Being a horror writer is similar to being a writer of comedy. Both aim to elicit a very specific emotional response from their audience. Whereas the humorist strives to make people laugh, the latter endeavours to evoke fear; but more than fear, a very specific kind of fear. I am talking about horror.

What is Horror, you might ask?  Good question! Horror is elusive. Horroris a complex emotional response that originates deep within our psyche. It is more than just extreme fear. It is a composite emotion: abstract and difficult to define.

The Oxford Dictionary defines horror as, ‘intense fear, shock or disgust;’ in contrast, the entry for terror, reads simply as ‘extreme fear.’ Both are characterised as heightened states of fear, but only horror includes the descriptors ‘shock’ and ‘disgust,’ suggesting there is something deeper psychologically at play.

According to Sci-fi author, Orson Scott Card:

• Dread is the anticipation of the thing you’re afraid of, “that tension, that waiting that comes when you know there is something to fear but you have not yet identified what it is;”
• Terror, “comes when you see the thing you’re afraid of,” for example, when “the intruder is coming at you with a knife;”
• But Horror, occurs, “after the fearful thing has happened, you see its remainder, its relics. The grisly hacked-up corpse. Your emotions range from nausea to pity for the victim. And even your pity is tinged with revulsion and disgust; ultimately you reject the scene…”

But, surely there has to be more to it than just a case of past, present or future tense, right?

In an effort to understand the nature of the beast more thoroughly I have created this list. Horror is comprised of ten elements; these are:

1. Fear

“The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” – H.P. Lovecraft

Fear is the first and most important of the elements. You can’t really experience horror without it. It is a physiological response to a real or perceived threat. Your heart starts racing, your breathing quickens, you start to sweat profusely, and perhaps you feel a sensation of butterflies in your tummy. This is the body’s reflexive reaction to fear, often called the ‘fight or flight’ response, where your body literally prepares itself to either stand your ground, or make a run for it.  It is part of our survival instinct. The body produces stress hormones, cortisol and adrenaline, which in turn triggers the redirecting of blood to the more vital areas of the body such as your muscles and brain (the butterflies feeling is the reduction of blood flow to your gut). And your lungs take in air faster to try and get more oxygen in your system.

So what are we afraid of? Not surprisingly, the things that scared our cave dwelling ancestors, over a 100,000 years ago, are the same things that scare us today. These primal fears – fear of heights, fire, snakes, spiders, sharks…lions and tigers and bears, oh my – are inherent in us, thanks to our ancestors and to the millennia of natural-selection.

If you boil it down though, these are merely symptoms of an underlying base fear, destruction of the “I” (the self), through annihilation, dissolution, being consumed, or dismemberment, and so on.

Behavioural scientist and psychologist Carl Jung posited there are different levels of the mind, and coined the term “the collective unconscious” for that part of the mind deep within the unconscious, not shaped by personal experience, and the source of our inherited fight or flight instincts.

Jung believed that proof of the existence of a collective unconscious, and an insight into its nature, could be gleaned primarily from dreams. He also believed that symbols are the language of our dreams, explaining why the same symbols, representing our fears, are seen across different cultures. The monsters of our folklore, and fairy tales, are symbols. They are the symbols of our nightmares. Vampires and zombies, for example, are symbolic of our fear of disease, and pandemic; and werewolves represent our fear of madness, wildness, and giving in to our base animal instincts.

Jung also developed the concept of the archetypes: universal symbols such as The Great Mother, the Wise Old Man, the Shadow, the Tower, Water, and the Tree of Life. He believed these archetypes inhabited the collective unconscious. The Shadow, for our purposes, is perhaps the most fascinating for it represents that part of ourselves which is in shadow, an aspect of the personality the conscious mind does not identify, but can be glimpsed through dreams. He said of mans struggle with his own shadow that, “No tree, it is said, can grow to heaven unless its roots reach down to hell.” In this quote, he was referring to both a figurative and a literal hell, intimating that the soul of man is made up of diametric opposites, of both a Christlike archetype and its Shadow.

One of the main fears though is the fear of the unknown: the strange and uncanny. Masks, for example (a common trope in horror) hide the emotions of the wearer, and our brains, hardwired to read body language, experiences the resulting dissonance in the form of fear. An unnaturally wide smile (or mask), for example, triggers our survival mechanism: something left over from when we were primates in the jungle no doubt, where we try to recognize any potential predator that is perhaps camouflaging itself.

2. Shock

Horror allows the reader to experience and confront their fears through the eyes of the victim, and from the relaxation of their armchair; to experience the sort of adrenalin only possible from good old-fashioned shock or ‘jump scare.’

3. Disgust

Stephen King talks about what he calls “the Gross-out” which is when the character in the story sees “a severed head tumbling down a flight of stairs,” or when ”the lights go out and something green and slimy splatters against your arm.”

4. Abjection

Abjection a term which means the “the state of being cast off,” was theorized by Bulgarian-French psychoanalytic philosopher Julia Kristeve as the basis of horror and revulsion. Kristeva in her book “Powers of Horror: An Essay in Abjection” described it as the feeling an individual experiences, or is confronted by a breakdown in the distinction between what is Self and what is Other.

5. Awe

“No one can help but stare at the monster, because horror is a cousin to awe.” – Ilsa J. Bick, Monsters

Awe is what we feel when confronted by phenomena beyond our comprehension, beyond the narrow field of human affairs. The best kinds of horror also contains a sense of awe, when the protagonist, confronted by the monster, realises the insignificance of their existence and their own place in the universe.

6. Irony

“Well ain’t that a kick in the blank,” is likely to be the last inner thoughts of many a horror tale’s protagonist, as they met their demise, whether mauled by Werewolf, or smothered by Shoggoth. Great horror is not without irony. HP Lovecraft said, “From even the greatest of horrors irony is seldom absent.”

Irony is sometimes confused with events that are just unfortunate coincidences. For example, Alanis Morrissette’s song “Ironic” contains many events that are not ironic in any sense. She cites “rain on your wedding day” and “a traffic jam when you’re already late” as ironic situations, yet these are merely bad luck.

Irony, cosmic Irony (also known as “irony of fate”), is present in stories that contain gods who have different agendas than humans. These gods, or the Fates, may play with the lives of humans for their own amusement. The irony lies in contrast between what the humans expect and what actually happens.

7. Hopelessness

It is when the protagonist becomes aware of their own predicament, and are powerless to do anything about it. It is when they are boxed-in, without any possible means of escape. It is when some of our basic human needs are taken away: like in the 2010 film Buried, when Ryan Reynolds – buried alive in a coffin –  has no light (taking away his sight) except for a lighter, and is running out of air.

Hopelessness is what we feel when the day-to-day distractions (wealth, power, a fast car, that job) are peeled back to reveal the coalface truth of our mundane existence.

8. Empathy

To enjoy horror, to some extent, you need to have empathy. Joe Hill said “Horror was rooted in sympathy…in understanding what it would be like to suffer the worst.” Part of the appeal of horror is to read about three-dimensional and interesting characters, who, put in impossible situations, struggle to overcome hurdles, and hopefully triumph (or perish trying). We as humans can all sympathize with that.

9. Humour

There is a campness to some horror. The tongue and cheek of dressing up for Halloween, for example, the B-grade trappings of Halloween night.

10. Nemesis (or Retribution)

What is Nemesis? It is a literary device which is often used in Greek tragedies i.e. the punishment for hubris. It is divine retribution (the term nemesis comes from Nemesis, the goddess of revenge in Greek mythology). In this case, the monster or slasher is the instrument of revenge on the character(s) who committed the sin. It is a common trope in horror, that the wicked and immoral are the first to meet their end at the hands of the monster. This is why, in so many teen slasher movies, the young couple who have sex are the first to snuff it.

Writer’s block is said to be an annoyance for a great many writers. It is described as being the slowing or stopping of creative output, which can last for days, weeks, and in some cases months or years. Writing greats such as Leo Tolstoy, Virgina Wolf, and F. Scott Fitzgerald are among the victims said to have been afflicted by the condition. However, here’s the thing — writer’s block is not real!

Writer’s block is a myth, a myth perpetuated by popular culture. We’re all familiar with the romanticized idea of the “struggling writer.” You know, the writer that suffers for his or her art, living in a sqallor, creatively constipated and hunched over a typewriter in a garrett somewhere, smoking and drinking.

Being creative doesn’t come easy. It’s tough to stare at a blank page, or at the blinking cursor on your word processor, and to will yourself to write. But novels don’t write themselves and you can’t edit a blank page. The resistance you feel when you sit down to write is natural. This is the default or neutral state (the jumping off point) that we all work from. Overcoming this is part of the process.

Writers block, or giving in and allowing yourself to be blocked, is harmful self-indulgence. No you’re best not to acknowledge it, or give it a name. Giving it a fanciful name gives the thing substance. It is less of a ‘Block’ and more of a ‘Hurdle.’ A hurdle to be overcome.

It can be a daunting thing to sit down in front of a blank page and try and create something from nothing. This is just part of the creative process.

Here’s some ways to combat it:

1. Don’t acknowledge it:  It is not a thing, just part of the natural process of writing. It is less of a ‘Block’ and more of a ‘Hurdle.’ A hurdle to be overcome.

2. Make a start: Start by writing anything! You could even try writing yourself a letter about what you would like to write about e.g. “Dear me, today I am going to write an awesome story yadda yadda yadda.” And you’ll be pleasantly surprised, when you start warming up, the letter will mutate into what you intended to write anyway.

3. Don’t be critical:  So much of what people think is writer’s block is actually just stage fright: you’re either thinking of that 60,000 – 80,000 word count target you have to hit if you’re going to write your dream novel; or you’re comparing your prose to that of your favourite author’s.  It is the writing equivalent of hearing your own voice echo on a telephone call. “Ooo what’s that I’m saying….oh geez my voice sounds weird….is that actually what I’m saying.” Shutup! – and accept that it is just an initial draft and it is going to be shit, no matter what. Leave the polishing, and your critical voice for the re-write. 

4. What you call writer’s block could actually be depression:  Lots of people suffer from depression at some point in their life. Churchill used to call it his “Black Dog.” And we’re an introverted and introspective lot us writers anyway. If you start to feel depression take hold try putting on some cheery mood altering music; or make a funny face or smile at yourself in the mirror (it really works trust me); or get some exercises, go for a walk or a swim; or speak to a loved one or family member.

5. The path of least resistance: Sometimes if you’ve been working on the same project for a long time it starts to feel like work, so switch to another work in progress before coming back to the first one. Variety is the spice of life after all.

6. Ritual: It is important to train yourself the right way. What I mean by that is, you’ll find that if you sit down at the same place (your desk, or cafe), at the same time, each day (or set time), you will train your mind to think “Okay, it’s that time again, I’m in my writing nook. Time to be creative.” And you’ll be pleasantly surprised that if you keep turning up then your muse will keeping turning up. You need to make an appointment with yourself and your muse. If you get off schedule then there’s a good chance, that when you need her, your muse could still be off at the hairdressers.

By Brent McGregor

It would not be an exaggeration to say the world has changed dramatically since the occurrence of the Covid-19 corona virus pandemic. Y2K and the Global Financial Crises were just blips on the timeline in comparison. Not since the 1918 Spanish flu pandemic has the world seen a virulent health crisis of this magnitude. It would be naïve of me not to at least make reference to the Aids crisis of the 1980s and the Ebola outbreak in Africa, I know, but I am referencing the way in which Covid-19 has rapidly and aggressively spread across the globe, in so little time. It is unprecedented.

As I write this blog, I am in isolation. Australia like a lot of countries has imposed certain restrictions around social distancing to help slow the rate of community transmission.  Which means citizens have to legally stay in their homes unless they have a reasonable excuse, such as for obtaining food, for medical care, and traveling for the purposes of work (if the person cannot work from home). The country is in lock-down. All non-essential businesses have been forced to close, and international borders have been closed to flights in or out. Some people are wearing surgical masks if they do go outside, and the roads are nearly empty of vehicles.

Panic buying in the supermarkets was one of the first indicators that the situation was escalating hear at home, with a shortage on fresh groceries, shelves strangely devoid of paper towel and toilet rolls – as people prepared for the long weeks and perhaps months in isolation. Somewhere the survivalists must be snickering to themselves. However the thing that has unsettled me the most, apart from the obvious potential risks to ones health, has been the rapidity and ease in which Covid-19 has ‘stopped the system,’ changing our day-to-day lives. Things went from normal to haywire, and all in a matter of weeks. Which just seems to point to the fragility of it all, doesn’t it?

Some would argue that art imitates life, whereas in truth life may imitate art on a more frequent basis. I suspect the popularity of dystopian fiction and horror in recent times, represented by films like The Road, Outbreak, Contagion, and TV’s The Walking Dead, could have been interpreted as an unconscious expression, a weather vane, of what we knew was coming all along. If you can appreciate the language of mythology and folklore is psychology, you can also understand how the popular monsters of our dreams and fairy tales (vampires, zombies etc.) are actually symbols of our collective fears: disease, pestilence, death. But now that we have become acquainted with these fears, first hand – lived with the Corona Virus in the daily news, known someone who had the virus or passed away, or perhaps even had the virus ourselves – I wonder what form our new imagined monsters might take. Will the popularity of zombie and dystopian films start to decline, or will our enjoyment of these forms of entertainment continue to endure, albeit with an added sense of unease?

It has been some weeks now. Australia has so far been lucky. The rate of community infection (knock on wood) has slowed. But the change, for me, has maybe ushered in a different set of worries, and I wonder what might happen if there is a Covid-21, or a Covid-22! You need not have had a crystal ball to know this was coming. We could have looked back over history, and just known from the cyclical nature of things. Nevertheless we were surprised. We were not ready for this. I never expected it to happen in my lifetime. And I only hope we don’t see anything like this again for a very… very long time, if at all.

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By Brent McGregor

This is my list of the seven best reference books for creative writers on the craft of writing. The books on this list represent just some of the titles I have in my own personal library. Books that I myself have found immensely useful on my path as a journeyman writer. I wouldn’t hesitate to recommend any one of these books to new, or novice writers.  Read-on – I hope they help take your story creations to a new level of excellence!

1. Plot & Structure: Techniques and Exercises for Crafting a Plot That Grips Readers from Start to Finish

By James Scott Bell

Plot & Structure is an excellent primer on the subject of writing. It is the book I would recommend aspiring writers rush out and purchase right away, before all others, as it is simply the best introduction to what goes into constructing your own story creations. It doesn’t read like a textbook. Bell’s explanations are clear, concise, and entertaining. It contains a detailed break down of three-act story structure; helpful every-day tips on developing beginnings, middles, and ends (with real-life story examples); and advice on how to really make your scenes pop. Clever systems like ‘LOCK’ and ‘HIP’ that you will remember, and can immediately apply. A great and comprehensive resource, that is well worth multiple reads.

Click here to get the book

2. How to Write Dazzling Dialogue

By James Scott Bell

Good narrative should be interspersed with dialogue – and this book sets out all the rules and guidelines, the ‘Do s and Don’ts,’ of writing dazzling dialogue. It covers punctuation, attributions, action tags, craft secrets, dialects, and much more. Bell deftly demystifies a subject where there is often conjecture. Another excellent book by James Scott Bell!

Click here to get the book

3. The Fantasy Fiction Formula  

By Deborah Chester  

The Fantasy Fiction Formula is hefty guidebook by award winning American author Deborah Chester. Chester has written over 35 books, and was the early writing instructor of Jim Butcher (author of the popular Dresden Files series). I enjoyed the books refreshingly ‘keep it simple stupid’ approach, and was able to glean some useful pearls of wisdom I hadn’t found anywhere else. The chapters on formulating a story plan, and scene & sequel sequence were particularly insightful. Get this book! Like the forward by Jim Butcher says ‘SHUT UP AND DO WHAT DEBBIE TELLS YOU TO DO…She knows exactly what she’s talking about.’

Click here to get the book

4. The Emotions Thesaurus: A Writers Guide to Character Expression  

By Angela Ackerman & Becca Puglisi

We would have all heard the writing guide of, ‘Show, don’t tell,’ by now. It is one of the most touted pieces of advice going around. It means that rather than simply telling the reader the character was ‘angry’ we instead convey emotion with action, and body language cues: with the ’flaring of nostrils,’ or with the ‘reddening of the face,’ for example. But how many of these character reactions can you think of on your own? That is why The Emotions Thesaurus is undoubtedly one of the more useful resources available to writers, as it helps prevent you from re-using the same tired old character expressions again and again. It is in a easy-to-use list format, broken up into sections by emotion, and has over a hundred entries. There are other books too in the series, but I use this one the most.

Click here to get the book

5. The Elements of Style  

By William Strunk Jr. & E.B. White  

The Elements of Style has been around for so long (since 1919) it has become an institution. At under a hundred pages, and sometimes affectionately referred to as ‘the little book,’ this pocket sized guide is definitely the smallest on this list. The book had its beginnings as a rough textbook hewn together by English professor William Strunk Jr,and later extended by student E.B. White. It elucidates on the proper usage of the English language, with a focus on grammar, syntax, form etc. , to help support precision of meaning and overall aesthetic quality. It explores active versus passive voice, pluralising singular nouns by adding the apostrophe ‘s,’ and so on. This one does read like a textbook though, so be forewarned.

Click here to get the book

6. Stephen King’s On Writing

By Stephen King  

Part memoir, part ‘How To’ book, Stephen King’s On Writing makes for a thoroughly entertaining read. Although you won’t find any tips on outlining in this book – as King is famously a discovery writer, and is a major exponent of the character driven plot – it does have some wonderful anecdotes from the man’s life, the stories behind the stories, and some brilliant insights on the working habits of one of the world’s hardest working, and prolific writers. It is a must read for fans and non-fans alike!

Click here to get the book

7. Zen in the Art of Writing 

By Ray Bradbury

Ray Bradbury, a luminary of the Science Fiction genre, and author of Fahrenheit 451, The Martian Chronicles etc. wrote Zen in the Art of Writing as a treatise (a love letter if you will) on the craft of writing. It is a collection of essays imbued with exuberance, and a passion for writing.Bradbury had a useful writing prompt – which he practiced daily – he made lists of nouns. It speaks more about ones muse, the source of ideas, and creativity. Designed to inspire.  Here’s a book that will help to keep you motivated.

Click here to get the book

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