Tenants of Writing Horror

What makes people want to go see horror movies?  What about horror movies brings the thrills and draws people in?  What can a writer do to write "good" horror?

Well-p in today's post, good ol' E.C. will attempt to tackle those questions.  Lemme start out by explaining the angle by which I'm approaching this subject matter.  Currently I'm writing a sci-fi/horror spec. script which is entitled "The Commune II", which a sequel to a "The Commune" which I wrote in 2009/2010 (see the "E.C. Henry: the Writer" sidebar).  So I'm actually working on honing my own horror writing skills at the same time this post is coming out.  I'm working horror at the conceptual level, or world level.  And also getting in-the-moment thrills from both creature affects, AND slasher-type, villainous characters.  Yes, "The Commune II" has a lot in it...  I'm THAT kind of writer, I put a lot of stuff in my stories...  But I digress.  Back on subject.

Since no matter what I write I want it to be good, one naturally looks at who has done it well before.  Look to the memorable entrees atop the genre.  I consider myself blessed to be writing in a age, after so many classics have already been released.  There are many horror movies which have been done right, and we can learn a lot from.   Four of the scariest movies you'll ever see which will be referenced heavily in this post: "Halloween" (1978): Jamie Lee Curtis, John Carpenter, "Jaws" (1975): Roy Schieder, Steven Speilberg, "28 Days Later..." (2002): Cillian Murphy, Danny Boyle, writer Alex Garland, "Alien" (1979): John Hurt, Ridley Scott.

Lets start out with what you can learn from what I consider to be the scariest movie of all-time: John Carpenter's "Halloween":

1. Music matters. The music used as a backdrop to the action sets the stage for thrills and puts the audience on the edge of their seat fearful of what the monster will do next.  For my money "Halloween" (1978)  has the scariest soundtrack of all-time.  Even knowing what's coming next that creepy music gets under your skin, and has your nails digging into your arm-rest, even after you know where all the chills and thrills are.
2. Audience's superior position sets the stage for horror thrills.  Watching John Carpenter's "Halloween" I love how Michael Myers is filmed in the background of Laurie (Jamie Lee Curtis) or others of Laurie's friends that he's stalking, then in the next shot Michael Myers is gone!  Where'd he go?  Is Laurie Strode still safe, or is she or one of her friends in immediate jeopardy?  And here's the writing tip, you can write that in your script.  It's all about how you call out your shots in paragraphs of description.  You as the writer have a chance to pre-direct your film and set up how the thrill element unfolds.
3. Show the audience what it's like through the villian's point of view. The opening scene in John Carpenter's "Halloween" is a Michael Myers' POV shot through the house of his parents on route to stab his sister to death, after she's fooled around with her boyfriend.  There's even a cool shot where the camera's point-of-view of the action is seen through the killer's mask.  Writers need to remember that an audience is going to be curious why a monster does what it does...  
4. Show the monster stalking the lead early in ACT I.  I was very impressed by the plot points in Halloween early in ACT I, where Michael Myers immediately has contact with Laurie Strode the morning before the horrific night.  Laurie goes up the Myers household to drop off a key, an unbeknown to her Michael Myers is right on the other side of the door watching her!  That near encounter sets off the psyopath's stalking of her.  Then at school Michael Myers is in the state of Illinois corrections station wagon watching her while Laurie's in class, then following her and friends home, then even shows up in the bushes in front of her.  ALL in a Act I.  Very impressive.
5. The end chase scene needs to have a give-and-take between the heroine and the monster.  The end chase scene in "Halloween" has Laurie strode poking Micheal Myers in the eye, and stabbing him.  It starts in one house and ends in another.  Its a classic chase, where it looks like she's defeated the monster several times -- but he keeps coming back for more!

Now let's look at what Steven Spielberg's creature horror movie "Jaws" got right:

1. Iconic music.  The orchestra, accompanying music by John Williams when the great white shark is on the prowl IS the most memorable thing about this movie.  Have you ever been in the water and heard that music playing in your head, and freaked yourself out?  I have.  It actually scared me even out of the bathtub!
2. When Quint (Robert Shaw) leads Hooper (Richard Dryfus) and Chief Brody (Rob Schieder) go to see to hunt the killer shark.  Great action on the boat as the trio shoots barrels onto the shark, and even drops a shark cage into the water.
3. Great cinematic eye on display.  Love the scene in Quint's house on the shore where through a row of trophy shark teeth we see Quint's boat leave the harbor.  Also like the end shot of Chief Brody atop the crow's nest of the sinking ship sizing up a shot of the approaching shark.

Now let's see what Danny Boyle's "28 Days Later..." did well:

1. Great opening scene which sets the tone for the horrific spread of the disease.  After the monkey bites the first animal rights activist, all hell breaks loose and the audience gets the idea of how fast the situation in London is about to disintegrate.   This also sets the tone for the horrific spread of the disease, and what the audience can expect in future run-ins with similar monsters.  This opening scene in "28 Days Later..." is a rule setting scene.  Watch "World War Z" and compare its rule setting scene, Brad Pitt actually timing how long it take a bite victim to turn into a zombie on the streets of Philledelfia, it's much like that opening scene in "28 Days Later..." but "28 Days Later..." did it much more subtly.  Scoreboard: bad job "World War Z", good job "28 Days Later..."
2. The audience discovers this horrorific world at the same time that the main protagonist does. When Cillian Murphy's character wakes up out of a comma, he finds himself in a deserted hospital.  Then finds himself in a deserted London.  And we discover what happened to London through the experiences of Cillain Murphy's character.
3. A world ripe with frills.  Pockets of the "infected" are still in London.  But where?  Could be anywhere.  And when you run into them, you're in big trouble.  The uncertainty of where danger lies, adds a lot of terror to this story; the opposite of audience's superior position: you only know what lead character knows -- after the opening scene of the movie.  That's good writing instincts on display.  Good job, Alex Garland!

Finally let's look at Ridley Scott's "Alien":

1. Ridley Scott's brilliant visuals. Kane entering the alien ship and seeing all those eggs with that electric like veil over the top of them.  Then their's the infamous chest-buster scene.  Also Kane's curiosity which leads to him meeting the face-hugger alien. 
2. Great, ever-evolving monster. Starts out as as egg.  Then it's a face hugger.  Then its a squawking, "Goulies" looking monster.  Later, towards the end its evolved into a skelital, reptile thing.  All along with acid for blood which makes it seemingly indestructible.
3. Diverse, and interesting cast.  Ash the android who's got a morbid curiosity with the alien, Parker the roughneck black guy, Dallas the captain and apparent hero, Brett the tooth picking mechanic, Lambert, and Ellen Ripley the emerging hero.
   
4. Set the stakes.  The crew is on their own.  No one is going to help them with this threat.  They must defeat the alien on their own.

Lots one can learn from a study of these three iconic horror movies.  Here's what I see their main lessons are.

1. Every time the monster appears on screen they're appearance should invoke a feeling of dread in the audience.  Michael Myers has that iconic, white-faced emotionless mask.  Jaws has those lifeless black eyes and a mouth full of teeth.  The "infected" in "28 Days Later..." have those red pupils and blood dripping down.  The alien is constantly evolving into a larger, and more horrific monster every time we see it. 
2. You need some good in-the-moment or cat-n-mouse scenes where the monster pursues the characters in the story. Michael Myers stalks his victims in two houses.  Hides in rooms and cars, then strikes with deadly force whenever he's been found out.  Whenever the "infected" make their presence known a chase ensues: in London, underground highway, and in the church.  Quint, Hooper and Chief Broody spends a good day on the open see with cat-and-mouse fishing for the killer great white shark.  "Alien" has that great scene where Dallas meets his demise when he goes in the air shaft in pursuit of the alien.   
3. The threat of death needs to be present. "Halloween" establishes that with Michael Myers initially killing of his sister, then is re-inforced by Dr. Loomis' dread to anyone who will listen that Michael Myers is about to go on another killing spree.  "28 Days Later..." establishes the disease early on, and then re-establishes that with Cillian Murphy's first contact with the infected in London where some of the "infected" have to be gas bombed in order to be stopped.  "Jaws" establishes the threat of death throughout ACT I and midway through ACT II with the death of the female swimmer, the kid on the cushion, then with the man on the boat.  Everytime the giant shark is on screen the threat of death to any in its path is present.  "Alien" establishes the threat of death once Kane meets his end.  
4. Their needs to be a final showdown between the main protagonist and the monster.  The end chase in John Carpenter's "Halloween" will have you putting nail imprints in your arm rest.   Yes, it's that frightening.  First, Laurie Strode enters Michael Myers macrabe, then she's in the fight for her life as the killer stalks her unrelenting.  She thinks she has him killed a couple times, but it takes Dr. Loomis to come to her rescue to finally get Michael Myers away from her.  "28 Days Later..." has Cillian Murphy actually turning one of the captured "infected" against the British army which has him and two of his friends captive.  "Jaws" end battle begins when the giant shark battering rams Quint's ship until it starts to sink.  "Alien" has the most uneventful end battle of this foursome as Ridley abandons ship and must face-off one last time against the alien.   
5. Don't underestimate the power of music in post-production which can amp scenes up and heighten the anticipation from the audience.  Thriller style music gets people grind their nails into their arm rests.  "Halloween" (1978) and "Jaws" (1975) prove my point. 

The bottom line is that when you write a horror movie, you MUST remember that audience will go to this movie IF you can deliver the thrills that the horror genre is known for.  The trick is to be aware of what is good, yet try to make something original that can be compared favorably to already, pre-established giants in the genre, a.k.a. "28 Days Later..."  being compared favorably to George Romero's "Night of the Living Dead" (1968).  Remember what happened AFTER "Halloween" (1978).  LOTS of knock-offs.  Even in the "Halloween" series as it progressed got cornier and cornier; my brother told me in one movie Michael Myers escaped an impromptu burial in a grave only to escape underground, get in the ocean, get rescued by a cruise ship, then proceed to kill everyone on the cruise ship.  Ridiculous.

Also be aware of the use of the familiar vs. the use of a foreign environment.  "Halloween" (1978) happens mostly in a subburban neighborhood: Haddonfield, Illisnois.  "Jaws" also has a familiar world, a destination coastal city dependant on summer tourists.  "28 Days Later..." has familiar London now become a house of horrors as its been over-run by the infected, and is now much like a dangerous alien world where danger lurks in unspspecting places; an intriguing paradox: the familiar has become unfamiliar.  "Alien" is obviously all new, you're making one horrific discovery after another in a forein environment.

Turning the known environment: a suburan neighboorhood, or the coast of coastal city into backdrop of terror will put the audience's hearts the fear that this hideous event isn't too far-fetched -- it could happen in their world -- which is a terror unto itself.  The flip-side, however, using a world the audience isn't familiar with: the spaceship and alien world in "Alien", and the once familiar but now a vast wasteland of horror: London post being run-over by the "infected" adds the allure of facing the unknown, a wicked fun-house where the next thrill can come from right around the next corner in front or behind you...  

Unfamiliar worlds allow for more of the writer's imagination to run wild.  But the use of  a familiar world adds the flair of believablity; this story could happen -- where I live!  Which is a frightening thought indeed.       

So in conclusion.  All four of these fantastic movies have a bevy of writing lessons to teach us.  I don't consider myself as master of the craft of writing horror, but am a willing learner always looking to learn new things which (hopefully) make me a better, well-rounder writer.  As you should know by now I'd rather be known as a rom-com guy than a writer of horror.  But I value art done well, and I hope that by looking at four, classic horror movies I've given you something to think about as endeavor to annalize and write elements of horror into stories of your own. 

- E.C. Henry from Bonney Lake, WA