Seven horror screenwriters share their tips on how to write a really scary movie.
Its easy to write a horror movie, isnt it?
Throw in some loud bangs on the soundtrack and youre sorted.
But if you want to do something better than that, things get a bit more complicated.
And thats not easy.
To get the lowdown on what works and what doesnt, I interviewed some working horror writers.
Its a lot to think about, but Moran reckons its worth it.
If the human story doesnt work, then the horror doesnt work, either.
My favorite heroines in horror movies are proactive, says Kevin Lehane, screenwriter ofGrabbersand Neil GaimansLikely Stories.
Moran, too, reckons plausible motivation is crucial.
He also says characters should be the kind of people an audience is happy to spend time with.
And even if theyre horrible, you have to get behind them in some way.
And then thats not scary.
Once youve got your characters sorted, its time to think about the villain.
but choosing the right villain for the story youre trying to tell can be key.
The creature was originally a kind of Black Shuck, this legendary character from East Anglia, he remembers.
And its all about men and how they react to different situations.
The monster gave us the whole structure.
Building on existing mythology can be helpful, of course, because audiences already know what to expect.
But making up new monsters can also work.
Just stuff like that.
you could sort of take your monster and give it its own idiosyncratic personality and traits.
He also recommends linking your characters to the monster.
The Blaines were happy that horror audiences embraced their film, and reckon its valid to cross the streams.
Having made two films that are more horror and… rather than straight horrors, Lowe agrees.
Its debatable whetherPrevengeis a classic horror, in the same sense thatSightseersisnt your typical horror, she says.
That isnt scary at all.
What I feel is, horror shouldnt be treated like a box, says Lowe.
Its something to be inspired by, rather than trapped by, really.
Lets get down to specifics.
How do you make a film scary?
Anyone can say boo and make you jump, says Huckerby.
But if thats all youre relying on, youre in trouble.
Lehane also recommends taking your time.
Unless its a party film likeReturn Of The Living DeadorEvil Dead!
But otherwise, you want to check that that your villain is legitimately dangerous and frightening.
And slow it down!
Horror should be slow and creepy.
You allow moments of dread to creep in, and thats when its really frightening.
I think theres something in making the audience tell the story themselves.
Ben continues, We got some really good advice when we were making [Nina Forever].
We showed a cut to some people, and they said Its too explained.
Youre too worried about letting everyone know whats happening, and it makes it boring.
And when you land empathy for a villain, you want to redeem them instead of kill them.
Its the space between the images that works on the audience, says Ben Blaine.
Its not the visceral side.
When I was writingGrabbersI was watchingTremorsa lot TremorsandLake Placid!
Ostler says much the same thing.
Finally, most of the writers I spoke to recommended making your story personal in some way.
Lowe, more than anyone, stresses that point.
Its more of an experiential throw in of thing, she continues.
For Moran, the best way to connect with an audience is to put himself in their shoes.
I just think about what would I like to see next?
and what would I not like to see happen next?
And whatever Im dreading, I have to put that in.
If you treat it honestly like that, then itll have an effect on other people.
To end on an extra-encouraging note, Ill give Kevin Lehane the last word on the subject.
Each person is unique, and we all come from different backgrounds, he says.
