun personal project or an interesting assignment for a class. Perhaps one of the more challenging elements of the horror story is the beginning of the story, or the opening lines. You can start your own horror story by first creating a story idea and crafting a strong beginning. You should then revise your beginning pages so they fit with the rest of the story and are as engaging as possible.

Creating a Story Idea

• Use your fear as material for a story about something scary or revolting. Consider how you would react as a character if you were forced to confront these fears.
• Another option is to ask family, friends, and partners what scares or revolts them the most. You can then use their fears as an idea for your story.

• For example, maybe you come across a severed ear during your morning stroll in the park or perhaps a vegetable you are cutting up for dinner turns into a finger or a tentacle. Get creative and consider how you can skew or twist around a situation that seems commonplace.

• Consider a confined space that scares you or frightens you. Ask yourself where you would dread or fear being trapped in the most.
• Maybe you trap your character in a confined space like a coffin, a cold dank cellar, an abandoned police station, an island or an abandoned city. Trapping your characters in a scary setting will introduce fear into the story right away and create immediate tension and suspense.

• The character's age and occupation
• The character's marital status or relationship status
• The character's view the world (cynical, skeptical, anxious, happy-go-lucky, satisfied, settled)
• Any specific or unique physical details, such as a physical trait like a certain hairstyle, a scar, or a certain style of dress
• The character's speech, dialect, or language spoken around others

• Making your character experience an intense shock, like the death of a loved one or the loss of a job, can also create a conflict for your character. This can then lead the character to make decisions they would not make if they were not in shock or dealing with the aftershock of a major event.
• You can also give your main character a dose of paranoia, or a sense that something is not quite right. This will make the character suspicious and view things from a skewed perspective. This is also an easy way to help set up your protagonist's relationship with other characters. Paranoia is also great at unnerving your reader and making them also doubt their understanding of the events happening in the story.
• Another option is to give your main character a sense of dread or a feeling that something bad is going to happen. Dread can help to build tension in the story and keep the reader on edge.

• You may use a plot diagram to create the outline. The plot diagram will have six distinct sections, forming the shape of a triangle, with the climax at the top of the triangle. The six sections are: the set up, the inciting incident, the rising action, the climax, the falling action, and the resolution.
• You can also use the snowflake method to create the outline. You will do this by creating a one sentence summary of the plot, followed by a one paragraph summary of the plot, and then a spreadsheet of scenes.

Crafting a Strong Beginning

• For example, you may decide to write a story about your fear of velcro, set in a dystopian world. You may have the following opening line: “Sara tried to sit still while the men tightened the velcro straps around her wrists, squeezing her eyes shut to block out the terrifying sound.”
• This opening line introduces the main character, Sara, and places her in a scene where she is experiencing fear and discomfort. It also raises questions in the reader’s mind, such as who are “the men” and why is Sara being strapped down? These questions will keep your reader engaged and willing to keep turning the page.

• Try to place your main character in a scene where they are in distress or unsettled in some way. This will introduce the horror element of the story right away.
• For example, you may open your story with a scene where your main character is being strapped into a device. You may then describe how it feels for your character to be in the device and her thought process of trying to escape the device while her captors try to keep her strapped down.

• For example, you may try to include gory details like blood, guts, mucus, brain matter, or saliva in the first paragraph of your story. Try to use the gory details sparingly and a little at a time so the story does not feel cliche or familiar. That way, when you do include some gore, it's more impactful for your reader.

Horror relies on eliciting emotions from the reader. "I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out."

• For example, you may have a main character who is trying to get rid of a ghost in her home. This could be the main conflict that you introduce in the story right away. The rest of the story could then be about her attempt to get rid of the ghost in her house without getting hurt or harming anyone in her family.
• Another common overarching conflict is the theme of survival, wherein your character must face a terrifying situation that threatens their life if they cannot escape it.
• If you decide to withhold the conflict from the reader until later in the story, you should have a good reason for doing this. Withholding information should only be done intentionally and for the benefit of the story, as your reader may get confused or lost without this information.

• For example, rather than start your story with the line: “The straps are cold on Sara’s skin as the men strap her into the chair," which is passive and confusing, you may start with: “Sara feels the straps, cold and metal, on her skin as the men hold her down in the chair.” The second sentence uses the active voice and places the subject of the sentence,“Sara," next to the verb in the sentence, “feels.”
• Using the active voice does not mean you are limited to only using first person, present for your point of view. You can still use the active voice in the past tense, using third person or second person.

• The beginning of “The Tell-Tale Heart” by Edgar Allen Poe: “True! --nervous --very, very dreadfully nervous I had been and am; but why will you say that I am mad?” [11] X Research source The opening lines tell the reader right away that the narrator is unsettled, very nervous, and possibly mad. It is a great opening that puts the reader on edge right away and prepares them for an unsettling story.
• The beginning of “Where Are You Going, Where Have You Been?” by Joyce Carol Oates: “Her name was Connie. She was fifteen and she had a quick, nervous giggling habit of craning her neck to glance into mirrors or checking other people’s faces to make sure her own was all right.” [12] X Research source The beginning lines are deceptively simple but they introduce the main character, provide her young age and gender, and characterize the main character as possibly vain and naive. These lines prepare the reader for a story about the main character that is flawed and possibly susceptible to outside influence.
• The beginning of 1984 by George Orwell: “It was a bright cold day in April, and the clocks were striking thirteen.” [13] X Research source This beginning line is well known and admired for its ability to cram all the craft elements of the story in one sentence. The reader is grounded in setting and set up with an unsettling image, a day that is bright and cold. The clocks striking thirteen also feel like a bad omen and sign of misfortune to come.

Revising the Beginning

• You may also read the opening lines out loud to a trusted friend or peer to get a second opinion. Ask your listener if they find the story creepy, disturbing, or horrifying. Be willing to take constructive criticism and feedback about the opening, as getting a second viewpoint on the beginning can make it stronger.

• You should consider if the beginning section flows well with the rest of the story. You should also adjust the beginning to reflect any changes to your character or your setting that you made later on in the story. You want your beginning to feel like a natural start to the rest of the story.

• Make sure the character voice in the beginning section matches the character voice in the rest of the story. You want a consistent character voice throughout your story so it feels cohesive.

Community Q&A

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• ↑ Lucy V. Hay. Professional Writer. Expert Interview. 16 July 2019.
• ↑ https://referenceforwriters.tumblr.com/post/60572428904/7-helpful-tips-to-writing-good-horror-stories
• ↑ https://horrortree.com/how-do-you-start-a-chapter-in-a-horror-novel-10-examples/
• ↑ https://www.freelancewriting.com/creative-writing/how-to-write-memorable-distinct-characters/
• ↑ https://www.writersdigest.com/improve-my-writing/10-ways-to-start-your-story-better
• ↑ https://jerz.setonhill.edu/writing/grammar-and-syntax/active-and-passive-verbs/
• ↑ https://xroads.virginia.edu/~hyper/POE/telltale.html
• ↑ https://celestialtimepiece.com/2015/01/21/where-are-you-going-where-have-you-been/
• ↑ https://www.dailywritingtips.com/20-great-opening-lines-to-inspire-the-start-of-your-story/

About This Article

Before you start writing your horror story, read the beginnings of other well-known horror stories, like “The Tell-Tale Heart” or “1984,” to get a sense for how to start with a jolt. Then, come up with your own first line that grabs the reader’s attention and raises questions about what’s to come. Try to start your story in the middle of a scene where characters are doing something, since action is engaging. Additionally, set up the main conflict and introduce scary or unsettling details, like details about an accident or a murder, to build tension from the start. For tips on how to write in the active voice to draw readers into your horror story, scroll down! Did this summary help you? Yes No

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How to Write a Scary Story

How to write a scary story in 5 Easy Steps

 Most of us love a good scare!

From our first game of peek-a-boo as a child through those ghost stories around a campfire as a teen, surprises and a little fright never lose their appeal. It’s why horror movies remain big business at the box office and on streaming websites.

•  Even those who profess not to read much will likely have read a Stephen King book or two.
• Gamers aren’t immune either, as the popularity of games such as Resident Evil and Silent Hills will attest.
• Horror is one of the best-selling fiction genres in any medium. 

In this article, we’ll look at spine-chilling tips to help students write spooky stories that will rattle readers to their core. If scary is not your thing, then check out our complete guide to writing a narrative here.

So, pull the curtains, dim the lights and let’s learn how to write a horror story for school.

THE STORY TELLERS BUNDLE OF TEACHING RESOURCES

A MASSIVE COLLECTION of resources for narratives and story writing in the classroom covering all elements of crafting amazing stories. MONTHS WORTH OF WRITING LESSONS AND RESOURCES, including:

1. Write about what scares you.

The old writer’s mantra states, ‘write about what you know. While it’s most unlikely that your students know any killer clowns or lunatic killers who haunt campsites frequented by teenage couples, they can still write about the things that scare them.

This is the best place to start. A student has little hope of frightening the reader unless they choose to write about something they find disturbing.

The more specific the subject, the more personal the writing can become. Horror is filled with tropes and cliches. The world doesn’t need another axe murder chasing teens through the woods or another foolhardy ouija board misadventure – unless there’s a new spin put on things.

Avoiding tired clichés like those mentioned above will help maintain the element of surprise in the writing, which, as we shall see more of later, is essential to keep readers engaged.

Teaching Activity: Ask students to write down a list of the top 3 things that scare them. They needn’t be things that other people are scared of; the more personal and idiosyncratic they are, the more original the story is likely to be. These could be anything from a fear of heights or open spaces to a fear of the doorbell ringing at night.

Now, ask the students to choose one of these fears and list why they are scared of it. They should also write about how their fear makes them feel. The more detailed they can write about this, the better. 

Encourage the students to use their full five senses to describe the feelings and emotions they would experience. The more convincingly they can convey the experience, the more successful they’ll be in striking fear into the hearts of their readers later on.

2. Use Setting to Your Advantage when writing a Horror story

The setting is a crucial element to any story and when used skillfully, it can be an essential tool in raising the scare factor of any tale.

When asked to write a scary story, younger kids will inevitably gravitate towards the more apparent settings such as haunted houses, cemeteries, and dark woods. Again, these well-worn settings would best be avoided unless the student intends to subvert a reader’s expectations.

In fact, given that surprise is one of the key elements to any good scare, subverting the setting is one great tool for terror available to our students. 

For example, the comfort of a sleepover at their grandmother’s can take a turn for the worse if it’s discovered she holds a Black Mass. Imagine a coven of devil-worshippers in the dead of night in that dated living room where she serves milk and cookies to her grandkids during the day. Enough to make you spill your glass of milk over the embroidered cushions!

The physical environment can also be used to create tension and fear. For example, imagine two siblings hiding in a cupboard witnessing Grandmother’s midnight Satanic shenanigans. It’s hot and cramped. Imagine the claustrophobic feeling coupled with the terror of discovery. It’s enough to make you want to skip that Sunday visit to Grandma’s entirely [shudder].

If you are going to teach students how to write a scary story about a haunted house ensure you show them examples of figurative language that gives the house character.

Teaching Activity: Ask your students to take the fear they identified in the first activity and devise a setting for a story based on that fear.

One novel approach for deciding on a setting is to choose the place that seems least likely for a horror story. This unlikely element is one of the reasons why clowns are extraordinarily creepy or why the child’s doll in the Chucky movies is so unnervingly terrifying. 

Not only will this build strength in the student’s creative writing muscles, but it will also help ensure a crucial element of originality in the finished story. The setting should be painted as vividly as possible to create a picture in the reader’s mind. The clearer that picture, the more intense the fear created.

Remember, too, the setting consists of both time and place , so students shouldn’t be afraid to experiment with historical and future settings for their stories too.

3.  Choose your character and point of view wisely when writing a horror story

One of the most common areas horror stories fall down in is that of characterization. Poor characterization is the number one reason many scary stories and movies fall as flat as the characters they utilize.

If your student wants to take their reader on a real knuckle-whitening ride of terror, they have to make the effort to bring their characters to life. An effective strategy to help students bring characters to life on the page is to have them base them on real people.

These real people could be people they know personally, people they’ve heard about in their community or beyond, or even pre-existing fictional characters they are already familiar with. Students should, of course, make the necessary modifications to make sure they are not committing either defamation or plagiarism.

At a more advanced level, students may also consider creating a composite character that brings together various aspects of different characters (real or fictional) that they already know.

Once students have gathered together their cast of characters, they’ll need to decide on a point of view from which to tell the story. Generally, this will be a first or third-person POV, and though the advantages and disadvantages of each type are too complex to go into here, you can find out more about different POVs in other articles on this site.

That said, some general points to consider when choosing a POV for a horror story are that while the first-person POV is great for grabbing the reader’s attention from the outset and for building suspense when the story is in the past tense, it may ruin any suspense regarding whether the narrator survives or not.

Third-person narratives allow for a slower build to a story while maintaining the suspense concerning the outcome for the story’s protagonist. They also allow for the more detailed narration and description demanded by longer stories.

One more point for students to consider is whether the narrator is reliable or not, If they opt for an unreliable narrator, this can open up great opportunities for a final twist in the tale. The 90’s movie The Usual Suspects is a great example of the unreliable narrator at work where the climactic twist at the end reveals the real Keyser Söze.

Teaching Activity: For this activity, students should select a scene to rewrite from a fiction book they are already familiar with. A book a few levels below their current reading level will be perfect.

Students rewrite the scene from first and third-person limited and omniscient perspectives, as well as from the points of view of different characters in the story. More advanced students can even play with using a reliable and unreliable narrator if they’ve already grasped these concepts.

When students have written the different versions of the scene, they should take time to compare the effects of these different points of view. Ask them to identify which of the perspectives and points of view worked best for this particular scene and story. What were the specific advantages and disadvantages of each version?

Year Long Inference Based Writing Activities

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4. Lay It all on the line when writing a scary story

Like the card game poker, it is when the stakes are highest that horror stories are at their most exhilarating. 

In the world of stories, these stakes are directly related to the central problem and character motivation. The broad appeal of horror stories lies in the universality of these motivations.

Ensure students understand this and reflect this knowledge in their writing. There are several different types of ‘stake’ they can use to amp up the reader’s interest. Let’s take a look at 2 of the most common motivations in this genre:

The Survival Motivation: This is the most primitive of the 3. Not wanting to die is something we can all relate to and needs no explanation. However, this motivation can be further enhanced by adding another layer for the character. For example, if the protagonist needs to survive to defeat the monster etc, then the need to survive is emphasized beyond just the preservation of life.

The Protection Motivation: Here, the protagonist’s prime motivation is the need to protect others from a threat, usually in the form of loved ones such as family or a lover. Again, this is a primitive desire that we can all relate to and needs little in the way of explanation for the reader. There are two main ways to increase the stakes for this motivation – increase the number of people’s lives on the line or reveal a deep relationship between the protector and the protected.

 Teaching Activity: Organize students into small groups. Have them look at a list of horror movies, such as those on an online database like IMDb, and then sort the movies into two categories: Survival Motivation or Protection Motivation .

There may be some crossover as many movies will employ both motivations to enhance the drama. In such cases, students should focus on the prime motivation of the movie’s protagonist. Where there’s disagreement, a discussion can be had as a whole class at the end.

When they have completed this activity, students should then look at their notes from the previous activities described above. What motivation is best suited to their embryonic story? Students should write a few lines to explain.

5.  Avoid Clichés in horror writing

There are arguably more familiar tropes and clichés associated with this genre of story-telling than any other. For our student writers, these should be avoided. Clichés and overused tropes result in dull and predictable storylines. These are the opposite of the elements such as surprise and shock, which good horror so often relies on.

The one exception is when the writer takes well-worn plotlines and characters and subverts them to come up with something new, which leads us directly to our next activity.

Teaching Activity: Organize the students into small groups again and challenge them to make a list of clichés and tropes from horror books and movies. The IMDb movie database will again serve well if they need some inspiration. Even if they don’t know the movies, they can read the synopses and identify some of the clichés and tropes used.

Once students have their list, they should attempt to make something fresh from them. The simplest way to do this is often to change the setting or characters. This will lead to unusual ideas, such as vampires in space or piranhas in the city sewage system.

The ideas generated need not be plausible or even ‘good’. This activity aims to flex the students’ creativity muscles in pursuit of something original.

The Final Bell Tolls

So there we have it. Five tips to help students hone their horror-writing skills and five activities to put that newly-gained knowledge into practice.

Writing spooky stories is a great way to get reluctant students to write at Halloween and any time of the year. 

Though writing spooky stories is fun , students still gain opportunities to internalize literature’s essential elements and develop their understanding of how language, structure, and story work.

Not bad for a night’s work…

Now go and write one, and be sure to read our complete guide to writing narratives if you need any further guidance on story writing.

A COMPLETE UNIT ON TEACHING STORY ELEMENTS

☀️This HUGE resource provides you with all the TOOLS, RESOURCES , and CONTENT to teach students about characters and story elements.

⭐ 75+ PAGES of INTERACTIVE READING, WRITING and COMPREHENSION content and NO PREPARATION REQUIRED.

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How To Write A Horror Story Essay Example

Have you every wondered why scary movies or stories are.. well scary? What makes us jump at certain scenes, or what is it that causes those goosebumps? Well, it's actually more simple than one may think. Authors use literary elements to make horror what it is. Horror. Frightening. Scary. Creepy. Not only do authors set up scenes that make certain characters vulnerable, but they also create characters with disabilities or characteristic that make them at risk of danger. Finally, authors also set up situations where the characters are faced with the consequences of their actions, intensifying the suspense of the moment. Authors use these elements to make sure they deliver a truly frightening story to the reader.

First of all, authors create horror by making up scenes that make certain characters vulnerable. For example, the story, "The Tell-Tale Heart" is about a caretaker who is bothered by one of his client's eyes, so he makes it his job to kill him to rid himself of the eye, but is later greeted by his consequences. This story shows how a dark environment not only puts the mood and "feel" into place, but also can determine a character's fate. In the text, it's stated, "I had my head in, and I kept pushing on steadily and was about to open the lantern, when my thumb slipped on the tin fastening, and the old man sprang up from the bed crying out, 'Who's there!'" This proves my previous statement because the key factor, the darkness, really sets the mood into place. Imagine you're in the old man's shoes. You hear the noise of the lantern, playing it off, calling it a bird's chirp or a cricket's creek, but deep down you know it's not either of those. It's something much bigger, but you don't know what it is. This is how darkness sets that frightening mood, but it's not the only factor. Noise, setting, temperature, and time can all be major factors of horror. The noise of the lantern, the creaky floorboards of the old man's room, the assumption that this all took place back in time (considering there are no mentions of modern technology) are all "contributors" to the horror genre. More evidence from this comes from "The Tell-Tale Heart" as well. This proof comes from when the killer is being interrogated by the police. He gets more and more nervous until he finally admits his deed. In the text, it's stated, "But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but they still sat and still chatted. The ringing became more distinct:- it continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definitiveness."

Another method authors use to create horror is by creating characters that possess certain disabilities or characteristics that make him/her easy victims. In the text "The Tell-Tale Heart", it talks about the killer's motive, that being the eye of the old man. It's stated in the text, "I think it was his eye! Yes, it was this! He had the eye of a vulture- a pale blue eye with a film over it." The characteristic given here is obviously the blue eye, which is the entire reason the killer wanted the old man dead. However, there's a bit more to account for. For example, the old man was already at a tremendous disadvantage, because he's old, and likely disable given the fact that he needs a requires someone to look after him, which was the killer's job. These characteristics add to the horror because of such an easy and victim he was made, he.

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Short horror story essay 8 Models

Short horror story essay is one of the popular intimidation methods that help parents in correcting children and improving their behavior in many educational aspects.

Through this article, we will provide you with many models that talk about stories of horror and intimidation that may help or influence the behavior of children, show the goals of horror stories, and the extent of the impact of these stories on improving children’s instincts, and strengthening their personality.

Short horror story essay

The school plays an important and significant role in educating children and improving their behaviour. In a similar article that talks about horror stories, the student can learn about the dimensions of these stories, the extent of their impact and why they are used.

The student can talk about his fears and terrifying situations he went through. The teacher can take advantage of these events and try to address these fears by guiding him and talking to him, or by making him research more about the dimensions of the problem and the benefits that he benefited from despite going through a terrifying situation.

At the beginning of the article we will put several points that show the goals that must be present within the topic, and several models will be created using these points inside them, so that the articles are useful for the student in case he wants to present them to the school, or if he wants to know the aspects that he should talk about inside a similar article he talks about the horror stories and the bad situations he was exposed to.

Objectives of the article

1- To obey orders.

2- Giving up bad behavior.

3- Repressing the evil instincts that are inside every human being.

4- Controlling the child in the safety zone next to the parents.

5- Planting correct means and methods through intimidation.

Several years ago, my father told me a story about a boy  who went out without telling his family where he was going. And this was late at night. After he left, he met some children and played a little with them and enjoyed this, but because of the late time these children left him, some of them returned to their home alone, and some of them their families came to to pick them up, and he found himself alone in the end.

He decided to walk around for a while, so that he might encounter other children and continue playing with them. But after walking for a long time, he found that all the streets were empty, and it was dark everywhere, and he could no longer discern where he was, and that he was far from home and lost his way.

And whenever he tried to return from where he came, he found himself in dangerous areas with street dogs, and in order to avoid them, he kept entering other streets, until he lost the way completely. So he sat crying and did not find anyone to bring him home because all the people of the town were asleep.

The time at night was getting hard for this naughty little boy. Every minute that passes feels like it’s a long time and he’s so afraid of darkness and loneliness. And whenever he heard the sound of dogs howling, intensified in crying. And whenever he called his father, he did not come to take him, because he was far from the house and did not tell them that he was going out, and did not tell them where he was going.

Then he learned that he had made a big mistake and that his father would not come to look for him because he thought he was asleep. And he decided to try to call for help and search for any place where there are people and tell them what happened.

And he kept walking in the dark crying for a long time until he found some people, and told them his name, where he lived, and the name of the neighborhood in which he lived. Fortunately for him, they weren’t bad guys, and they brought this guy home.

The father was very angry with him for this behavior and punished him for a week for this behavior. But the boy was happy that he came home and learned the lesson well and knew that this wrong behavior was dangerous and could have lost his family for life.

While hearing this story, I was very afraid and put myself in the place of this boy, and I found myself learning from him what to do. And that I must tell my family where I am going, and watch the time, and take care of myself and not stay away from home. When I finish playing, I go home.

In the early morning, I was very careful to memorize my full name, the name of the neighborhood in which I live, the name of my mother, and the house number.

Although the story was scary for me, I learned a lot from it and had a reaction to every event that takes place in it.

Dear student, a basic form was submitted for the topic on short horror story essay, In addition to many other models such as, horror short story essay, creepy short horror story essay, a short horror story essay, short ghost story essay, short ghost story essay, scary short story essay, scary experience essay.

If you prefer to add any other topic, you can contact us through the comments of this article and we will study your request and add it as soon as possible.

horror short story essay

At the weekend I went on a trip with my friends to the forest. We took camping equipment, some food and water. The weather was nice, the trees were leafy, the birds were flying from tree to tree, the landscape was beautiful.

We wandered in the woods and ate the fruits on the trees, and as we wandered, a huge bear appeared in front of us, looked at us and prepared to attack us.

We were all very terrified, but the instructions reminded us not to run, not to scream, and to act calmly. I took out of my bag a self-defense spray bottle, which should be used in this case. But the bear left quietly and none of us were hurt.

creepy short horror story essay

I get up early and sit in the garden of the house, enjoying the fresh air, listening to the sound of birds, watching beautiful flowers and other beautiful landscapes, but yesterday something terrifying happened to me.

When I sat on the bench in the garden and was enjoying nature I felt something moving under the chair.

I quickly looked under the chair and found a large black snake.

It moves slowly, I felt very terrified and could not move, I remained frozen in my place, the snake crawled slowly and I looked at it with horror, until it moved away several meters, I called the competent authority immediately and a trained man came and caught the snake.

a short horror story essay

Last week I went with my family to the zoo, the weather was nice, and we were enjoying the nature, where there are a lot of green leafy trees and decorated with beautiful flowers and large areas that allow us to run and play, everything was beautiful.

Then we went to the animal cages and watched the animals from a distance.

But there is a person who got very close to the lion’s cage, even though there is a sign on it that says Do not go near the animal cages.

He was not satisfied with that, but he extended his hand into the cage, and the lion grabbed his hand with force, and this person was unable to rid his hand of the lion’s fangs.

The man screamed loudly from the severity of the pain, and the guard came quickly and tried to give the lion a piece of meat to leave the man’s hand, but to no avail.

The veterinarian quickly intervened and gave the lion an anesthetic injection, and the man was able to get his hand out of the cage, but it had many wounds and was taken to the hospital. It was really terrifying moments.

Short ghost story essay

There are many people who feel terrified in the dark, and my brother is very afraid of the dark and feels terrified and imagines frightening things.

So when the electricity went out and the house became dark. I went to his room quietly without feeling, and stood in front of him, making some strange sounds.

My brother jumped quickly and came out of the room saying a ghost of a ghost, but he hit the wall and cut his head and bled a lot, it was a big wound.

At that time I was telling him don’t be afraid, I am your brother, but he was very frightened. I was very sorry for him and regretted that I had caused him to feel terrified and made him crash into the wall.

And I told him I was just trying to joke with you and I wouldn’t do it again but you should train yourself not to be afraid of the dark.

A Short Scary Story Essay

Last weekend I went with my friends on a fishing trip. We chartered a fishing boat with all our fishing gear and went into the sea for a long distance, so that we could see neither the beach nor the city.

We started fishing and we were very happy because there are many fish and they are also big, and the weather was nice.

Suddenly strong winds blew and the waves rose, and the fishing boat was swinging with us over the water, up and down, and we couldn’t control it.

At this time we felt so afraid that we would drown.The fishing boat cannot withstand these bad weather conditions.

But after a while the wind calmed down a bit and we miraculously survived.

Scary short story essay

Last weekend I went with my colleagues on a school trip to one of the archaeological sites, and we had some teachers with us organizing the trip and supervising our transfers.

We entered a museum that houses great antiquities and stood listening to the tour guide talking about the history of these antiquities.

I was fascinated and listened to the tour guide with great interest, so that I did not feel the departure of my colleagues and teachers, as they left the museum and got on the bus and left this place and did not feel my absence.

When I found myself alone in the museum, I felt very afraid and searched for them all over the museum, but I could not find them, so my fear increased and my crying became louder.

Suddenly I found one of the teachers entering the museum and looking for me, so I ran towards him and grabbed his hand and felt safe.

Scary Experience Essay

At the end of the year I had a frightening experience. I went to the beach and decided to snorkel, so I bought wetsuits, put them on, and dived into the sea. But it was not what I expected and almost drowned.

I was so scared when I found myself unable to dive, and could not swim to the top.

It was a difficult situation but one of the lifeguards on the beach saw me, knew I was going to drown and ran to save me.

Therefore, I advise others to learn before we do anything that might endanger our lives.

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The monsters that made me: Growing up disabled, all of my heroes were villains

Horror movies challenged my relationship with myself

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Every monster needs an origin story. Here’s mine.

I was born with a rare condition — radioulnar synostosis — which restricts the movement of my forearms. I am unable to turn my hands over palms up, the way you might accept loose change or splash water on your face or land an uppercut. I have lived with this condition all my life, and yet it wasn’t until my late 20s that I started referring to myself as “disabled.”

This word carries immense baggage, and many of us within the wide spectrum of disability tend to minimize our experiences or, as in my case, suffer from feelings of impostor syndrome. Could be worse , I often tell myself. You don’t deserve to call yourself disabled .

Coming to terms with my disability took a long time, to not only accept my identity, but also to discard the lingering shame and stigma that coincide with being disabled. A major part of this reconciliation was thanks to an unlikely source of solace — horror films.

I’ve been a horror obsessive as long as I can remember, but I only recently figured out how to articulate why the genre resonates so strongly with me. On-screen depictions of deformed, disfigured killers and creatures serve as reflections of my own otherness. The phantasmagoric realm of horror, though dark and violent, provides an outlet for me to express the discomfort, frustration, and anxiety surrounding my corporeal limitations.

From a young age, I subconsciously related to monsters, madmen, and every combination thereof. Many even taught me to frame disability in a positive fashion. The archetypal antagonists from the golden age of horror cinema — the Wolfman, Dracula, Frankenstein’s monster — all underwent a transformation to be imbued with extraordinary, otherworldly gifts. Their differences were a source of power, inverting the traditional view of disability as a hindrance, a burden.

My attraction to horror began innocently enough. There were clamshell VHSes galore at my babysitter’s house, including all the Disney classics, many of which were plenty horrific, like the “Night on Bald Mountain” sequence in Fantasia . I carefully studied the imposing figure of Chernabog, the winged, devil-horned demon summoning lost souls from the underworld. To me, he seemed benevolent rather than evil, a counterpoint to the sparkling sunrise that banishes him back to the shadows, an essential element of natural balance.

Disney’s version of “The Legend of Sleepy Hollow,” oddly lumped as a double feature with The Wind in the Willows , presented another kindred spirit — the Headless Horseman. Decked in black and adorned with a blood-red cape, clutching a saber in one hand and a flaming jack-o’-lantern in the other, the Headless Horseman, for me, came to represent the extreme limits of human endurance. A cannonball takes the ill-fated soldier’s head and still his body lingers, perseveres.

Another seminal gateway wasn’t even a horror film. On its surface, The Wizard of Oz is a saccharine Technicolor musical romp, but the dream world its characters inhabit is full of menace — maniacal flying monkeys, spear-wielding Winkie guards, and my favorite, the iconic Wicked Witch of the West. Despite her green flesh and pointy chin, I found her beautiful, alluring, and endlessly more compelling than the picture-perfect Glinda. Astride her broomstick, flinging fireballs, stalking Dorothy and her companions through Oz, the Wicked Witch became the reason I watched an old tape of The Wizard of Oz so many times that the reel snapped.

As she pointed toward the camera with her spindly fingers and sharp nails, I imagined the Wicked Witch was singling me out, inviting me into her world. There, everyone was different, from the Munchkins, notably played by a cast of dwarf actors, to the main trio of the Scarecrow, Tin Man, and Cowardly Lion, who were all “defective” in their own ways, physically and mentally handicapped by the absence of some critical inner faculty. Why Dorothy was so desperate to return to the bleak, monochromatic reality of Depression-era Kansas was beyond me. I would have much preferred to stay in Oz.

By the time I finished elementary school, my tastes sharpened, and I craved harder, more acidic fare. My appetite had been steadily whet by a diet of gory comic books and yellowed Stephen King paperbacks. Cable television in the ’90s was also rife with kindertrauma-inducing spectacle. I was allowed to watch Are You Afraid of the Dark? and Goosebumps , since both were on kid-friendly channels. When left unsupervised, which was often as the child of a single mom who had to work multiple gigs, I could sneak episodes of Tales from the Crypt or X-Files . I knew there was a world of adult horror, and I wanted nothing more than to breach this forbidden zone.

Where to watch the movies mentioned in this piece

• Fantasia : Disney Plus
• Disney’s The Legend of Sleepy Hollow : Disney Plus , as a part of The Adventures of Ichabod and Mr. Toad 
• The Wizard of Oz : Max
• The Evil Dead : For digital rental or purchase on Amazon and Vudu
• The Brood : Max , Criterion Channel
• Castle Freak : Shudder, AMC Plus, and for free with ads on Tubi

I caught glimpses of it at the video rental store, where I was compulsively drawn to the horror section. I scanned the shelves, memorizing titles for future reference, studying the macabre cover art, scrutinizing the stills of sliced throats, hacked limbs, and oozing ectoplasm. Although I wasn’t allowed to take home anything rated R, I soon found loopholes that granted me access to films I was desperate to ingest.

Staying over at a friend’s house, we would wait until the grown-ups were asleep, then flip to HBO (a luxury we could not afford at my own home). It was there I first watched The Evil Dead , a personal landmark of my initiation into splatter flicks. My friend and I insisted we weren’t scared, as we cowered in our sleeping bags, squealing with perverse delight when the first possessed teenager stabbed her friend in the ankle with a pencil. We chattered throughout the movie to compensate for our obvious nerves, but by the time Ash Williams descended into the cellar searching for shotgun shells with a ravenous Deadite on the loose, the two of us had gone mute with fear.

Ash, armed with his trademark chainsaw, was clearly the hero (and himself destined to become an amputee in the sequel), but it was the Deadites who entranced me. When the demons seized control, the bodily degradation took effect. First, the teenagers’ eyes went white, and before long, their flesh wrinkled, turned sallow, decayed, bile and pus dripping from spontaneous lacerations. I had never witnessed anything so utterly bloodsoaked, resplendent in viscera, a film that relished in the ways a body can be corrupted.

Bodies are frightfully fragile, and we are all one small step away from an accident or illness that can permanently debilitate. Few filmmakers understand the body’s capacity for biological horror more than David Cronenberg , whose oeuvre introduced me to a world where disability is infused with latent eroticism and regenerative potential.

In high school, I got a job at the same video rental store I prowled as a kid. Now I had the freedom to take home whatever I pleased. The older guys who managed the shop would recommend titles to test my limits — Salò , Cannibal Holocaust , Irreversible . Cocksure teenager that I was, enduring “the most fucked up movie ever made” became my solemn quest. But disturbing or violent as they may be, few video nasties were capable of truly scaring me. Knowing I was a devotee of both horror and sci-fi, one of the clerks suggested I check out Cronenberg, so I took a chance on The Brood .

I was deeply unsettled by the story of an estranged couple fighting over custody of their daughter. What frighted me wasn’t the deformed, dwarflike progeny — birthed by the ex-wife and telekinetically driven to brutally murder anyone who crossed her. The broodlings were devoted to their mother, as was I, and would do anything to protect her. What shook me was Cronenberg’s metaphorical treatment of divorce, especially after watching my own parents’ messy split. The rupturing of a family resulting in physiological consequences illustrated the link between body and mind, a relationship of which I was all too aware, having dealt with depression as long as I could remember.

For many people with disabilities, physical and mental anguish are synonymous, feeding into one another. Feelings of helplessness, hopelessness, and alienation frequently accompany disability. More often than not, disability is chronic, permanent, and insoluble. It can be mitigated, people can adapt, but full-blown cures are elusive. My disability is one such case. I may have accepted this reality, come to terms with my fate, but the journey has not been without frustration, anger, and despair — the monster’s currency.

This explains in part why monsters act as they do. Pain begets pain. Violence begets violence. Fear begets fear. As such, the monster embodies the way we perpetuate trauma, wherein the victim becomes the aggressor. This is why we sympathize with Frankenstein’s monster or the Wolfman, because we understand that they were not born to be monsters — they were made that way by forces beyond their control.

Which is precisely why I cannot totally fault my all-time favorite Lovecraftian abomination, the titular Castle Freak from Stuart Gordon’s low-budget opus, another film I chanced upon at the video rental store. The freak is imprisoned from childhood by his deranged mother, routinely tortured until his face and body are a tapestry of grotesque wounds and scars. He escapes the confines of his dungeon and spies on the American family who has moved into his home, taking a special liking to the couple’s blind daughter.

While the freak wastes no time eviscerating unlucky victims, the lecherous, alcoholic father, played by the incomparable Jeffrey Combs, is no less redeemable. The freak’s feral nature is the byproduct of a lifetime’s abuse. The father, by contrast, has no excuse. Watching this film for the first time, I empathized with the freak and thought of my innate freakishness and the times I’ve lashed out or been cruel. What was my excuse?

Even as the maimed, distorted bodies of creatures like the Castle Freak or the Brood or the Deadites or the Wicked Witch mirrored real-world disabilities and offered me an escape, a safe environment where it was appropriate to root for the villain, I realized that I didn’t want to hurt people, to injure others as I’d been, whether physically or mentally. And more than anything, I was determined not to use my disability as a scapegoat, to behave like a monster and blame it on the way I was born.

Strange as it sounds, I learned to take ownership of my mistakes and embrace my faults through horror films, to forgo hiding behind a mask like the boogeymen in slasher movies. Horror demands that we not avert our gaze from “abnormal” bodies. It challenges our prejudices, our preconceptions. These are films that celebrate disfigurement and deformity instead of shunning it. I reject the notion that horror merely co-opts disability as a cheap scare tactic. When I watch a scary movie, I do not see exploitation — I see exaltation, the disabled not as demonic but as divine.

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Pune Porsche horror: Minor's bail terms make it Jolly LLB in real life?

A 17-year-old boy, who’s the son of a Pune-based real estate developer, was arrested after he rammed his car into two bike riders on Sunday morning, who died on the spot. He was arrested by the Pune Police, after a video of the accident surfaced on social media, only to be released within 15 hours!

The accused minor got bail on the condition that he has to submit a 300-word essay on road accidents and their solutions, and was directed to visit the Regional Transport Office (RTO) to study the traffic rules and regulations, assist RTO officers for 15 days, and work with the traffic police in Yerawada, Pune (Maharashtra). The leniency of the judiciary has led to an uproar among public. Many social media users are comparing this incident to the script of Arshad Warsi and Boman Irani-starrer Jolly LLB (2013) that was based on a similar case.

Can anyone commit a murder and be out on bail with such minor punishment? Mayanka Dhawan, a Delhi-based advocate, says, “While the old axiom ‘bail not jail’ is supposedly entrenched in our jurisprudence, there is great disparity in its application and the present case offers a glaring example. This case brings to light the need for the Indian Juvenile Justice System to undergo an overhaul.”

Some legal experts feel that there are loopholes in this justice process, as the minor was four months shy of his 18th birthday, he was drunk driving, and he didn’t even have a license. “Given that he’s a minor and the law recognises it, this fact has worked in his favour. But, the conditions could have been stricter,” feels Raunak Seth, a Pune-based advocate.

Children’s rights activist Pallabi Ghosh adds, “This youngster is not even being made to feel like he committed a crime. It seems as though he didn’t finish his homework on time, so he’s been given a slap on the wrist… If the child is not made to realise the heinous consequences of what he did today, then tomorrow, as an adult, he won’t understand the aggrieved nature of what has happened.”

Accident-al scenario

The accused, 17, was returning from a pub with his friends after celebrating their XII board exam results at around 3.15am, on May 19. He was driving his father’s Porsche at 150km/hour in the Kalyani Nagar area, when he hit Aneesh Awadhiya and Ashwini Koshta — both engineers from Madhya Pradesh working in Pune — who were riding a bike while returning home along with other friends after a party. After the car crashed with the two-wheeler riders, they died on the spot and the minor's vehicle rammed into the railings on the roadside pavement.

The aftermath

Vishal Agarwal, the father of the accused, reportedly went absconding after a case was registered regarding this accident. He was arrested in Aurangabad on the morning of May 21. The manager and the owner of the bar, where the minor was served liquor, were also arrested. Meanwhile, social media users identified the two victims' Instagram profiles and started writing comments such as “We will get you justice!” and “Darkest hour in the history of the judicial system of this country” .

For more, follow @htcity.delhijunction

Read more news like this on HindustanTimes.com

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‘Butcher’ Tells the (Mostly) True Story of a Very Bad Gynecologist

Through the lens of a 19th-century doctor, Joyce Carol Oates explores gothic medical horror.

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By Daphne Merkin

Daphne Merkin’s most recent book is the novel “22 Minutes of Unconditional Love.” She is currently at work on a memoir about psychoanalysis.

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BUTCHER, by Joyce Carol Oates

There are many things one could note about Joyce Carol Oates’s long writing career — including, most strikingly, its legendary prolificness. Gifted with a protean talent, she has shifted with ease from one literary genre to another, be it novels, short stories, memoir, poetry, children’s books, essay collections, plays or librettos.

To the envy, admiration and annoyance of less fluent authors, Oates has clearly never suffered from writers’ block. When she is not writing in longhand, she is busy on X and Substack, airing her opinions on Donald Trump and the events of the day. For a time she also wrote suspense under two different pseudonyms.

Indeed, there is something almost compulsive, verging on the hypergraphic, about her need to write. It seems to come to her as readily as breathing, and leaves one wondering whether she ever stops long enough to brew a cup of tea. (One of her few diversions is running.) Now 85, Oates shows no sign of slowing down: “Butcher” is, by most accounts, her 63rd novel, and the book has the feverish energy, narrative propulsion and descriptive amplitude — sometimes to excess — of much of her earlier work.

Even when Oates isn’t writing in an explicitly Gothic mode, as she did in “Bellefleur” (1980) or “My Heart Laid Bare” (1998), she has always been interested in intimations of the sinister, the way it suddenly hoves into view on an ordinary summer day. “At the periphery of many of my poems and works of fiction, as in the corner of an eye,” she once observed in an essay, “there is often an element of the grotesque or surreal.”

The title of “Butcher,” the very starkness of it, gives a clue to the lurid, bloody tale Oates has in store. Like several previous works (her seminal 1966 short story “Where Are You Going, Where Have You Been” and the 1992 Chappaquiddick reimagining “Dark Water,” for example), it is inspired in part by real figures who committed real crimes — including, in this case, an undertrained doctor named J. Marion Sims, who in the 1840s began performing experimental surgeries on women recovering from difficult childbirths.

Here, the “Butcher” of the title is now called Silas Aloysius Weir, who for 35 years oversees the New Jersey State Asylum for Female Lunatics, where conditions range from abysmal to horrifying. His medical instruction is minimal, consisting of only four months of training at an inferior school, though he is happy to tell everyone that he comes from a distinguished family (one of his uncles is a renowned astronomer at Harvard, from which two brothers have also graduated; Weir seems to be the bad egg).

Silas becomes heralded and then ultimately detested as a pioneer in the field of gyno-psychiatry, through which misogynistic scrim he views the vagina as “a veritable hell-hole of filth & corruption” and the female genitals as “loathsome in design, function & aesthetics.”

It is a time when the seat of hysteria is thought to be the uterus, and pesky clitorises — “the offensive little organ at the mouth of the vagina … like a miniature male organ, with an obscene fire lit from within” — are held accountable for obstreperous behavior in young women and snipped without a second thought. Various ailments are treated, without aid of anesthetic, by scalpel and sometimes a shoemaker’s awl, and the most frequent cure-all is phlebotomy, or bloodletting (“ When in doubt, bleed ”), even if in many cases it causes death. The arsenal of drugs includes laudanum, foxglove, mercury, belladonna, “small quantities of arsenic” and cocaine drops.

“Butcher” is told by different narrators, all of whom cast alternating lights on Weir and his God-given (or so he believes) commitment to the patients in his care. From the start, we are given a sense of his unease and unattractiveness: “His head was overlarge on his stooped & spindly shoulders; his stiff-tufted hair of no discernible hue … his eyes rather deep-set in their sockets, like a rodent’s eyes, damp & quick-shifting.” (Reading, I wondered whether a rodent’s eyes are, in fact, deep-set; from the little I have spotted of them, their eyes seemed flat against their heads. But that is a quibble.)

When his use of a pair of pliers to reposition a 5-month-old’s cranial plates results in the infant’s death — even though he relieves his guilt by noting her “very poor stock, virtually subhuman” — Weir is forced to leave his community. Shortly thereafter, he is called to the asylum, where, relying on the assistance of an experienced midwife, he delivers a baby for an orphaned albino Irish servant named Brigit, who is also purportedly deaf and mute. (The child, naturally, is immediately taken from her.)

Eventually, Brigit becomes his assistant, and Weir becomes obsessed with her otherworldly beauty — “Those staring eyes! The faintest blue, uncanny” — believing that there is a special unspoken communion between them. One of those men whose ignorance is matched by his arrogance, he hopes to achieve worldwide fame by finding a way to cure madness by literally cutting it out of the body, and as the novel proceeds, his approach becomes only more brazen. He uses a tarnished tablespoon for intimate examinations as well as heated forceps, confident in his knowledge that “the interior of the vagina is known to be insensitive to sensation, like the birth canal. There are no nerve endings in these organs.”

His ambitions seem limited only by what he can achieve in a series of increasingly depraved experiments, conducted in his private laboratory. Finally, though, the inmates revolt, in a scene that Oates delineates with grotesque specificity. “Butcher” is undoubtedly one of her most surreal and gruesome works, sparing no repulsive detail or nefarious impulse.

In the end, though, the purview of the novel is larger than one might think, becoming an empathic and discerning commentary on women’s rights, the abuses of patriarchy and the servitude of the poor and disenfranchised. Oates, as is her wont, succeeds in creating a world that is apart from our own yet familiar, making it impossible to dismiss her observations about twisted natures and random acts of violence.

My prevailing question about Oates is where her imaginative fantasies derive from, which has always seemed a mystery to me. We don’t get a sense of who she is behind her writing the way we do with, say, John Updike, John Cheever or Alice Munro . But this unyielding impersonality may be the way that she wants it: In the same essay collection I quoted from earlier, she offers, “Elsewhere I’ve stated that JCO is not a person, not even a personality, but a process that has resulted in a series of texts.”

We have become so used to the notion of the recognizable auteur blazing through the artifice of fiction and calling attention to his or her self that Oates’s approach — not dissimilar from the novelist Gustave Flaubert’s insistence that “an author in his book must be like God in the universe, present everywhere and visible nowhere” — feels like a singularly uncommon one. Long may she run.

BUTCHER | Joyce Carol Oates | Knopf | 352 pp. | $30

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Writing America, from the outside

Succession is a show about the heart of US power, created by a non-American. Is that wise, or even legitimate?

By Jesse Armstrong

Is writing something set in the US as an outsider – in this combustible moment, with institutions under threat, a frayed political system, a culture so fractious – wise? Is it possible? Is it legitimate?

It’s certainly happening more and more, even just among writers I’m familiar with. In recent years there’s been Alice Birch’s Dead Ringers ; Georgia Pritchett’s The Shrink Next Door ; Charlie Brooker with certain shards of his Black Mirror ; Armando Iannucci’s team of British writers on Veep ; Alex Garland’s Civil War . This clutch of examples joins the long list of non-American-born writers who have written about the country, from Charlie Chaplin and Billy Wilder for the screen, to Vladimir Nabokov, WH Auden and Chimamanda Ngozi Adichie on the page.

I’ve been involved with the writing of several TV shows and films set or partly set in America: an episode of Veep , the film In the Loop , The Day Shall Come with Chris Morris, and what I’m best known for right now, HBO’s Succession . In that time, I’ve come to appreciate the many problems and few potential benefits one has writing a show about the US from the outside.

The first anxiety to address, I suppose, is whether we British writers might be culturally appropriating America when we write it? After all, it’s hard to imagine foreign writers marching into Lagos’s Nollywood or Mumbai’s Bollywood as blithely as British writers do into the pitching rooms of LA, expecting a small bottle of water and some airtime.

But all questions of cultural appropriation are really questions of power and the US is still the pre-eminent world power, whatever our fears about where it might be headed. It has the dollar, Silicon Valley, the warheads and Hollywood. America can take it, from those who live there and those who don’t. Indeed, in a sense, we Brits also live in America. Amazon, Apple, Meta-Facebook, Alphabet-Google, Disney: they all shape our world in ways we’re aware of. In Vassal State: How America Runs Britain, Angus Hanton points out Weetabix, Boots, HP Sauce and Sky are all US brands now too . US corporations have more employees in the UK than in Germany, France, Italy, Portugal and Sweden combined. Our economic and imaginative spheres, and our Atlanticist political culture, mean we live in something of a rainy Puerto Rico, without representation in the Senate or House but deeply affected by the flows of American capital and moods of American culture.

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I think we can say that it is more than legitimate for outsiders to write about the US – it’s necessary. Ambalavaner Sivanandan’s famous aphorism about immigration as an imperial legacy – “we are here because you were there” – is apposite. America is everywhere – the global champ. And everyone knows you’re allowed to have a pop at the champ.

The US is big enough to be criticised. But that doesn’t mean your take on it can’t be annoying, trite, patronising or wrong. In particular, the British point of view on America has a history of condescension – fading but still detectable. You know how it goes: Americans are fat. Americans are stupid. American beer is weak. America is uncultured, prone to violence and, most of all, wealth-obsessed. It’s there in Charles Dickens ’ Martin Chuzzlewit : “All their cares, hopes, joys, affections, virtues, and associations, seemed to be melted down into dollars… Do anything for dollars!” Dickens’ moral discrimination seems to disappear, as the nation’s people are lumped together as spittoon-hawking, overeating, socially boastful and selfish.

Undoubtedly, there’s much to say on America’s faults – and it can be fun saying it – but if you want to write about America 180 years after Dickens, you need to make sure you’re writing about a real place. Not the British dream-nightmare version of it – which is like those generic “American” accents British actors once used, which come from nowhere and stand for nothing.

I occasionally get asked in British media interviews if there’s something particular about the British sense of humour. It always feels like an invitation to self-satisfaction: BMW may own Rolls-Royce, but we still know how to make the best comedy; a moth-eaten note of irony is the last bit of currency in the imperial vault.

But while I love Jane Austen and Evelyn Waugh, and looked up to and learned from Armando Iannucci and Chris Morris and the British comic satirical tradition, it was Woody Allen and Joseph Heller, Elaine May and Billy Wilder who I first loved. Seinfeld and Larry Sanders and Annie Hall were the models Sam Bain and I looked to when we tried to learn how to write a sitcom with Peep Show . Only the cloth-eared think we Brits are singing at a more delicious pitch. Only those, ironically, who lack an ear for subtlety think Americans don’t catch irony.

So, if you’re searching for easy targets on the wide American plain, you might find it over-hunted – by Mark Twain, Dorothy Parker, Lorrie Moore, as well as Matt Groening, Larry David, Jordan Peele and Tina Fey.

What can you offer, as an outsider writing America? “Outsider” is a slippery term, and I am aware there is a certain off-putting, self-regarding twinkle in the eye of someone who declares themselves to be one. The Bukowski-ish cool guy watching from the sidelines with a Scotch and a superior smile, writing “look at all these phonies” in his notebook. And some “outsider” positions are more comfortable than others. A European white man adrift in America I would recommend – all the delectable alienation, less of the physical danger. Though I come from a different nation state, I might be more comfortable in the corridors of US media power than some natural-born Americans. The US has a history of making its own outsiders, those not folded into the flag: new immigrants, native inhabitants and people taken there against their will – slaves and their descendants.

There are lots of ways of being an outsider in America, and many of them don’t require you to come from elsewhere. It’s a country made up of people trying to be American, even when they already are – a chorus of “I like to be in America” sung by people playing a part. Even someone as thoroughly American as John Updike thought of himself as “a literary spy within average, public-school, supermarket America”. It’s a nation full of spies in the supermarket, invisible men like Ralph Ellison’s; anthropologists like Zora Neale Hurston. Or Jerry, Elaine and George, investigating the secret canon of social case law: can you double dip a chip?

But of those who have a different perspective because they were born in another nation, there are a wide variety of outsider types. There are the visitors: Dickens in Martin Chuzzlewit, or Waugh with The Loved One . There are the sojourners, who spend a while living and working but don’t relocate for good: Zadie Smith with On Beauty , Martin Amis in Money . (Most British showrunners are some version of this.) There are the emigrants: writers who were born abroad, but moved to the US young: IAL Diamond, who co-wrote The Apartment and Some Like It Hot ; the Yellowface author RF Kuang; Gary Shteyngart. There are the exiles – those who came to America not by choice: as mentioned above, Nabokov, and the great wave of Weimar emigrés: Billy Wilder, Douglas Sirk, Fritz Lang, Otto Preminger.

There are the imagined Americas of those who never visited, such as Franz Kafka , or those far away, such as Flann O’Brien with his “Unified Stations of Amurikey” in The Third Policeman . There are all the other complicated quasi-Americans: Alexander Mackendrick, born in the US but raised in Scotland, who directed the 1957 film Sweet Smell of Success ; Adichie, who divides her time between the US and Nigeria; and Raymond Chandler, born in the US but schooled in the UK.

For most of these non-native Americans, there is an element of coming fresh to their subject. Half-polite guest, half gimlet-eyed, ice-chip-in-the-heart literary spy. And all this spying, this icy looking, what is it good for ? What does the guest see that the resident doesn’t? You notice the smell, which the resident is habituated to. You see the alarming cracks in the wall the resident has stopped noticing. But sometimes you also see the grandeur of a room where the resident can only see the cracks. The guest can get things wrong, slip up, misread the codes, but that lack of habituation, if handled right, with humility can – can – be a strength.

The hardest thing to get right in any work of art, and certainly in a TV show, the single most essential and ineffable thing you’re looking for is a tone. A good tone in a show helps so much else: from the big stuff (its perspective) to the practical stuff (the cast). Even on a technical level: where you should come in on a story, and where you should end. Comedy or tragedy are, after all, in some ways just a question of where you choose to leave your characters. At the altar or at the deathbed.

If tone is the key to a successful show, it’s also, unhelpfully, pretty impossible to describe. You need it in your head when you start, but can’t describe it until the whole thing is done. If it’s off, nothing lands. If it’s working, you can go to surprising places. Maybe being an outsider gives you, if certainly not the whole tone, a start. If not the whole voice, an accent.

Is there perhaps a silent, unwritten introduction to foreigners’ writing about the US that tees things up, by saying, silently, something like: “Holy shit, come and take a look, you’ll never believe this!”? That initial tuning up, that heightening of sensitivity, that sense that there is something inherently interesting here – that is good for writing. I wouldn’t advise trying to efface your outsiderness – I tend to think, like our teachers used to tell us regarding coats, if you put it on inside you won’t feel the benefit when you go out. That’s how I feel about writing that is set in the US: if you don’t have some form of critical-satirical standpoint, you won’t feel the benefit of the outsider perspective.

And I don’t think it’s just my prejudice in favour of comedy or scratchiness that makes it seem that the people who have made best use of their outsiderness have made various types of satire: political satires ( Veep ), social satires ( Yellowface , On Beauty, Hari Kunzru’s White Tears , Adichie’s Americanah ), tech satires ( Black Mirror ) or Hollywood satires ( Sunset Boulevard ). Which is not to say satire should be overt, or campaigning. The American writer James Thurber wrote to a friend, “People never learn that there is 1,000 miles of desert between a good cause and a good play. Few people can cross it alive.” Anyone who starts out to write a satire thinking the impulse to admonish or preach will make it worthwhile should probably have that quote branded, if not on their hands, then above their keyboard.

Do different varieties of non-American writers on America have different tones? Does the willing adult emigrant, for example, have a softer focus? It might be natural that these people, who knew what they were getting into, are most comfortably accommodated to the US – the least sceptical. I think of Ernst Lubitsch, Alfred Hitchcock and Charlie Chaplin, and the British directors who came out of advertising to make careers in the US: Alan Parker, Ridley Scott, Hugh Hudson.

The exile may have a tougher take – “driven into paradise”, as the composer Arnold Schönberg described himself and the emigrés who made 1940s and 1950s Hollywood “Weimar on the Pacific”. Perhaps there is a variety of exile art that is attracted to shifting identities, black humour and subversion. Billy Wilder was triple or quadruple ausländisch – outsiderish – chased from Polish Galicia, Vienna, Berlin and Paris by anti-Semitism. He knew that the worst change was possible. And he lived long enough that the child he saw at the side of the last Habsburg emperor in Vienna – the four-year-old Crown Prince Otto – came in to see him on the Paramount lot. That dizzying historical irony – how could it not colour your sense of the world?

If those Weimar exiles had a specific tone, do British observers offer a particular perspective on that country with which we are so interlinked? It seems possible we are comfortable with a certain profitable acceptance of hopelessness. Britain is, after all, a declining power, living in a Piranesi, full of TS Eliot’s falling towers. Maybe in our cradles we’ve drunk some sour milk which accepts that all projects, grand and small, end up as vast and trunkless legs of stone standing in the desert.

Are British writers more comfortable with the conscious acceptance of guilt, the hypocrisy of power, with the whole thing being a lie, the imperial project a smokescreen for creeping pink cartographical domination? While white America, at least, clings to the city on the hill, the last best beacon of hope?

There are fun things about writing in America. American speech is great. Shorter. Punchier. My favourite dining experience begins not with an outline of the metaphysical concerns of the chef’s culinary philosophy but a New York diner waiter who comes over, pad open, and says: “Talk to me.” New words, new coinages, a madness for contraction and mixing. It’s intoxicating. Freeing.

“I sit in one of the dives/On Fifty-second Street/Uncertain and afraid,” Auden wrote in September 1939, almost like any giddy Brit just arrived from JFK. In Raymond Chandler’s prose you sense someone with ears alive to American idiom after his youth at Dulwich College. This is Philip Marlowe in Farewell, My Lovely , “It was a nice walk if you liked grunting. There were two hundred and eighty steps up to Cabrillo Street. They were drifted over with windblown sand and the handrail was as cold and wet as a toad’s belly.” You can feel Martin Amis’s excitement to be out of the UK in the famous opening to Money : “As my cab pulled off FDR Drive somewhere in the early Hundreds, a low-slung Tomahawk full of black guys came sharking out of lane.”

There are, however, risks. I remember hearing about the streets of provincial postwar England, when kids got their hands on comics but hadn’t heard much real American speech and would go around exclaiming ‘Ghee whizz!” with a hard “G”. One does need to be careful of “ghee whizzing” in your excitement to be writing American. But it’s fun to dive in. To be direct, and say right out that you’re uncertain and afraid.

So much of British language and humour is about the not saying of things: “Don’t mention the war.” Or euphemism: “Up to a point, Lord Copper.” Or Humphrey Appleby’s tactic for sowing seeds of doubt about a ministers’ plans by praising them as “courageous”. I love all that. But it’s exciting to have access to US brevity and astringency. Telling it straight, telling it brutal. Dorothy Parker, chased for a piece, told her editor: “Too f***ing busy, and vice versa.”

It’s possible that in Succession we winkled out a profitable clash between two traditions: the Saying vs the Not Saying. Taking your time and enjoying language games is somewhat against the rules of TV and film scriptwriting, where the premium is on speed – no goodbyes on the phone, no change from the bartender. But being a bit more expansive linguistically allowed us to make the show, as well as other things, something of a horror story about language losing its meaning. All those low-IQ “genius ideas” in corporate and media spheres – all the “exciting new challenges” that are likely to leave you without a job.

And of course, one of the great freedoms about American language for a British writer is being released a little from class games. Jerry Seinfeld observed that the luge – the one-person bobsleigh – was the only Olympic sport you could conceivably compete in against your own will. Well for the British, class is the game we all take part in all day, whether we want to or not. All the opportunities for transgression – getting above your station, trying to pass yourself off as even minutely superior, or low-balling it and missing a glottal stop – all that opportunity for embarrassment, has been hugely profitable for British comedy: Dad’s Army , Fawlty Towers , Steptoe , the striving, class-inflected overreach of Alan Partridge and David Brent. The US, of course, has it’s own stratifications, no less minutely calibrated. But class is perhaps a stronger flavour in the UK, and it is liberating to cook with other ingredients.

Equally, there are dangers in writing about America. Those who visit New York know the shiver of delight in seeing the steam rise from the streets just like in the films. We feel we know the US rather intimately. This gloss of familiarity can be a starting point. But you must beware the sense you know America when what you know is the refracted screen version – or risk writing a shadow of a shadow.

Research is usually the antidote to arrogance. I, like most British people, grew up suffused with US culture, and I also took American studies at university. But when Succession came into view, I read and read. On Four Lions and later the Miami-set The Day Shall Come , I found Chris Morris’s level of research initially exhausting, later impressive, and finally essential. Knowledge gives you a chance of not being glib or timorous.

One way to turn your outsider disadvantage to your advantage is to write key characters who are themselves outsiders. In Succession , characters born outside of the US such as Logan and Lukas Matsson were able to verbalise some of our outsider barbs. Indeed, the whole class of people we wrote in Succession , though they were largely American, didn’t really inhabit it. Our milieu was rich, coastal America: New York, LA, San Francisco, which stand like the city republics of Florence, Siena and Venice: jealous of one another but disdainful of the peasants who toil in the lands between. The show is not even set in the US, really, but among a global class, in a US of VC, the United States of Venture Capital, whose boundaries expand to wherever there is a business with value yet to be extracted. Gerri asks Roman when he is training at an upstate theme park, “Is it very horrible in America?” Yes. “No amount of antibacterial gel is going to be able to wipe the America off me,” he tells her.

Kendall says in our election episode that America “is kind of a nice idea, all the different people, together”. Everyone will have their red lines. For me, writing our election episode with the US poised between a nascent authoritarian and a more traditional candidate, I felt it was not within our purview to declare a victor and predict a direction for the US. It was too much of a judgement, one I didn’t feel it was appropriate for us to give. Not when so much hangs in the balance.

So yes, you can write a show in America without being American. In terms of tone, being an outsider means there is often an itch. A wriggle. A shiver. A desire to say, “You know, it can be other ways, too.” Sometimes it means anger, dismay – and those emotions can be fuel.

The outsider’s chief advantage is that indispensable tone or frequency, which pulls everything taut; some sense of an argument going on that can never be settled. America and the world is perhaps one of those tussles. America has such hopes for the world, we have such hopes for it, such fears of it, and we’re continually understanding, misunderstanding one another.

American innocence and European experience are on an old, old axis. It sometimes seems that American innocence has been lost regularly on the hour every hour since the first sailor saw that fresh green breast of America, while all our European experience doesn’t seem to teach us much of anything useful. Still, there is something in the Henry Jamesian, Graham Greene-ish opposition that we can’t stop worrying away at: innocence and experience, idealism and cynicism.

Idealism and cynicism, it occurs to me now, is perhaps one of the submerged stories of Succession . In a way Logan’s children are all American to his European. Their search for something to believe in, among the pile of broken chairs which is the sum total of his moral philosophy, is one way of looking at their tragedy.

It’s an old story, but in some version of the terrible, zealous, hopefulness of America, and the weary, used-up knowingness of Europe – somewhere in the tangle of those old ideas – is still some sweet stuff: the good meat in the claw of the Atlantic lobster.

Jesse Armstrong is the creator of “Succession”. This essay is an edited version of his 2024 Douglas W Bryant Lecture, presented by the Eccles Institute for the Americas at the British Library

[See also: Who runs the show? ]

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