A Conversation on Horror

by Carlos Savournin

What is horror? Defined as, “a painful emotion of fear, dread and repulsion,” in essence, horror doesn’t have to be the monster in your nightmares or the demon under your bed. It could be that kiss your Aunt Edna smothers you with every year at the family reunion, or the feeling you get when it’s time for your yearly review.

For a reader, horror is that hesitation to turn off the lights after reading a novel by Stephen King. It’s what fuels their imagination when they step into the world of the unknown. It’s a roller-coaster ride that thrills the mind – forever staining them with the memory of what they’ve been shown through the carefully selected words of the author. It is, in my opinion, the most intriguing of genres. What we do not understand is both interesting – and terrifying.

To a writer, horror means fantasy – the core of all fiction (some even refer to horror as “dark fantasy”). Nearly all stories have elements of horror – whether it’s Snow White or a legal thriller by John Grisham. Horror is everywhere - in daily newspapers and on television screens. Writers define horror as fantasy because the definition of fantasy is a composition not conforming to the usual rules of reality. Can’t horror be defined in the same fashion?

Ask a writer how they style their horror, or dark fantasies, to scare readers out of their minds, and most writers will run out the door without answering because although horror is one of the most popular genres, it’s not the easiest to write. Why? Because it’s all been done before. In a day when the news can be horrifying, what can a writer do to genuinely scare readers and moviegoers alike? Horror novels have been reduced to the equivalent of leftovers, where writers attempting their hand at horror are doing nothing more than recreating someone else’s work. Horror movies resort to the stinger scares (the type that makes you jump out of your seat) to frighten audiences instead of getting them where it counts; under their skin and into their minds.

So, what’s left for the horror market? Can writers salvage the dark fantasy realm and scare their audience the way they used to? I sat down with my agent, Gina Panetierri of Talcott Notch Literary Agency, and we had a very enlightening conversation about horror.

CS: Horror has a way of reinventing itself time and again. It was popular when the slasher films like Texas Chainsaw Massacre, A Nightmare on Elm Street, and Halloween were introduced, then it died down. Then came what was referred to as new-age horror with movies like Scream and I Know What You Did Last Summer. Suddenly, there was this boom, and horror was back on top. They say horror is dying down again, but you look at this summer’s box office numbers and both sci-fi and horror dominated with Matrix: Revolutions, and Terminator 3. The only movie to stay at number one for two straight weeks was Freddy vs. Jason. There’s something about horror that keeps us begging for more. It has its cycles and it resurrects itself. What is your take on today’s horror market compared to that of yesterday’s? Would you say that horror has reached its peak and is on a downfall?

Gina Panetierri: It's down from what it was in the 80's and early 90's, in both sheer numbers of titles and average print runs, but all fantasy and science fiction has been similarly affected. I have my own theories on the impact of the internet on readership, since the demographics of the readership of these genres are also the heaviest internet-users now. Horror films are currently experiencing resurgence, though it's a constant cycle. Will horror fiction see a similar come-back? Certainly, it's possible. Middle-grade readers who pushed Harry Potter into astronomical sales numbers may translate into a late teen and early adulthood readership for fantasy and horror.

C.S.: What factors do you look for when representing a horror novelist?

G.P.: What I look for in horror is the same as what a reader would appreciate. Sympathetic protagonists are a must. If I'm going to care whether the character survives the danger, I have to like him. More over, if it's someone the reader can relate to and who seems familiar, we can become more emotionally-engaged with the story, and the horror is then more palpable.

C.S.: One of the largest obstacles I had to overcome when I first began writing was that horror in itself is not a genre, but an emotion. It is made up of its place, its time, and most importantly, its characters. So, if a reader must care about the characters in order for horror to be effective, does the same rule apply to the “villain” of the story?

G.P.: It isn't necessary for the villain to be sympathetic. It can be a dark force that has no other characteristic. However, a villain who is multi-dimensional is much more intriguing to the reader. Hannibal Lecter is both horrifying and fascinating, and on some levels, appealing. A villain can also be created from a character the readers previously found sympathetic. In Salem's Lot, King creates vampires of babies and best friends. It humanized the villains and created emotional conflicts among the survivors. The horror takes on new dimensions and a haunting quality that makes it unforgettable.

C.S.: I once read that a villain in any story is the hero of his own. That can mean many different things to whoever hears it, but I think it means that each villain should have a history; a reason for doing what he or she is doing. While writing my book, I kept that in mind and created a past so in-depth for my villain, I could write a whole other novel just about him. But, most horror today involves unrealistic themes or monsters who have the ability to return from the dead time and again. Do you think reality is an important part of the horror world?

G.P.: The horror must be believable, no matter how fantastic or inconceivable it would be normally. That's the writer's task; to make the supernatural or unnatural and horrific elements seem authentic in the situation. Often, this is accomplished by first introducing your protagonist in everyday life, letting your reader feel safe and familiar, and then introducing the horror slowly in an escalating fashion so that the protagonist and reader must both come to grips with it together. By showing the protagonist working through coming to accept and understand what is happening, the writer is allowing the horror reader to also accept the otherwise unbelievable.

C.S.: People don’t want to read about the regular work day; it’s not nearly as intriguing as reading about vampires or werewolves, but those stories have been done time and again. To write something that can actually happen – or at least seem conceivable, that’s more of a challenge, and the reader will believe it more than if you introduce them to yet another Frankenstein.

G.P.: And [the horror] must be gripping. Escape or survival should seem almost impossible. Thus, the element causing the peril should seem more powerful than its human victims, and should appear unstoppable and invulnerable. Readers find the basic 'inhumanity' of the horror, the lack of compassion, pity or conscience, to be very chilling. We cannot reason with it, and no one is excluded from its reach.

C.S.: Another important factor in horror writing is the power of suggestion. I can think of dozens of films and novels in which the horror became outright ridiculous once the blanket had been pulled and the monster was revealed. The element of surprise and random acts of unpredictability can go a long way when the reader doesn’t fully know who or what is causing the horror. The unseen is more horrifying; and it doesn’t have to be a ghost or the invisible man. It could very well be a living, breathing human being causing all the trouble – but as long as the reader doesn’t know that, the horror is still alive.

G.P.: Right.

C.S.: When it comes time to close the book, most readers are often cheated with a quick endgame; an ending that either leaves them hanging for the sequel or one that seems too simple. How can writers avoid that?

G.P.: The way the horror element is overcome cannot be too simplistic. While War of the Worlds depended upon a simple virus to stop the alien invaders, I personally don't find that satisfying. I want the protagonists to have to use intelligence, cunning and skill to defeat the adversary.

C.S.: What would you say to a newcomer who’s trying his or her hand at writing the perfect horror?

G.P.: Quality will always sell. Be inventive, push the envelope, make your readers think as well as fear, and there will always be a market for you.

So, is it easy to write that perfect horror that will stay with us when we leave the theater or turn off the lights? No. But is it possible? It certainly is. The better news is that it does not have to be type-cast.

The horror market does fluctuate, but it still exists because humans have the natural tendency to explore the unknown. Even though we’re scared, we’ll still look through the dark room with nothing more than a flickering candle to light our way. It’s in our instinct, and, let’s be honest, it’s much more comforting to watch, or read about someone else doing it.

Whatever your description of horror – be it war, prejudice or monsters, you now know what you need to create it: Real, believable characters, a villain with a past, a gripping story, and a satisfying ending. And if you’ve read anything related to the writing field, you’d know that those are the exact ingredients needed for any kind of story. The difference here is that you want to reach your audience in ways they cannot be reached otherwise. You want them to question reality. You want them to be uncomfortable.

Most importantly, you want them to be scared.

Special thanks to Gina Panettieri of the Talcott Notch Literary Agency (www.talcottnotch.net).

Carlos R Savournin lives in Miami, FL and is currently working on his second novel. You can read an excerpt of his first entitled NEVES by visiting his website at - http://home.bellsouth.net/p/PWP-crsavournin or e-mail him at crsavournin@bellsouth.net