Avid readers have stronger imaginations than people who experience stories exclusively through film and TV. As much as I love those mediums they’re made for passive consumption. Books put readers in the director’s chair. Sure the author chronicles the events, but its up to readers to visualize them. Readers have to cast the characters, provide the wardrobe, build the sets, and block out the scenes. The author does everything they can to make their story an enjoyable read, but the reader has to meet them halfway. Horror authors exploit this relationship by baiting readers into picturing their worst fears.
Have you ever noticed how the tension in horror movies deflates the more you know about the monster? The more you see it, the more you understand its rules and where it came from the less you’re frightened. The monster is less of a living breathing part of your mind and more of a static thing on screen. Suddenly there’s a barrier between the two of you keeping things safe and boring.
That’s why many horror authors never show the monster. They leave the audience to do all the heavy lifting. This approach works well on people with active imaginations, but readers who don’t feel like engineering their own bogymen feel cheated.
Horror writers need to strike a balance. Here are a few of my favorite techniques for doing just that.
Pose a Compelling Mystery
A well-placed spark will lure readers, like moths to flames, to their dread ridden doom. Pose a supernatural situation that’s simple to grasp, but hint at an explanation that could only be an awe-inspiring revelation.
A young musician is walking home when he’s attacked by a monster he can only see out of the corner of his eye: a wrinkled giant in tatters that may or may not be its own dead flesh. The monster unhinges its jaw, lets out a groan deeper than a cruise ship horn, and disappears. When the musician gets home he finds he can no longer play guitar. Turns out there are reports all over the city of artists experiencing similar attacks and losing their inspiration in the process.
An isolated woodland town is besieged by living nightmares, each one seemingly built to prey upon the resident’s worst fears. While most of these figures have the intended effect others appear strangely tone deaf, almost comical, suggesting the hand of an agent that doesn’t fully comprehend its audience.
Expect the audience to read your story over several sessions. Use those interruptions to plant ideas. Little mysteries for readers to mull over and leave them dangling at the end of each chapter. The best nightmare fuel is subtle. It works its way into readers’ minds slowly until they see their daily routine through the filter of your imaginings.
Leave Evidence of the Evil
The monster need not take the stage to own it. There are many ways to feel its presence. Leave an orgy of evidence, and readers will craft a composite of the creature themselves.
Picture this.It’s 1892. You open your chamber door to find it skewered. Something rammed the wood with enough force to leave hollow voids on the both ends of the knocker. You raise a candle to find craters leading up the cobblestones, and ripples in the puddles. Most of the oil lanterns have been snuffed out and the one that remains is shattered, belching flames.
This torch renders anything beyond it imperceivable, but you know there’s something out there weaving in and out of the tree line. Why else would the owls hold their tongues and the crickets yield the night to the wind?
You feel cold narrow eyes moving up your nightgown, pausing on your belly and settling upon your neck.
Picture this.It’s 2292. You’re aboard a long-range starship. The fluid drains from your stasis chamber, revealing fracture lines across your enclosure. You call out to the computer, “Open tube.”
The mechanism jerks hard, shattering the glass, spewing shards into the corridor. The lights that encircle the honeycomb hall blink red, some flicker out of phase with the others. Stepping over the jagged fragments of your chamber you find a bubbling black substance eating at the grates.
There’s a long gash looping around the walls, leading to a pitch-black med bay. Something long and chrome shoots out of the darkness. A blood speckled gurney lands at your feet.
Have Characters Test Theories
For me the creepiest scene in Paranormal Activityis when Micha sets out prove the presence visiting his partner Katie is physical. Micha spreads baby powder down the hall leading to the bedroom and aims a camera in that direction. That night the couple is awoken by a commotion. Micha finds talon prints leading up to the bed and streaks in the powder.
What I love about this scene is that is confirms the supernatural situation without demystifying the creature. It raises more questions than it answers.
Describe the Monster as Indescribable
Did you ever write an “exquisite corpse” story back in grade school? One student would write a sentence and pass it to the desk behind them. Horror writers can play that game with their readers. Here’s how. Just describe the effect the monster has on witnesses without revealing anything about its shape. This technique doesn’t rely on smoke and mirrors. Your monster isn’t skulking in the shadows. It’s just so overwhelmingly hideous that it’s beyond description. It’s maddening.
“What did the beast look like?”
“Do you not see? It turned Byron’s hair white.”
This was a favorite device of gothic horror writers.
H.P. Lovecraft referred to so many of his terrors as “Indescribable.”
Edgar Allan Poe referred to the sights beyond his chamber door as “Phantasmagorical.”
Meaning: a dreamlike and deceptive appearance that changes upon further examination
Gothic horror writers used the neurosis of their characters to illustrate the monster’s grandeur.
Give a Peak by Proxy
The hit Netflix film Bird Boxis about monsters with the power to drive people to suicide at the mere sight of them, most people that is. The monsters have a different effect on people who are already mad. Insane individuals feel compelled to worship the monsters, with the ferocity of cult members, corralling survivors and forcing them to bear witness.
The audience never gets a direct look at the monsters, but one tainted character gives us a peak. He lays out a series of twisted tentacle-riddled portraits on the coffee table. These rough Lovecraftian rendering gives us a sense of what awaits Sandra Bullock just beyond the blinds.
Use Hallucinations
In Paul Tremblay’s “The Cabin at the End of the World” a character is struck in the back of the head and spends the rest of the story with a traumatic head injury. Sunlight gives him terrible migraines until he starts to see figures in the light. It’s ambiguous whether or not these figures are influencing the events of the story or if they’re a brought on by the bump on his noggin.
Closing Thoughts
My favorite monster stories utilize strategic ambiguity. For every question the author answers they pose two more. That way when the monster does step into the light it retains its mystique. It’s the enigma of the entity that gives it free reign over the audience’s imagination.
The horror writer is the architect of shadows. The readers are interim landlords. We lease them the long dark hall and they fill it with their nightmares. Eventually we move our own terrifying tenants into these atmospheric locations, but only after they’ve been lived in.
Everything has been done before. Accept it. Everything has been said before too, you can check Google for the transcript. Odds are your fresh blockbuster pitch is already on Netflix, and The Twilight Zone beat you to your fresh story by more than half a century.
A writer can only make so many variances to the same old tale. There are thirty-six dramatic situations, fitting into seven basic plots, told in three acts, following the same hero with a thousand faces. Do the math, show your work, or go ahead and copy off your neighbor because it really doesn’t matter.
My early efforts tried to break the formula by adding variables to the equation. I’d mix genres, combine my favorite characters, and play with dated one-liners. I thought it all added up to something unique, until my friends easily pegged the sources of my inspiration. My creativity was less than the sum of my influences. All of my additions amounted to a zero sum.
So I got abstract, bogging my screenplays down with themes I’d taken from dreams. My professor called them Lynchian, another apt comparison, pointing out that David Lynch was already on the road I was going down.
When I started writing horror, I trekked into obscene depths, searching for a story so grotesque no writer would dare tell it. I’ve mined the pit of human depravity only to find others had been there before me. The moment I thought I’d come up with an original concept, I’d find it’d happened in the real world and there was already a made for TV movie.
Like Chuck Palahniuk says, “You can’t invent a new sin.”
Turns out I’d read so many books and watched so many movies that I could never be sure if an idea was truly my own. Of course I could have gone out into the world in search of inspiration, but I grew up in Minnesota, it’s cold and it’s not good to leave your video games on ‘pause’ for too long.
I was down to a few options: plagiarize an obscure story and pass it off as my own, like a bad musician sampling without giving attribution, or show up to the party in the same dress as Stephen King and just tell everyone how I’m wearing it different (yup, that’s the analogy I’m going with, now it’s up to you to try to visualize it).
I decided if anyone pointed out that Mr. King was donning the same sparkling skirt I was vamping around in, then I would just say, “I know, my outfit is an homage to his.”
“It’s not me you fool. That’s the evil one!”
The Difference Between Fan Fiction and a Proper Homage
The biggest difference between fan fiction and homages is that fan fiction brings established characters into new situations, while homages bring original heroes into familiar ones. With an homage, it’s not uncommon for the setup to be the same as a classic, while the payoff might be completely different.
If you’re writing modern day characters the audience will assume they’re familiar with pop culture. You can’t introduce a vampire and pretend your characters have never heard of Bram Stoker. Dracula is the most filmed literary figure of all time. If your characters see someone sucking blood from a neck they better not say, “What the hell was that thing?”
If they do, we’ll be wondering if they live in an alternative reality where Nosferatu never happened. That kind of convenient naivety breaks the suspension of disbelief. It’s better to have one of them hang a lantern on your influence, draw attention to the similarities to let your audience know that your interpretation is going to be different.
Right now I’m working on an homage to Robert W. Chambers’s classic supernatural horror story The King in Yellow. In Chambers’ 1895 book, copies of a mysterious play have caused such widespread madness that the government has installed Suicide Chambers on every street corner. The banned text The King in Yellow resonates so powerfully with anyone who dares read it that they go mad from the revelation.
My story is about a modern private detective, investigating the death of a script reader who read an adaptation of Chambers’s fabled play right before setting himself aflame. The detective has to trace the cursed screenplay’s origins before it can claim another victim.
Now I know, Chambers isn’t that obscure of an influence to borrow from.
The King in Yellow inspired H.P. Lovecraft’s tome of forbidden knowledge The Necronomicon. Lovecraft also put a copy of the play itself in the Arkham Library appearing in many of his stories. He found Chamber’s story so inspiring that he included the titular character in his pantheon of cosmic beings under the name Hastur.
Director Sam Raimi borrowed the Necronomicon for his Evil Dead series, while John Carpenter used the concept of the deadly book in his film In the Mouth of Madness, ensuring that the universe shared by Chambers and Lovecraft expanded into other mediums.
The King in Yellow made the jump to TV when True Detective’s show runner, Nic Pizzolatto, incorporated names, symbols, and themes from Chambers’s book into the show.
Chambers himself borrowed the names Carcousa, Hali, and Hastur from Ambrose Bierce’s short stories An Inhabitant of Carcosa and Haïta the Shepherd. In his story, Chambers offered a mere glimpse of The King in Yellow play, but the setup bears a striking resemblance to Edgar Allen Poe’s The Masque of the Red Death.
If a piece had a profound impact on your work, why not slip in a mention of it? Stephen King’s short story N, has a character slyly compare his situation to the plot of Arthur Machen’s The Great God Pan (which inspired me to quote it at the beginning of my own novella).
The take away point here isn’t stealing is fine because everybody does it, it’s that influences are for everyone.
My evil clones never do any chores. They just taking over the couch and claim all the video game controllers
If Everything has been Written Before, Why Bother Writing Anything?
If after reading all this you find yourself having an existential crisis, then good. My work here is done. Until next week. I mean, wait.
So what if everything has been done before? It hasn’t been done by you yet. Those stories haven’t been told with your voice, using your life experiences. Your take is going to have some variances. An awareness of what came before will allow you to play with your audience’s expectations, a slight deviation will feel like a full on twist.
So what if your idea shares a setup with something else? Movies are pitched like that all the time. Under Siege is just Die Hard on a boat, Passenger 57 is just Die Hard on a plane, and Home Alone is just Die Hard with a kid. Isn’t it time you stopped worrying about being so fiercely original and wrote a Die Hard of your own?
People don’t passively consume books, they participate in them. They cast themselves in the lead role, acquiring the hero’s goal, going through their evolution, learning all the same lessons. They feel the protagonist’s sense of urgency. They wait until it’s safe to set their bookmark in the page.
Authors need not write choose-your-own adventure novels to get their readers in on the action. When the author sets the scene, the reader chooses the angles. When the author determines the perspective, the reader adjusts the focus. When the author describes the environment, the reader provides the soundscape.
Writers should leave room for these contributions.
I disagree with any literary theory class that convinces students there’s only one way to interpret a story’s symbolism, that only the astute will walk away with the right understanding. I hate discussions that turn everyone’s translation into something uniform, that homogenize the imagination, that turn text into fixed images.
A line of description is worth a thousand pictures. We all see stories differently.
My reading of H.P. Lovecraft’s At the Mountains of Madness is going to differ heavily from yours. My mind’s art department added some after market modifications to the giant penguins, making them more disturbing. Since those blind birds were livestock for something in the shadows, I decided to see them with their eyes seared shut, wings clipped, and ankles fused together in crystalline slime, their feathers dripping with oil and blood. Lovecraft drew up the creature designs, but it’s my inner Industrial Light and Magic team that assembled them.
At the Mountains of Madness
What Reading and Filmmaking have in Common
Film is a collaborative medium. Screenplays are maps, they are not the terrain. There are discoveries to be made by every artist walking down the screenwriter’s path. The screenwriter might have the hero catch the villain’s punch and twist his arm, but the fight choreographer might think it’d look cooler if the villain flipped himself free.
This is why screenwriters are told not to use camera directions like:
PAN TO SILHOUETTE
ZOOM IN ON KNIFE
or EXTREME CLOSEUP – EYES FULL OF PANIC
These lines do the cinematographer’s job for them. Specifics limit the director of photography’s artistic contribution, taking the discovery of the shots away from them.
Screenwriters shouldn’t do the actor’s jobs for them either. Using a parenthetical, a writer could specify the tone of every line, but they shouldn’t. The situation should dictate the delivery. It’s up to the actor and the director to suss out the emotions themselves. Good dialogue leaves room for spontaneity, for the little gems actors give in the spur of the moment.
In the same sense that screenwriters shouldn’t direct from the page, authors shouldn’t do the readers’ job for them. Like film, fiction writing is a collaborative medium.
Fahrenheit 451
How to Leave Room for Your Reader’s Imagination
As writers, it’s our job to illuminate just enough of our environments to let the reader play set designer, matte artist, and lighting department. We layout just enough of our characters’ costumes to leave the reader in charge of tailoring. We identify sounds, but we don’t mark every noise with an onomatopoeia. That’s where the reader gets to play foley artist. We evoke the sound effect, they pull it up from their memory archives. Who are we to debate with readers, when they turn our “muffled thuds” into thunderous crashes in their heads?
When it comes to writing supernatural stories, it’s often best to leave room for abstraction, to describe something seen out of the corner of your hero’s eye, to describe a silhouette, teasing the reader with the details in the dark.
Read Neil Gaiman’s The Ocean at the End of the Lane for a masterclass in supernatural writing. Gaiman doesn’t describe the creatures in this novel down to their molecular level, instead he gives you an impression. Sometimes they’re shadows that disappear the moment the narrator focuses on them. Sometimes they’re so horrifying that the narrator’s memory wipes their image the moment he looks away.
Gaiman gives you an idea of the creatures and asks your imagination to do the heavy lifting. One of my favorite descriptions was something along the lines of, “These ancient creatures weren’t dinosaurs, but rather the buzzards that fed on dinosaurs.”
He leaves just enough of a Madlib for his readers to fill in.
One of my favorite tricks in Gaiman’s tool box is when he has the narrator question his recollection. The narrator wonders how he could’ve ever mistaken his nether-realm nannie’s face for anything but a pile of strategically placed rags, until the light shifted and she was beautiful again. Those fluid descriptions had my mind staging grand productions.
Upon finishing Gaiman’s book, I adored the movie the two of us made in my head. I know The Ocean at the End of the Lane has already been optioned for the big screen, but I suspect I’ll prefer my adaptation to the theatrical one.
When people say, “The book was better than the movie” what they’re really saying is, “My interpretation of the book was more vivid, more involving, and more layered than the movie had time to be.”
They’re not arguing the worth of one medium over another, that’s like comparing apples to oranges, they’re arguing the value of imagination over tangible representation. They’re arguing for their version. This is why I’m not afraid of a scenario like the one found in Ray Bradbury’s Fahrenheit 451, where books fall so far out of fashion that they’re burned. Too many readers care about their own artistic contributions to let that happen.
Films have the power to invoke the imagination, the best leave spaces for their audiences to wander in, but books are always wide open, waiting for your input, your vision, and your additions.
Stephen King says, “Writing is telepathy.” I’d say the best of these messages evolve upon delivery.
All artistic mediums invite participation from their observer, but few offer as much creative freedom as literature.
The bridge was a tunnel of chain length fence. It rattled with every step, a giant slinky bouncing. Waves rippled through the diamond patterns. Industrial lights swung from their hooks. My goggles turned them into spirit orbs, ghosts of urban explores who’d fallen through the gaps. With a GoPro mounted to my helmet, I struggled to maneuver around them.
The miner’s cap was heavy enough already, the camera made it dig deeper into my scalp. It hurt, but nothing chafed like the breathing mask. Tracing my muzzle, its straps cut right through a cushion of facial hair. The apparatus recirculated this morning’s coffee with every breath.
Seventeen stories beneath me, the river raged. This rickety structure was all that kept me from diving into it. I threaded my fingers through the rusty wires, incase the boards weren’t up to the task.
When a swarm of mayflies filled my headlight, I knew I was getting close to the other side. Something gleamed up ahead. It took a moment to recognize the grated treads of a step. The stairway felt even less secure than the bridge. Stretching for three city blocks, it creaked back and forth with every step. My oxygen tank slapped against my back. My bolt cutters hammered against my thigh.
Buried under all this gear, I was feeling claustrophobic already, the sewer pipe at the top of the staircase only made things worse. Someone had lined the mouth with glass. Brushing it aside with the bolt cutters, I leaned in. There was a crunch beneath my kneepad. The path sparkled before me. The last guest must have excreted shards on his way in. From elbow pad to kneepad, I bore the brunt of each of them. My palms pressed the walls, while the oxygen tank scraped the ceiling.
Unscrewing the vent, I lit the basement on the other side. There was a bed of nails waiting for me. Someone had taken a page from the Home Alone school of building security. Too bad they didn’t realize the sewage vent made the perfect platform for an intruder to stand on.
Hopping off the makeshift step, something crackled beneath my boots. There were grains of salt as big as pebbles sprinkled around the entrance. Someone sure didn’t want any of those spirit orbs getting in.
The room was hot and clammy. Sweat trickled into my goggles, pooled at the bottom of my mask, and dripped down my breathing tube.
Chemical stalactites hung from the pipes. Paint chips rolled off the support beams, wedged into cracks in the foundation. The concrete lining the walls had turned to gravel. Twinkling in the air, fibers spilled through a gap in the ceiling. My beam stretched all the way to the roof, where there was a flutter of panicked batwings.
An unholy trinity of toxins were in the air: asbestos, lead, and radon.
Scanning the walls, florescent tags glowed in my beam. There were no words, no gang signs, only esoteric symbols. These ones were unlike any of the charms I was familiar with. There were none of the traditional spiral hands, helms of awe, or grand pentacles to ward off demons.
These symbols were far more intricate, patterns stretching from the floor, up the brickwork, arching over the ceiling. They had impossible symmetry, resembling the complex exoskeletons of marine life, like corals growing on the wall. Their spray painted tentacles didn’t stretch toward me. They stretched away.
This wasn’t a protection spell. It was a binding.
Ever the Boy Scout, I reached into my satchel. With the flick of the wrist, my extendable baton doubled my arm span.
The tentacles led to a spiral staircase. I had some good material, but the footage I’d come for was somewhere up there. The climb did my back no favors. The GoPro forced me to go up hunched over. This put me at eye level with the rusted bolts, rattling with my every step. I felt compelled to push them in every time I looped around.
Half way up, I heard a creaking, followed by a loud crash. Looking down, I saw the stairs collapse beneath me. I ran the rest of the way. Hitting an edge, my helmet got knocked sideways. Sparks flew off my oxygen tank. Nearing the top, I spotted a row of hypodermic needles with their points ready to stick me. Kicking them away, I slid onto the ground floor. The last step fell out from under me.
“A little redundant.” I addressed the facility, “If you didn’t get me with the glass or the nails, what makes you think you’re going to get me with another trap on the floor? If anything you should be trying to get me from…”
It occurred to me to duck. There was a twang. A trip wire snapped. A jackhammer came down on the GoPro, knocking the helmet clean off my head. The light tumbled end over end into the dark. The pummeling pendulum whooshed back and forth.
Jabbing at the dark with my baton, I tried to follow the trajectory of the helmet. I spotted a faint glow. The helmet must have gotten some air before it hit a wall. It cast just enough light to let me see my goggles fill with cobwebs.
Dusting off the helmet, I screwed it back on. I couldn’t help but smirk, thinking about how cool the footage was going to look. That’s when I saw that the floor and the ceiling were covered in the same coral markings as the basement. These florescent tentacles lead toward an empty corridor.
I spoke to the facility, “Your traps say, ‘Go-go,’ but your symbols say, ‘Stay-stay.’”
Someone exhaled beside me. I turned to find a shirtless emaciated figure. His frame was all ribs and hips. His skin was pale enough to glow. His cheeks were littered with cysts. His nose had been broken, the bridge curved like a face in an abstract painting. His eyes had sunk in. The pupils were washed out, nearly gone. When he opened his mouth, a layer of skin streaked across his lips.
He looked to the extendable baton, “Is that your probe? Are you an alien?”
Anticipating my response, his boney shoulders shifted back and forth between fight and flight.
I cocked the baton back, “It is, and I am.”
I put my money on flight. Lunging at me, he bet against the odds. With one swift blow, I called him. He went down like a house of cards, waving his arms, fluttering to the floor.
Blood spurt from his temple, shooting across my boot, painting it red. Then it did something unexpected. Dripping down my toe, the blood left no sign that it was ever there. Running around my ankle, it merged with the other droplets, swirling with the magnetic pull of mercury. Ignoring a dip in the floor, the blood seeped upward along the tentacle patterns. A serpent with a long red tail, rounding the corner into the corridor, weaving from crack to crack. The blood wanted me to follow.
A strange calm came over me, as if the sight of animated blood was soothing. Turned out the encounter had me huffing down the oxygen. I’d have to ease up if my supply was to last through the night.
At the end of the corridor, the blood snake slipped beneath a pair of black doors. I knocked. There was an echo. Whatever was on the other side of this threshold was massive.
The doors creaked open, revealing a field of candles, a vigil the size of a hangar. Stepping into the room felt like walking onto the cosmos. There were no boilers, no vats, and no aircrafts, just a vast garden of light.
Whatever the facility was built for, it had been repurposed. Spinning around, I took in all the footage I could.
Mesmerized by the candles, it took a while to realize there was something wrong with the walls. From a distance, the brickwork appeared to be made of nothing but headers. Stranger still, the courses between them were stacked in intersecting lines, not the strengthening patterns common to buildings of this height. Approaching the wall, I saw that it was riddled with holes and rivets. Not holes, but sockets. Not rivets, but teeth.
These were not bricks. The walls were made from skulls. The facility had been converted into a grand industrial charnel house. There were too many skulls to count, more than enough to account for every missing person in the state’s history.
Wind swirled around me. The candles flickered in a circular pattern, spiraling out to the walls. The room quaked. The skulls rattled. I feared they’d come crashing down on me.
A chorus of voices boomed, “Who dares disturb our slumber?”
The force knocked me to my knees. Candles jut through my fingers. My legs were drenched in a puddle of wax. Struggling to my feet, I gulped. “Drew Chial, aspiring author.”
Their teeth rose and fell, “Why have you contaminated the purity of our domain with your presence?”
“Purity?” I muttered, “Did you see the guy wandering the corridor? You lot must have a lax definition of purity if–”
The room quaked.
I cupped my hands over my mask, “I needed reference material.”
“Reference material for what?” The walls echoed.
I tugged at my breathing apparatus. “A blog entry on how atmosphere can enhance a writer’s scenes.”
“What is this atmosphere of which you speak?” Their voices rang.
Brushing off my knee pads, I raised a finger. “I’m glad you asked.”
Creating Atmosphere on the Cheap: The Ed Wood Method
As a former script reader, I can’t tell you how many screenplays I read that had zero description of their settings. The most the screenwriters would give me was: EXT. CEMETERY – NIGHT, then it was straight to six pages of dialogue. As far as I’m concerned, that’s a radio drama with faces. Film is a visual medium. Give your audience something to look at.
Learning a scene took place in a cemetery, my internal set designer just slapped something together.
Sliding blue gels over the lights, he cranked up smoke machines, dumped dry ice into every nook and cranny. He called for cardboard headstones and Styrofoam angel statues. Teamsters nailed shanty mausoleum facades together. The night sky was reduced to stage lights glowing through black sheets of cheese cloth. The clouds were just colored clumps of cotton.
The landscape my internal set designer threw together was serviceable, but it lacked fine details. It had all the atmosphere of Plan 9 from Outer Space. That’s why I call this the Ed Wood Method of story telling, because it forces the reader to come up with a slapdash backdrop that brings down the value of the rest of the production.
Cemeteries are scary, but you can’t just set a scene there and expect instant fear from your reader. You have to earn your audience’s anxiety by setting up the ambience. Show us something that doesn’t immediately come to mind. Something that tells us you’ve been there, that you know the lay of the land. Something that sets this cemetery apart from all the other ones.
Working for Your Atmosphere: The H.P. Lovecraft Method
H.P. Lovecraft had a talent for staging scenes, warping entrails into pagan symbols in the Antarctic snow, dressing lost cities with tomes of forbidden knowledge, glyphs that hinted at what was coming. He littered The Mountains of Madness with all kinds of evidence, long before letting the reader catch a glimpse of the dark presence.
Lovecraft was an architect building tension, mounting dread. He left empty spaces in his cavernous ruins, dark places for his readers to fill with nightmares. Rather than burn his audience out on confrontations with creatures, he chilled them with atmosphere.
Lovecraft’s favorite word was “indescribable.” He’d lead you to the terror below, describe its tendrils in a blur of movement, and leave you to put the rest of the pieces together. He knew that the best horror stories were a collaborative effort between the writer and the reader. He knew that the audience’s imagination was not a screen to present events, but a canvas filled by the reader’s interpretation.
Lovecraft isn’t known for dialogue or characterization. By all accounts, he was sparse on both fronts, but he was a master of description. Give him a house and he’d fill the walls with rats. Give him an attic and he’d fill the air with things swimming on sympathetic vibrations. Give him a cave and he’d fill it with the remnants of a lost civilization, and the very creatures that did it in.
Building Your Story on the Atmosphere: My Method
When a premise escapes me, I’ll write a description-centric story. When it hits a wall, I’ll describe the scenery. When I’m all out of life events to reference, I’ll mine the places I’ve been. The narrative that opens this blog is a combination of spaces I’ve seen urban exploring. I grafted the chain length fence from St. Paul’s Island Station Power Plant onto Stillwater’s Tall Bridge. I linked a sewage pipe from White Bear Lake to the bowels of the Walker Art Center. I borrowed the dilapidated ceiling from an abandon apartment complex.
I think of these pieces as studies, like list poems, they’re workouts to keep the creative juices flowing. If I have nothing to say, I’ll just interpret the details of something. It might seem like a waste of time, but it keeps me writing. This method is a great tool for chiseling a sculpture out of writers’ block.
Sometimes atmosphere building can develop into plot structure. The combined settings reveal the stages of a journey. They compel me to go back and plant more evidence along the way.
I Dare You: a Challenge for Writers
In Screenwriting 101 we weren’t allowed to write dialogue for the entire semester. Speech was a story telling crutch, the professor wanted us to build up our descriptive muscles.
He tapped a dry erase marker against his palm. “Every week I want you to go somewhere you feel out of place and write about it. I want you to exit your comfort zone and enter the great unknown.”
The first week I downed two pints of Guinness and stumbled into the Church of Scientology to get myself a free personality test. After learning I was depressed and in dire need of an audit, I begged my way into their bathroom. The tester waited outside the door, just in case I wandered off and started taking pictures. I already had all the mnemonic negatives I would ever need.
The next week I explored the deadly Mississippi cave system, where local gangsters hid during prohibition.
The third week I went to a lesbian bar called π. Turned out, I wasn’t all that uncomfortable (not for the creepy reasons you’re thinking). They played good music, had an inclusive vibe, and welcomed me into a dance off.
Every week I added new wings to my memory palace, finding new venues to play out my little dramas. I found the perfect dark alley to stage my crime scenes. I found a water tower that looked like it was built by the Knights Templar. I found a seedy night club, complete with its own bondage dungeon.
I dare you to do the same. Go exploring. You don’t need to find an abandon asylum to get the job done. If your true fear is social situations, get into one. Your alienation will make you a better observer. You’ll notice things others take for granted.
Think about all the aspects of your location that you couldn’t come up with on your own. The ones you had to be there to see, the ones that have the potential to make a setting feel unique. This should teach you which details are redundant and which ones are essential. Don’t let your descriptions read like police reports. Don’t overwhelm your reader with an orgy of evidence. Plant just enough to give them a bad feeling. Their imagination will do the rest.
For more writing tricks, check out: Eavesdropping Advisory for a method for stealing dialogue from rude people, and On Sherlocking for reading the subtext in body language.
What if someone combined the corporate jargon of a Craigslist job posting with the sprawling mythos of H.P. Lovecraft? It would look something like this.
Now that’s a stock photo I can get behind
Necronomicon Translator Wanted (Arkham)
Rapidly growing upstart looking to build buzz around tome of forbidden knowledge, The Necronomicon: The Book of the Dead. Job seekers should have a positive attitude, and be versed in ancient Arabic, Greek, and Latin. We want people who are excited to work with mould ridden manuscripts. People who like to solve puzzles, to piece together the fragments of unspeakable incantations. People with the mental resilience to withstand the inherent dangers that come with studying these texts.
We want individuals with good organizational skills, expert multitaskers capable of micro managing multiple realities. Self-starters who perform well under times of increased workload, and prolonged madness. Help us build a platform from the ground up. We want someone who is passionate about raising brand awareness of the coming darkness.
We want tag lines for the end times. We want to see our hashtags written in blood. We want someone on the cutting edge of the ceremonial dagger. Someone with vision, and by vision of course, we’re referring to the rising blood tide washing away the known world in a new era of delirium.
The ideal candidate has already had a dream about this position. They heard the call of Hastur echoing on howling winds. They saw the pallid mask emerge from phantasmagorical depths. They watched the black stars rise over Carcosa. They felt the yellow sign sear through their flesh, branding their very bones. They awoke with joyful tears, and bloodied hands, cackling at the revelation that we are all but the punchlines of the Old One’s elaborate joke.
Candidates must love working with people, have extroverted personalities, and be eager to form lasting relationships. Must have excellent interpersonal and interdimensional skills. Must be able to communicate clearly, concisely, and telepathically. Candidates should have a background in social media, networking, and astral projection.
We want individuals with winning mindsets, eager to succeed in a constantly shifting ecosystem.
Your duties will be to oversee parchment translation, marketing support, and the shoggoth servants that roam the labyrinth halls of Necropolis. You’ll run a web crawler to index the crawling chaos of Nyarlathotep, the Pharaoh behind the firewall. This is a great job for people looking to improve their networking skills. This position serves as a liaison to the denizens of K’n-yan, the tombs of R’lyeh, and the dark throne of Azathoth at the center of chaos.
We work in an open office built on terrifying vistas of reality. Our corporate culture is modeled after the Esoteric order of Dagon. This means our brainstorming sessions result in actual storms, and our problem-solving sessions have a death toll. We’re looking for team players who thrive in a group environment. People who will embrace the opportunity to contribute creatively, independently, and sexually, offering their flesh to the Deep ones and the many fins of Father Dagon.
Candidates must be punctual. Work days begin with peer recognition, a declaration of goals, and a ritual sacrifice to Mother Hydra. Together, we give fearless feedback, exchange pointers on best practices, and discuss positive client experiences. We encourage individuals to tell us what they wish to improve on, what they wish to learn, and what they wish to behold once Yog-Sothoth lifts the veil from the dark portal separating us from the looming cosmic dread.
We believe that our employees are our family, that collaboration multiplies opportunity, that together we can threaten the very integrity of the universe.
Cthulhu lies on the ocean floor deep in slumber. We need self motivated individuals to give him a little poke, to decipher enough arcane script to bring his mass of tentacles to our shores. We require exceptional verbal and written communication skills, and a technical proficiency in blasphemy. We want individuals who think like entrepreneurs, who will dive into the black sea of infinity from the placid island of ignorance. Individuals who don’t wait for Cthulhu to rise, they swim out to meet him.
It’s that proactive approach that empowers our translators to work on their personal development with minimal supervision. It’s the simplicity of our credo that inspires this growth. That’s because there’s just three core competencies: the Old Ones were, the Old Ones are, and the Old Ones shall be.
“In his house at R’lyeh dead Cthulhu waits dreaming.” Will you be the one to give him a wake up call?
Do you have good time-management skills, a strong morale, and an even stronger work ethic? Are you looking for an exciting career opportunity in the extremely private sector? Are you outspoken about stretching the boundaries of human consciousness? Do you want to abandon the hallow vestibules of man’s domain? Do nocturnal insects whisper profane truths to you? When you close your eyes, do you see the King in Yellow parting the nameless mist on the path to the Red Death? Can you drink the Kool-Aid without asking what’s in it?
If you answered “yes” to all of the above we need to talk!
Qualifications:
Must submit to a background check into your past lives with onsite regression hypnotherapist
Must have references that can attest to your whereabouts during every international tragedy that took place during your lifetime
Must be willing to relocate to our subterranean headquarters beneath the ruins of Babylon
Valid Pilot’s license
Moral flexibility
Ability to write CSS, HTML5, Flash, and ancient Sumerian
* Location: Arkham, Massachusetts
* Compensation: The privilege of being one of the first to be devoured by the dark lord Cthulhu
* Principals only. Recruiters, please don’t contact this job poster
* do NOT contact us with unsolicited services or offers
* Start Date: You’ve already begun
Laptop rage has nothing on Necronomicon rage
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