creative writing horror unit

Tim Kane Books

Strange is the new normal, how to write creepy scenes to make your readers squirm.

Most writers who delve into horror hit the prose with a bag of clichés and heavy handed stage props—swirling fog, glowing eyes, wicked laughs. Don’t get me wrong, camp can be great (if it’s intentional). However, a more subtle approach can work wonders.

Add Details One by One

Use disturbing details or reversals when describing your scenes. Each one, taken by itself, does little, but in combination, they imbue the reader with unease. Consider Cold Skin by Albert Sánchez Piñol. Here an unnamed narrator just inhabited a weather station on a deserted island.

Just then, I heard a pleasing sound far off. It was more or less like a heard of goats trotting in the distance. At first, I confused it with the pattering of rain; the sound of heavy and distinct drops. I got up and looked out of the closest window. It wasn’t raining. The full moon stained the ocean’s surface in a violet hue. The light bathed the driftwood lying on the beach. It was easy to imagine them as body parts, dismembered and immobile. The whole thing brought to mind a petrified forest. But it wasn’t raining.

Reversal : The narrator thinks it’s raining, but then there’s no rain. We wonder what’s creating that pattering sound, and the not knowing makes us uneasy.

Disturbing details : The water is stained violet, a bloodlike color. This idea is cemented in the reader’s skull with the driftwood, described as dismembered limbs.

Let the Character Freak Out

Nothing creeps out a reader faster than letting the protagonist freak out. Ever wonder why there are so many screams in horror movies? It’s the same thing. As an author, you must find the written equivalent to the scream.

In Bag of Bones by Stephen King, the protagonist, Mike Noonan, begins to believe that his house is haunted. He’s in the basement and hears the sound of someone striking the insulation, but no one else is home.

…every gut and muscle of my body seemed to come unwound. My hair stood up. My eyesockets seemed to be expanding and my eyeballs contracting, as if  my head were trying to turn into a skull. Every inch of my skin broke out in gooseflesh. Something was in here with me. Very likely something dead.

King lays it on thick here. Instead of one physical reaction, he dumps the whole bucket on us. He doesn’t dazzle us with a etherial decaying corpse. We won’t even see the ghost till the final chapters. No. He tells us how Noonan feels just in the presence of the thing and that’s what creeps us out.

Another example of the character freaking out can be seen in Shirley Jackson’s  The Haunting of Hill House .

Now we are going to have a new noise, Eleanor thought, listening to the inside of her head; it is changing.  The pounding had stopped, as though it had proved ineffectual, and there was now a swift movement up and down the hall, as of an animal pacing back and forth with unbelievable impatience, watching first one door and then another, alert for a movement inside, and there was again the little babbling murmur which Eleanor remembered; Am I doing it? she wondered quickly, is that me? And heard the tiny laughter beyond the door, mocking her.

Here the character doubts herself and what she sees. This is essential to any horror story. When weird things happen, the character mysteries react accordingly. The stranger the situation, the stronger the reaction. And most of us would doubt our sanity in creepy situations.

Let The Reader Do the Imagining

Why should you, the author, do all the heavy lifting. Your reader’s imagination will often fill in the blanks for you. Take this example from Stephen King’s The Girl Who Loved Tom Gordon .

As she reached the driver’s door of the cab, which hung open with vines twisting in and out of its socket of a window, lightning flashed again, painting the whole world purple. In its glare Trisha saw something with slumped shoulders standing on the far side of the road, something with black eyes and great cocked ears like horns. Perhaps they were horns. It wasn’t human; nor did she think it was animal. It was a god. It was her god, the wasp-god, standing there in the rain.

Notice that the monster is only vaguely described. It’s called “something” twice. This lets the reader fill in the blanks. There is enough description that we at least know it’s a big hulking creature. This is the literary equivalent of when Ridley Scott only showed glimpses of the alien in Alien .

Use Strong Verbs

Finally, strong verbs will help any writer to shine, but they can also allow one character to shine over another. Take this excerpt from William Blatty’s The Exorcist .

Regan’s eyes gleamed fiercely, unblinking, as a yellowish saliva dribbled down from a corner of her mouth to her chin, to her lips stretch taut into a feral grin of bow-mouthed mockery.

“Well, well, well,” she gloated sardonically and hairs prickled up on the back of Karras’s neck at a voice that was deep and thick with menace and power. “So, it’s you … they sent  you !” she continued as if pleased. “Well, we’ve nothing to fear from you at all.”

“Yes, that’s right,” Karras answered; “I’m your friend and I’d like to help you.”

“You might loosen these straps, then,” Regan croaked. She had tugged up her wrists so that now Karras noticed they were bound with a double set of leather restraining straps.

“Are the straps uncomfortable for you?”

“Extremely. They’re a nuisance. An  infernal  nuisance.”

The eyes glinted slyly with secret amusement.

Karras saw the scratch marks on Regan’s face; the cuts on her lips where apparently she’d bitten them. “I’m afraid you might hurt yourself, Regan,” he told her.

“I’m not Regan,” she rumbled, still with that taut and hideous grin that Karras now guessed was her permanent expression. How incongruous the braces on her teeth looked, he thought. “Oh, I see,” he said, nodding. “Well, then, maybe we should introduce ourselves. I’m Damien Karras. Who are you?”

“I’m the devil!”

Notice the verbs that Blatty uses with Reagan — gleamed, dribbled, gloated, croaked, rumbled. In contrast, the more calm individual in the scene, Karras, responds with simple verbs like “answered” and “saw”. The contrast allows the reader to see Reagan as disturbing.

If you want to make your readers squirm, reading only in daylight hours, shy away from the obvious gore and claptrap. Rather, take the quieter road of tiny disturbing details built up over pages and chapters. Show how your character reacts to what’s happening, and the reader will feel it too.

Strange News Signup

Arkane curiosities: five minute reads on mythology, legend, and supernatural history delivered monthly to your inbox.

Thank you for sign up!

Share this:, 3 comments on “ how to write creepy scenes to make your readers squirm ”.

Thank you so much, this was so useful

You are so welcome.

Leave a Reply Cancel reply

Discover more from tim kane books.

Subscribe now to keep reading and get access to the full archive.

Type your email…

Continue reading

• Short Stories
• Vocabulary Acquisition
• Creative Writing
• Quick Strategies

The Teachers' Library

English language arts resources and practical strategies, gothic horror complete unit.

We begin by analyzing the historical context of the genre, as well as identifying common Gothic Horror motifs.  We focus heavily on identifying and interpreting uses of imagery, and using mentor sentences to write descriptively.  To hit on some grammar objectives, we also use the mentor sentences to expand simple sentences into compound and complex sentences, with a focus on punctuating simple, compound, and complex sentence  accurately.

As a summative assessment, students workshop their own creative writing piece inspired by Gothic Horror to showcase what they have learned about the motifs and conventions of the genre.

Download Resources

*Note: Many of these 18th and 19th century texts have copious sophisticated vocabulary, so if you plan to have students reading these texts independently, try this handout for reading for vocabulary .

Thrills! Chills! Using Scary Stories to Motivate Students to Read

• Resources & Preparation
• Instructional Plan
• Related Resources

This lesson taps into students' desire to read scary stories and, at the same time, helps them explore story structure and develop critical thinking skills. Students examine story elements (e.g., character, setting, plot) through teacher read-alouds and independent reading. Reader-response journals and graphic organizers prepare students for the culminating activity-the creation of their own scary stories. While this lesson uses the Goosebumps series as a model, it can be conducted using any scary story. Goosebumps books should be an easy read for most students at this level, so even struggling readers can actively participate in this lesson.

Featured Resources

• Interactive Venn Diagram : Students will use this interactive tool, along with their completed Character Descriptions Organizers, to help them compare and contrast the main character and villain.
• Interactive Story Map : Students will use The 5 W s of Scary Story Writing to identify and describe the story elements (i.e., character, setting, conflict, resolution) and then type their responses into the interactive tool.
• How to Write Your Own Scary Story : Students will use this handy sheet to brainstorm ideas for a story plot, choose a villain, and write a surprise ending for their own scary stories.

From Theory to Practice

• Children choose to read scary stories for pleasure, and the new juvenile horror genre has become extremely popular in the past decade. The Goosebumps books, in particular, deliver an emotional punch; they have fast-paced plots, suspense, and dramatic power.
• Teachers can use students' expressed interest in scary stories to engage them in worthwhile instructional activities, such as the study of various story elements and structures.
• After analyzing the key elements of scary stories, students can apply their knowledge by writing their own scary stories.
• Studying scary stories in class can help students employ the skills and strategies they are learning, while at the same time, increase their reading competency and their desire to read.

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 1. Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
• 3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
• 4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
• 5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
• 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Materials and Technology

• Class collection of Goosebumps books
• Chart paper and markers
• Folder for each student
• Overhead projector and transparency paper
• Journal Rubric
• Writing Rubric
• Goosebumps Anticipation Guide
• Scary Story Characteristics Web
• Character Descriptions Organizer
• The 5 Ws of Scary Story Writing
• Journal Assignments
• How to Write Your Own Scary Story
• Reflections On My Scary Story
• Literature Guide Questions
• Scary Stories Booklist

Preparation

Student Objectives

Students will

• Activate prior knowledge about scary stories by completing an anticipation guide and characteristics web
• Develop an understanding of scary story elements and strengthen critical thinking skills by listening to a read-aloud and examining the story's setting, characters, plot, and ending
• Recognize descriptive word choices and details that contribute to the effect of a scary story and apply those descriptive elements to the writing of their own scary story
• Respond and make personal connections to a story by completing a written reader-response journal
• Make reading and writing connections by demonstrating their understanding of scary story elements through the writing of their own scary story
• Apply the writing process by brainstorming, prewriting, peer editing, revising, and publishing their scary story

Instruction and Activities

Introduction

• Distribute folders and the Goosebumps Anticipation Guide , and have students complete the before column with a partner, then share their responses with the class. At the end of the lesson, students will return to complete the after column. Have students place the anticipation guides in their folders. This is where they will keep all of their work during the lesson.
• Activate prior knowledge by asking the class: "What scary stories have you read?" "Which were the scariest?" "Who are some authors of scary stories?" "Why do you like to read scary stories?" "What makes them scary?" Point out that scary stories also include mysteries, adventure stories, and survival stories.
• Have students brainstorm the characteristics of a scary story while you write their responses on the Scary Story Characteristics Web you prepared earlier. Discuss why plot, setting, descriptive writing, characters, and suspense are important to a scary story.

Exploration of Story Structure Each day read several chapters aloud from your selected Goosebumps book. As you read, stop intermittently and think aloud about how various story elements affect the scariness of the story. Refer to the Literature Guide Questions and encourage students to discuss and think critically about the setting, characters, plot, and mood of the book to determine what makes it scary.

Setting and descriptive words

• Tell students that authors of scary stories often use setting and word choice to create a disturbing mood or atmosphere.
• Set up a chart paper with two columns. As you come to words or phrases in the text that describe the setting, write "when" words (e.g., Halloween, midnight) on the left side and "where" words (e.g., basement, haunted house) on the right side. How are these words clues about the setting?
• On a second sheet of chart paper, start a list of descriptive words and phrases that convey fear in the story. This list may include words and phrases that describe the sounds, places, things, or people in the story (e.g., a face in the window, a stormy night, creaky stairs, people wearing black). How do these words and phrases add to the mood of the story?
• Continue reading aloud, stopping intermittently to identify key descriptive words or phrases that convey a scary setting or mood, and continue to model by thinking aloud how these words contribute to the scariness of the story.

Character description

• Tell students that much of a scary story's suspense is conveyed through the characters' thoughts, words, actions, and reactions to events and other characters.
• Continue modeling as you read the book, this time focusing on descriptive words about the characters. Have students draw conclusions about the main character and villain by using the thoughts, actions, and words of each character. Have students add these words to the ongoing descriptive words list.
• Distribute the Character Descriptions Organizer , and help the class identify the characteristics of the main character and villain on an overhead transparency. Students should keep their copies of the organizer in their folders.
• Take the class to the computer lab or have students work at classroom computers. Have students use their completed Character Descriptions Organizers to help them compare and contrast the main character and villain using the interactive Venn Diagram . Remind students to print and place their Venn diagrams in their folders.
• As you read aloud, have the class notice how the plot unfolds and how the author creates suspense.
• Distribute The 5 W s of Scary Story Writing and help students identify the story's details on an overhead transparency. Have students add the completed 5 W s organizer to their folders.
• Have students use The 5 W s of Scary Story Writing to identify and describe the story elements (i.e., character, setting, conflict, resolution) and then type their responses into the interactive Story Map . Have students print and place the story maps in their folders.
• Before reading the final chapters, have students predict what they think will happen.

Once you have finished reading the scary story, lead the class in a discussion and review using the After Reading section of the Literature Guide Questions .

Independent Reading and Journal Assignments

• Ask each student to choose a Goosebumps book from your classroom library to read independently. Encourage students to browse BookHooks.com: R.L. Stine reviews to aid in the selection of their books.
• Have students preview their books by examining the front and back covers. Ask them to make predictions about their books based on the preview.
• Allow students time to read their books independently. Adapt a timeframe to fit your students' needs and abilities. Ask students to read a minimum of 30 minutes each night. Also provide 10 to 15 minutes of independent reading in class each day so you can monitor their reading.
• Distribute and explain the Journal Assignments Journal Rubric so that students will know how they will be evaluated before they complete the assignments. Students should complete one to two journal entries each night after they read, or work at their own pace to complete the journal assignments.
• Each day, promote discussion through the use of cooperative groups. Allow students to talk about what they are reading and to share their journal responses with their groups. Ask volunteers to read excerpts from their books that support their responses.

Writer's Workshop

• Have students read "How to Write Your Own Give Yourself Goosebumps Books" on the R.L. Stine website.
• Discuss how authors' ideas usually come from real life. Discuss interesting "what if" situations from your students' lives. What would be a good idea for a scary story that happened in real life?
• Review the descriptive word charts that are displayed around the room and the graphic organizers that you completed during the read-aloud. Students should also review their individual journal assignments.
• Distribute and discuss the How to Write Your Own Scary Story worksheet and the Writing Rubric so that students will know how they will be evaluated on this part of the lesson. Walk around the room and monitor students' progress as they brainstorm ideas for a story plot, choose a villain, and write a surprise ending.
• Provide class time for students to write their own scary stories. Remind students daily to review the various charts and organizers from their previous work to aid in word choice and plot development. Help students as needed by providing feedback and suggestions for improvement.
• Divide the class into pairs and have students evaluate their stories using the Writing Rubric. If students are unfamiliar with the peer-editing process, suggestions are available in the ReadWriteThink lesson, "Reciprocal Revision: Making Peer Feedback Meaningful."
• After the peer-edit session, students should revise their work as necessary.
• Ask student volunteers to read their scary stories to the class. Turn the lights down and play spooky music while students read aloud.
• Put students' scary stories into a class anthology and share them with other classes.
• Have students read another Goosebumps book and use the interactive Venn Diagram to compare and contrast the two books.
• Visit the Poe Museum to introduce other mystery books, authors, and genres to extend reading.
• Have each student write a short review of the book he or she read during the lesson on an index card. Reviews should include the book title, a brief description of the story without revealing the ending, and the student's opinion of the book. Students can then share their reviews with their classmates.
• Have students visit the R.L. Stine website to learn more about the author. Provide a writing activity, such as listing facts learned about the author.
• Have students use the Mystery Cube to practice identifying mystery elements from the book they read for this lesson or another mystery. They can also use this tool to plan the plot of their own mystery.

Student Assessment / Reflections

• Have students complete the Reflections on My Scary Story sheet.
• Have students complete the after column on the Goosebumps Anticipation Guide , and compare their before and after responses. Did any of their answers change? Go over the correct answers with the class. All answers are true, except #4 and #5.
• Collect students' scary story folders to evaluate their graphic organizers, worksheets, and prewriting notes.
• Use the Journal Rubric and Writing Rubric to assess students' work.
• Calendar Activities
• Student Interactives

The Story Map interactive is designed to assist students in prewriting and postreading activities by focusing on the key elements of character, setting, conflict, and resolution.

This interactive tool allows students to create Venn diagrams that contain two or three overlapping circles, enabling them to organize their information logically.

• Print this resource

Explore Resources by Grade

• Kindergarten K

Helping Writers Become Authors

Write your best story. Change your life. Astound the world.

• Start Here!
• Story Structure Database
• Outlining Your Novel
• Story Structure
• Character Arcs
• Archetypal Characters
• Scene Structure
• Common Writing Mistakes
• Storytelling According to Marvel
• K.M. Weiland Site

Genre Tips: How to Write Horror

As you may remember, I crafted the series around the five major genres to which I felt I could bring value (those being  Fantasy ,  Romance ,  Historical ,  Mystery , and  Literary ). One major genre I did not feel qualified to write about, simply because I don’t read or watch much of it, is Horror. In response to my mentioning this in the series’ opening post, Horror aficionado Oliver Fox stepped up to go deep in a guest post on this popular genre.

Today, I’m happy to share with you  a thought-provoking and thorough examination of this archetypal genre. 

In the post, Oliver talks about  important tips and tricks for structure and theme in Horror, as well as the symbolic “character triad” of the Haunted House, the Average Joe, and the Monster.

Keep reading for more!

Horror may be the least understood and most maligned genre. It is usually portrayed as revelry in violence, gore, and nihilism, and thus something immoral—perhaps even wicked. Or horror stories are thought of as loose narratives punctuated by a series of jump-scares. Sadly, these are accurate portrayals of many stories that have become mainstream in the horror genre. However, it’s worth considering whether glorying in the darkest human tendencies is necessary or even desirable in horror.

My aim is to determine the essence of horror and explore it using stories that provoke our deepest fears without relying on our reactions to surprises, deformity, and death. I believe great horror aims for more lingering types of fear brought about by experiences of the Uncanny and the Unknown, unsettling us and filling us with dread. Thus, equipped with a more nuanced understanding of horror, this article will explore how to write horror.

Now that we have a better idea of what isn’t necessary to horror, let’s consider what the genre’s essential qualities are and how to write horror using the Big Three of storytelling as our guides: Character, Plot, and Theme.

3 Tips for How to Write Horror

Character triad in horror: the haunted house, the average joe, and the monster.

The Haunted House

In this article, I’m treating the setting as a character , which isn’t unprecedented; the idea of setting as character has existed for a while. Like a human character, a setting that is a character has a past with consequences that linger into the present. Through an understanding of the setting’s past and present, we get hints how it might interact with the characters within—what it might “do” to them in the future.

The archetypal horror setting is the Haunted House. The setting doesn’t have to be a literal house—it could be anything: a derelict research lab, a stranded spaceship, or an arctic research facility. What’s most important are a few key features.

The Haunted House must be:

• Disempowering
• Evoke a sense of Lingering Dread because of some terrible past events that occurred there—although often that past isn’t immediately apparent.

The horror setting is haunted by its past, perhaps metaphorically (in that there are still hints and vestiges of said past) or perhaps literally (by something monstrous tethered to it, actively stalking its corridors).

For Example: In the film Alien, there are two Haunted Houses. The first is the planet where the Nostromo ’s crew lands to investigate the source of a signal. There, they discover a collection of unsettling tableaux: a crashed spaceship, within it a fossilized humanoid alien, and a room full of large, leathery eggs. Nothing is actively stalking the setting, but the Nostromo ’s crew can tell this was the site of some horrific event. While on the planet, one of the crew members foolishly tinkers with the eggs and becomes host to a parasite which injects him with an embryo. Soon the embryo gestates, bursts from the unfortunate crewman, and begins actively haunting the Nostromo , picking off the crew one by one.

Alien (1979), 20th Century Fox.

The Average Joe/Jane

In many genres, the protagonist is someone extraordinary , whether in capabilities or because of some special origin and destiny. However, this trope doesn’t work for horror. In horror, the protagonist ought to be exceptional only in a lack of any capabilities or resources. This is to emphasize their vulnerability as they navigate the Haunted House and face the Monster, increasing the audience’s concern for their safety. Think about it: a story about Thor going up against a Japanese ghost girl inspires zero tension, no matter how spooky the ghost is. To build tension, we need to be acutely aware of the protagonist’s helplessness.

For Example: In the book and film Rosemary’s Baby, Rosemary is a young stay-at-home wife pregnant with her first child. Rosemary has recently moved into a new building where she knows no one. Virtually everyone marginalizes and disenfranchises her: her new neighbors gaslight her whenever she raises concerns about strange goings on, her doctor insists she ignore her instincts about her pregnancy, and even her husband abuses her. Rosemary is disempowered in every way imaginable and has no one to turn to when she realizes she and her child are at the center of a cultic conspiracy. With the odds stacked against Rosemary, we can’t help but fear for her safety.

Rosemary’s Baby (1968), Paramount Pictures.

The Monster

The Monster is the central figure in all horror stories. According to horror philosopher Noel Carroll, a horrific monster is anything outside the natural order.

It is unnatural because it is a:

• Fusion of opposites (eg., vampires, who are simultaneously dead and alive).
• Fission. This indicates oddly paired or sequenced elements (e.g., werewolves, who are humans most of the time but can change into creatures capable of indiscriminately murdering loved ones).
• Formlessness . These are misshapen (even shapeless) creatures, which break down our established categories (e.g., a sentient blob or mist consuming everything in its path).

But Monsters can’t be just unnatural; they must also be morally impure deviants. Deviant Monsters willfully upend moral values by indulging in harmful taboos, such as acts of violence toward the self and others. Such moral monsters are the perverse mirror image of a hero. Just as heroes represent an idealized vision of humanity who sacrifice their own desires for the needs of others, deviant monsters are vicious in every way, sacrificing the needs of others for their own desires.

For Example: One film that features a Monster in which all three categories are combined into one terrifying creature is The Thing . The Thing is a fusion of opposites: an alien virus that perfectly replicates the infected host at the cellular level, so the resultant hybrid organism is convinced it is still whatever it was originally… until the dormant virus feels threatened. That leads us to fission. The Thing usually appears as a perfect doppelgänger of the organism it has infected, but if it fears it has been found out, it will rip apart the host and repurpose body parts as weapons or extra limbs so it can escape. Third, when the Thing dismantles its host, the person’s appearance becomes misshapen to the point of formlessness. Finally, the Thing is morally impure because it inflicts violence on its victims at every level of their being by invading their bodies, destroying them, and co-opting their constituent parts to serve its own purposes.

The Thing (1982), Universal Pictures.

Story Structure in Horror: Tension-Release Cycles

When writing horror, the temptation is to dive headlong into the action, to throw the Average Joe into the Haunted House straight away and cut loose the Monster. However, the audience needs time to connect with the protagonist, to unravel steadily the mystery of the setting’s dreadful past, to wonder what kind of monster lurks just out of sight. That may all sound counterintuitive, but consider this: if you don’t know the characters well enough to care about them, are you going to worry when a Monster stalking them from the shadows of the Haunted House? If we know all the gruesome details about the setting’s past from the get-go, it’s like working a puzzle with detailed instructions on hand; we won’t get the sensation of dawning comprehension—we don’t experience the chilling realization, “Oh, _______ happened in this room. This place was for _______!” If we are familiar with the Monster too early on—its appearance, methods, and intentions—it is demoted to the status of a typical villain.

To create tension, skilled horror writers set up the expectation of something terrible happening while ensuring the audience can’t predict when it will happen. The buildup to a scare is as important as the scare itself. Let the audience do the work of building tension for you during the long, quiet moments by filling these stretches with false threats: moving shadows, deceptive images in mirrored surfaces, background noises, etc.

Okay, so build tension, then let all heck loose and keep it coming nonstop , right? Nope! Just as it is essential for tension to build to a breaking point in horror, so too should we ensure the audience is given time to recuperate and catch their breath before introducing the next scare. Otherwise, you risk exhausting them until they are emotionally spent by the time you reach the final confrontation with the Monster.

For Example: Stephen King’s IT brilliantly shows each aspect of the tension-release cycle in horror. The story opens by introducing each member of the Loser’s Club, giving you time to get to know them enough that you care about their safety. We then see a brief encounter with the monster, IT—just enough that we have some sense of what he’s done, but not to where we fully understand the extent of ITs intent and capabilities. Then we move on to the next member of the Loser’s Club. This cycle occurs for each character, creating emotional peaks and valleys. The setup for a new character’s story functions as the emotional valley for the previous character’s tension-release cycle.

Theme in Horror: Facing the Monsters Within

Writing Your Story’s Theme (Amazon affiliate link)

For me, all these elements come together to suggest that horror, at its best, holds up a mirror to the audience, helping them consider a central thematic question: what is monstrous within themselves and how can they overcome that monstrousness?

The horror protagonist is ordinary, as are we, allowing us to  empathize with them. They become our avatar. The Haunted House represents self-reflection, a place wherein we feel alienated, isolated, and disempowered because we are alone with ourselves. The Monster is an embodiment of the worst aspects of ourselves, the things we keep hidden from the rest of the world out of shame; these are our darkest desires run amok, haunting our conscience.

If we apply this theory at every level while designing our Horror story, we can create a truly rich narrative. For example:

• The Average Joe character is haunted by a deep moral flaw and/or selfish past action (or failure to act)  that they find monstrous about themselves.
• Both the Haunted House and the Monster evoke that flaw, embodying it so the protagonist cannot ignore them.
• The story climaxes when the Average Joe enters the Haunted House and faces the Monster who embodies their own flaw.
• The ending tells us something about the destructive nature of the moral flaw the Monster embodies, or at least the danger of waiting too long to face it.

For Example: The Twilight Zone episode “ The Monsters Are Due on Maple Street” is a masterclass of the horror model described above. Strange things happen in a quiet, isolated suburb, prompting a little boy to draw comparisons between the strange events and a story he’d read about alien invaders. Some of the other citizens buy into the boy’s alien invasion theory and, fueled by old personal grudges, begin accusing one another of being alien monsters. The accusations devolve the situation into an all-out witch-hunt; the citizens of the neighborhood commit atrocities against those they fear are monsters. The theme that unfolds can be described as: “When we ignore our prejudice for too long, that prejudice grows into outright fear, then hatred—a hatred which demonizes others to where we can justify even the most evil actions taken against them until we become something demonic ourselves.” This terrifying premise unfolds with no jump scares and few depictions of violence.

The Twilight Zone (195-64), CBS.

Contrary to popular belief, great horror stories are not just exercises in violence, gross-outs, and gore. At their best, they are apt, timely, and frightening social commentaries and self-reflections filtered through the lens of metaphor. True horror might even be the most moral genre, thanks to its uncompromising depiction of monstrous evil as horrifying. I hope you find this article insightful, interesting, and helpful as you write your own horror stories!

Previous Posts in This Series:

• How to Write Fantasy
• How to Write Romance
• How to Write Historical Fiction
• How to Write Mystery
• How to Write Literary Fiction

Wordplayers, tell me your opinions! Have you ever written in the horror genre? What are your thoughts on how to write horror? Tell me in the comments!

References and Further Reading

• Monsters Within . . . “The Horrific, Moral, and Transcendental”   by D. Breyers
• Monsters Within . . . “Victorian Horror Novels”   by J. Cognard-Black
• Christian Horror: On the Compatibility of a Biblical Worldview and the Horror Genre by M. Duran
• Supernatural Horror in Literature . by H.P. Lovecraft
• Horror Protagonists – How Ordinary Characters Make Scarier Games – Extra Credits by J. Portnow
• The Beast Macabre – What Makes a Monster Scary? – Extra Credits by J. Portnow
• Shiver with Anticipation – How Horror Games Create Tension Cycles – Extra Credits by J. Portnow
• Places of Horror – The Secrets of Scary Settings – Extra Credits by J. Portnow
• The Twilight Zone – What Do We Fear? | Video Essay by Screened
• Monsters Within . . . “Psychological Horror Films” by E.O. Williams

Sign Up Today

Related Posts

Oliver Fox earned his BA in Creative Writing from the University of Memphis (’15) and his MFA in Creative Writing from the University of New Orleans (’21). He has worked as an editorial assistant for The Pinch literary journal (’16) and as a manuscript analyst for The Spun Yarn . He is a regular contributor to Writers Write and the author of The Fantasy Workbook .

what no audio file? I really enjoy listening to those…

Glad you enjoy the audio versions! But, no, not today. I don’t record audio for guest posts. I think it would be weird to have my voice for other people’s words. 🙂

Thanks for sharing with us today, Oliver!

Thank you for the opportunity to share, Katie!

Excellent summary — thank you Oliver.

This really does bring horror together, to show how the monster is only the second-most-important part of it. The classic complaint against weak horror is “Yes, an okay threat, but it didn’t make me care about the *people* in it,” and people who dislike it write it off as all chills and no character. The characters have to be the center of it.

So “The Monsters Are Due on Maple Street” captures it perfectly. In the best horror, the greatest terror isn’t the “monster” — it’s what people will do to escape it.

Thank you, Ken!

I agree–without an empathetic protagonist to root for, Horror stories devolve into a weird betting game about who will survive the longest.

That really sums it up — and we’ve all seen stories or crowds where fans *did* devolve into that.

This was great! Thank you! I am not a horror reader, but I do love Victorian Gothic literature, which is the predecessor of modern horror, and the reason I love it is because it tends toward all the excellence that you pointed out as good horror; strong sense of morality, an exploration of the darkness within people, the fact that it is normal (well, normal Victorian) people facing down the monsterous and depravity (sometimes -often- their own), the atmosphere….

I’m so glad you enjoyed the article, Grace!

You’re exactly right: Victorian Gothic literature is such an important forbear of contemporary Horror, along with many classic Folktales and Fairytales (believe it or not).

Wow! Thank you for your insights! I didn’t realize how complex horror could be. The Thing is one of my favorite movies, but I always thought of it more as dark scifi. I can see now how it totally fits into the horror genre. I love that episode of Twilight Zone too.

I’m so glad you found the article insightful; thank you for reading it!

Some have suggested that Horror is the oldest genre, so it makes sense that proverbial “well” goes as deep as it does.

Great post on horror! I hadn’t thought about it that deeply before. Intriguing!

Thank you, Eric–I’m grateful you found the article intriguing. 🙂

I never thought of horror as a genre that Christians were allowed to read. Although I still may not like it, I now understand that it has the potential for good. Thank you Oliver!

Thank you for sharing, Christopher!

I’m delighted that the article shed a new light on Horror for you, giving you a fresh perspective on its potential.

I once assumed there could be no such thing as Christian horror, simply because one assumes if there was a demon, a Christian protagonist would make the like the Apostles and exorcise it. Similar to how most horror movies would be short if characters had a gun and/or a cell phone 🙂

But! In high school I stumbled across some of Frank Peretti’s horror novels, and he added a twist. The novels are written from a Christian POV, and the situations usually involved a town threatened by the machinations of demon-aligned people. You sometimes see the story from the POV of the demons influencing people, people who may or may not be “bad” but just “susceptible.” For example, in one case the state of “Complacency” is personified by a titular demon who attaches itself to a non-villainous character.

The recurring characters in the novels are a squad of angels, who patrol the towns where the stories are set. They are ready to kick butt and take names, but they can’t do anything until they have a sufficient “prayer cover” to intervene. However, the human protagonists, if Christian, may not be aware there’s evil afoot.

Other characters may be atheists or ex-Christians. All of them struggle with flaws, fears, or a need for atonement in some cases. And all of them have to twig to the evil conspiracy and get on the same page before the angels can get their “prayer cover.” Note Paul’s exhortations to pray for government leaders if you want to live a peaceable life, so the coverage conceit works.

Just another data point for horror as a vehicle for exploring moral themes. Good horror scenarios often test faith, they test virtue. Someone — da Vinci? Einstein? Once said “adversity introduces a man to himself.” Horror is as good a crucible as any for exploring that idea.

I read Peretti’s novels and never considered them to be horror, just clear images of the actual battle between Good and Evil.

Hey, Jamie– thank you for sharing!

It sounds like I might need to check out Peretti’s work. 🙂

I don’t usually comment on the posts but I felt compelled to respond your comment. Not to regurgitate what Oliver said, but there is a lot of potential for religious horror. “The Exorcist” is the obvious answer, as are most of those types of movies. You have the priest (or some other morally-focused character) who’s trying to lead the right life. Maybe they have a dark past or sins they’re atoning for. They’re faced with a monster/demon who represents everything they’re fighting against. Maybe they become possessed themselves. In “The Exorcist” the priest commits suicide to save the daughter and prevent himself succumbing to the same sins. You could even write a Dr. Jekyll/Mr. Hyde type story where the main character struggles to maintain their own morality (a character I’m developing is doing just that). Just as the main character must choose to be moral no matter what, we have a moral obligation to do the same. I’m not religious but I definitely see potential for some interesting stories.

I totally agree, Chris–“The Exorcist” is peak example of what Horror is at its finest.

Thank you for this! I’m working on my first novel and it’s horror. Since it’s my favorite genre in books and on the screen, it just made sense. Plus, I feel there are a lot of horror authors who are really working to make horror more accepted, and I think it’s working. I’m referring to the literary successes of Sylvia Moreno-Garcia and Stephen Graham Jones. I’m hoping horror as a genre will become less and less maligned over time.

Thank you for reading, Michelle!

Best of luck on your novel–and may you join the ranks of such authors in bringing a deeper appreciation of Horror to the wider world. 🙂

Well said. Your points on great horror and examples are spot on and provide excellent templates for future works. Thank you!

Thank you for reading, James!

I hope the insights you gathered from this article serve you well as you approach writing future works.

Thank you for such a spooky yet inspiring post. I read a few books that are bordering on horror, but not terrifying and won’t keep you awake at night. Some of Daphne du Maurier’s novels, such as Rebecca and House on the Strand are scary, but I realize they don’t actually qualify. When I was a teen, I picked up a copy of Stephen King’s “Carrie” and didn’t realize it was horror. Somehow when I got to the end and read of the girl unleashing her fury on the town, I was puzzled. Back then I didn’t recognize any obvious hints of what was to come. I wonder what your opinion is on that particular novel. I watched the movie “The Shining,” which was pretty creepy. I wonder how King’s novels compare with his books.

Hi, Coco, I’ll be honest–I’m a late-comer to King’s work, so I have focused on the high points of his career to get caught up: I’ve read Salem’s Lot, The Night Shift, and the Shining so far. Carrie is next on my list, though! And, if you enjoyed the film version of The Shining, the book is still definitely worth checking out as the two stories share little in common. The movie is creepy for sure, but the book is an enthralling, heart-wrenching look at the effects of addiction, generally, and alcoholism, specifically.

Ooh I love this! And thank you for providing a reading list. Writer’s Digest has “How to Write Tales of Horror, Fantasy & Science Fiction,” which has essays by Ray Bradbury and Dean Koontz, among others.

For this post I especially liked the point about monsters as representatives of “Chaos” as opposed to Logos , the natural order of things. And you’re describing the kind of horror I do appreciate, and elements I want to incorporate in certain stories I have rattling around in the attic of my brain. Instead of gory nihilism, good horror like the kind you describe here can be … inspiring, oddly enough. It’s often about Light struggling against Darkness, and a test of virtues, and I appreciate you showing how to do justice to such a story.

Hi, Jamie, I think you are spot on that, “good horror can be inspiring”–especially for stories wherein the protagonist prevails over the source of Horror. I mean, what’s more inspiring than an Average Jane facing and overcoming the Monster embodying her greatest fears and deepest vices, right?

Thank you for this post, Oliver. I’ve never been a fan of horror, but I realize now that it’s because I never understood the genre. Thank you for this insightful, interesting, and helpful article! I enjoyed it!

Hi, Joan–thank you for taking time check out the article despite not being a Horror fan. I’m delighted the article afforded you a deeper understanding of Horror. And I’m right there with you: the more I learn about the underlying symbolism of a particular genre, the more I come to appreciate it!

I think I agree that perhaps horror scares us because we fear what we might be capable of under the right (or wrong) set of circumstances. I recently finished two short stories with a sort of morality compass theme, one a haunted statue-type figure and the other a ruined building which resurrects itself to lure someone inside – surprisingly the protagonist in both survive and I wonder if this is classified as horror. The protagonists both go through a journey of self discovery, but are not harmed and neither is anyone else on the contrary several people are saved though the paranormal is in stong evidence in both stories.

Hi, Sylvia,

You summed it up, beautifully: “…perhaps horror scares us because we fear what we might be capable of under the right (or wrong) set of circumstances.”

Horror is so unsettling because it shows us characters confronted with the gap between their self-conception/public persona and how they act when desperate and alone. And this forces us to consider how wide that same gap might be within ourselves.

Thanks so much, K.M.

I enjoyed this piece. Horror is treated like the embarrassing step child sometimes when it’s really the crazed aunt in the attic who was locked up for telling uncomfortable truths. I liked the concept of the haunted house as just as much of a character as the villain and the hero. Rich vein to mine.

“Horror is treated like the embarrassing stepchild sometimes when it’s really the crazed aunt in the attic who was locked up for telling uncomfortable truths.”

Wow! That’s a brilliant and powerful quote, sir. I’m going to be reflecting on that for some time.

This is great. Whether I’m reading a book, watching a movie, or just waking from a bad dream, I keep asking myself what makes it scary. This is the best explanation I have found so far.

That’s an essential question to ask if we want to be great Horror writers. It reminds me of a quote from Henry James:

“A writer should strive to be someone on whom nothing is lost.”

Thank you, Oliver. This was helpful. You made horror fiction approachable. In effect, my appreciation of horror fiction is constantly increasing. Specially when you realize is more than just the monster.

Hi, Ingmar,

Thank you for your kind words. 🙂

Approachability is what I strive for!

Thanks for sharing this. I loved it and now have some revisions to do in my MS.

Thank you, Alice. 🙂

Happy revising!

Sometimes horror stories hide in other genres. “Alien”, as mentioned above, is a haunted house movie disguised as science fiction – but so is “The Terminator”, a classic creature feature in which the undead monster can be fought off, outran, even taken out for a time… but never stops coming.

Hi, Andrew, I never thought of “The Terminator” as an undead creature feature, but I can absolutely see it now that you mention it! The Terminator could even be interpreted as a modern take on Frankenstein’s monster, more specifically.

Oliver has the essence of the genre but does not have a real feel of the bitter backdrop of a great horror tale. As I was reading this article, I suspected that I was Olivers worst nightmare, and that turns out to be true. Before I start saying other things “Oliver” knows what he is talking about, he gives useful information, and I would recommend this post. But…. And there is a huge “but” here. He is young and handsome. Well educated. Seems to me a nice fellow. A talented writer. Capable. So, what is my problem? You ask? There is no problem. It is just that horror needs an edge. Ghost stories have been done before. Please never let us never see another zombie or vampire novel. Lol- they have all been done to death. Perhaps you ask my credentials for this criticism. Perhaps editing four horror fiction magazines for thirty years may suffice. The “new” is all that is wished for. The “Different” merges sometimes. Worked with twilight (lol- I turned that down). Daybreakers, warm bodies. My apologies, Oliver, for this but I must turn down writers every week. You meant well and gave good advice.

Thank you for your professional insights as an editor, sir! I have no doubt you’re right that editors often get the same cut-and-paste horror stories, and that we writers need to work hard to ensure we aren’t just educated in the genre’s tropes, we also need to find fresh premises and a fresh approach to writing them.

Thats the thing Oliver, you have it spot on, “the fresh premise”. To a certain extent you can ignore all else. If we get a haunted house story it doesn’t get by the boy on the desk. It could be the best haunted house tale ever, but it never gets to a “reader” the same applies to vampire tales. (Only two printed in four mags over the last five years one because it was a social vampire (narcissism)). The other was a genetic strain of vampirism created for interstellar space travel as they are immortal. We printed a zombie tale a couple of years ago about “Health, social care and housing for zombies during an epidemic”. Very clever. Should the local council provide homes for Zombies? Do they need help from carers? What are the sanitary implications? Should they be allowed pets? We are a caring society after all. I do not mean to suggest that there cannot be a good tale about Vampires, Zombies or a haunted house just that it has been done so often that to horror readers it is very dated and dull. To keep a magazine, especially a print magazine running today, it has to be clever and new all the time. Sorry for lecturing. It is something I feel passionate about.

Thank you for this insightful series and tips! I wonder about the fairytale genre. Do you talk about it anywhere? It is the most archetypal one and digging deep in the realm of the inconscious. I’ve always been fascinated by it, without being able to put words on my impressions. But I realize I most naturally write with symbols and events that have a marvelous feel to them, even when they seem prosaic.

I haven’t talked about it specifically in this series, but it would fall under the umbrella genre of Fantasy, which I do talk about here .

Leave a Reply Cancel reply

This site uses Akismet to reduce spam. Learn how your comment data is processed .

• Novel Outlining
• Storytelling Lessons From Marvel

As an Amazon Associate I earn from qualifying purchases.

Write Your Best Book

Check out my latest novel!

( affiliate link )

Free E-Book

Subscribe to Blog Updates

Subscribe to blog posts rss, sign up for k.m. weiland’s e-letter and get a free e-book, love helping writers become authors.

Return to top of page

Copyright © 2016 · Helping Writers Become Authors · Built by Varick Design

Register for free

Creative Writing Unit Plan for Gothic Fiction, Dark Romanticism, and Horror

$ 18.00 Multi-licenses $ 16.20

• Back to School
• Language Arts
• Resource Type

sold by Inquiring Mind of the English Teacher Kind

View shop page

Item Details

Digital Download

INSTANT DOWNLOAD Files will be available for download from your account once payment is confirmed. Learn more . Please contact the seller about any problems with your order using the question button below the description.

Item description

Save time without sacrificing rigor in the high school Creative Writing classroom with this low-prep, Common Core-aligned unit plan and these all-inclusive resources for engaging students fully in the narrative writing process. Materials are delivered in both Word Document and PDF formats. Included are the following:

• A detailed, standards-based unit plan articulating the unit’s transfer goal(s), essential question(s), enduring understanding(s), learning target(s), academic vocabulary, formative assessment(s), summative performance task(s), and learning plan(s).
• A PowerPoint presentation addressing the conventions of Gothic literature.
• A formative research activity designed to build student knowledge in regard to the historical context of Halloween
• Representative Gothic narratives by Edgar Allan Poe (“The Black Cat”), H.P. Lovecraft (“The Outsider”), and W. W. Jacobs (“The Monkey’s Paw”).
• Worksheets to facilitate analysis of representative literature.
• Detailed directions.
• A comprehensive outline for student planning.
• A document to facilitate the editing process.
• A comprehensive rubric for evaluating student writing.

With these materials, students will do the following:

• Develop greater understanding of the conventions of Gothic literature and the horror genre.
• Analyze how famous authors of Gothic literature used characterization, description, and various literary devices that are consistent with the horror genre. The featured texts are Edgar Allan Poe’s  “The Black Cat,”  H.P. Lovecraft’s  “The Outsider,”  and W. W. Jacobs’  “The Monkey’s Paw.”
• Conduct brief research on aspects of Halloween’s history and synthesize knowledge gained to draft an original narrative consistent with the conventions of horror writing.
• Organize initial ideas in a coherent manner.
• Engage the reader with a compelling exposition that establishes an eerie setting.
• Use many appropriate narrative techniques (dialogue, dialect, description, pacing, etc.) to enhance plot.
• Draft a coherent, cohesive, and appropriate narrative that builds toward a particular tone and outcome (a sense of mystery, suspense, etc.)
• Use precise words and phrases, active verbs, and sensory language to convey a compelling story
• Draft an unrushed conclusion that resolves conflicts and implies a theme
• Show mastery of the conventions of standard English grammar, usage, capitalization, punctuation, and spelling.

From the same author

“graves and goblins” by nathaniel hawthorne quiz and answer key.

by Inquiring Mind of the English Teacher Kind

Evaluate reading comprehension and embrace the Halloween spirit with this plot-based quiz covering the short story "Graves and Goblins" by Nathaniel Hawthorne. The assessment may double as a guided reading…

“The Wolf and the Man” by the Brothers Grimm Quiz and Answer Key

Evaluate general reading comprehension and eliminate assessment planning responsibilities with this plot-based quiz covering a cautionary fairy tale by the Brothers Grimm: "The Wolf and the Man." The assessment may…

Autobiographical Poem Template for High School Creative Writing

This resource serves as an engaging back-to-school activity for high school English classes, especially Creative Writing. Students will generate an autobiographical poem that introduces them to their teachers, focusing on…

“Flowers for Algernon” by Daniel Keyes Quiz and Answer Key (Short Story)

Incorporate more science fiction into the high school classroom and evaluate general reading comprehension with this plot-based quiz covering the short story "Flowers for Algernon" by Daniel Keyes. An answer…

The Hobbit Test and Answer Key

With this summative test covering The Hobbit by J.R.R. Tolkien, high school English teachers will evaluate student knowledge and analysis of plot while eliminating the need for at-home assessment planning. In addition…

“The Minister’s Black Veil” by Nathaniel Hawthorne Quiz and Answer Key

Evaluate general reading comprehension and eliminate assessment planning responsibilities with this plot-based quiz covering the short story "The Minister's Black Veil" by Nathaniel Hawthorne. The assessment may double as a…

• All Editing
• Manuscript Assessment
• Developmental editing: use our editors to perfect your book
• Copy Editing
• Agent Submission Pack: perfect your query letter & synopsis
• Short Story Review: get insightful & actionable feedback
• Our Editors
• All Courses
• Ultimate Novel Writing Course
• Path to Publication: Navigate the world of traditional publishing
• Simply Self-Publish: The Ultimate Self-Pub Course for Indies
• How To Write A Novel In 6 Weeks
• Self-Edit Your Novel: Edit Your Own Manuscript
• Jumpstart Your Novel: How To Start Writing A Book
• Creativity For Writers: How To Find Inspiration
• Edit Your Novel the Professional Way
• All Mentoring
• Agent One-to-Ones
• First 500 Novel Competition
• London Festival of Writing
• Online Events
• Getting Published Month
• Build Your Book Month
• Meet the Team
• Work with us
• Success Stories
• Novel writing
• Publishing industry
• Self-publishing
• Success stories
• Writing Tips
• Featured Posts
• Get started for free
• About Membership
• Upcoming Events
• Video Courses

Novel writing ,

150 horror prompts, settings and characters.

By Thea Pelletier

Whether you’re looking to scare, horrify, or make your readers jump, we are here with all the inspiration you need! We’ve created a horrific list of 50 horror writing prompts to give your writing that hair-raising, back-of-the-neck eerie touch.

Why Use Horror Prompts?

Horror books (as well as movies and TV shows) exist because human fear exists. And all readers love to feel something with each genre! Classic horror fiction books aim to frighten, and over time authors have found a myriad of ways to do that. Common themes include ghosts, ghouls, monsters , vampires, werewolves, demons, zombies, murderers, serial killers, paranormal forces, witchcraft, apocalypses, psychological fear, and gore.

So if you’re feeling uninspired, you think all the good ideas have already been taken (they haven’t), or you simply want to kick-start your imagination – take a look at our horror prompts list. We have included 50 specific examples of horror story ideas organised under sub-genres. We hope some of them send a tingle down your spine and inspire you to write your own creepy novel!

50 Horror Story Prompts

Word of warning: in keeping with the nature of the genre, most of these prompts contain violent or upsetting themes.

Want more writing advice?

Our most comprehensive course is back, offering an unrivalled level of support, guidance, industry connections and opportunity.

Open to writers across the world, the Ultimate Novel Writing Course is now accepting applications for our Winter 24/25 intake.

Comedic Horror Prompts

• You survive the apocalypse purely due to a series of happy accidents. It turns out, an alien race orchestrated the doomsday events on Earth to see if humans were ready to ascend. As lone survivor, you’re selected to be the sole representative of humanity in the new world order.
• Unpopular new arrivals in a town that treasures natural beauty, Michaela takes pity on her plastic surgeon father and goes to bed one night wishing that all of her classmates’ worst fears of their physical insecurities would come true.
• You work at a Zombie Rehabilitation Centre in LA. It was your dream job until you realise you’re stuck teaching ‘Bite Inhibition’ classes.
• Flattered to be one of the few freshmen listed on the most popular sorority’s website “Fresh Meat”, you turn up to a party in your honour at the Kappa Kappa house. At the end of the night, you discover a secret book containing a step-by-step plan of ‘How to eat the class of 2022’.
• Former beauty pageant queen transforms into a hungry werewolf on the most important full moon of the year, on the prowl for the ‘next pretty young thing’. This year’s pageant hopefuls are armed to the teethed and willing to fight for the crown. 
• You’re a vain, ancient witch adapting to the 21st century by getting a job at the Apple Store so that you can enchant teenagers’ smartphones and sap their youth through their devices.

Demonic Possession Horror Prompts

• Stacey’s perfect family life begins to unravel one day when a malicious spirit moves in and inflicts itself upon its host, jumping around between her, her husband, and her two daughters.  
• You terrify your family when you wake up floating two metres above your bed. An exorcist tells them he’s cured you, but the demon doesn’t actually leave your body. It’s learned to come out only when you are alone.
• Taking part in a prison experiment for extra credit, 11 university students are unable to explain the violence that overcame them, and the brutal death of the 12 th student, citing demons over any psychological element.
• You’re trying to put your house on the market. You’ve lived there all your life, and you’re the last surviving member of your family. Every estate agent you bring in to the house dies in a tragic accident days later.

Gore Horror Prompts

• Uni student Jamie was looking for some extra cash when he signed away two weeks of his summer vacation to take part in a simple clinical trial. But when he realises patients are having their organs harvested against their will, his experience turns into a brutal, bloody nightmare.  
• Someone in your neighbourhood has been committing grisly acts of violence on people at night. You set up a camera to investigate and catch an exact replica of yourself in the act.
• A well-intentioned break-in turns nasty for a group of friends who become trapped in a ‘chalet of death’ as the stunning vacation home turns into a gruesome automated killing machine at night. 
• You take a summer job at an amusement park. When covering for a coworker on the rollercoaster booth one night, body parts start flying off the ride. You stop the train and find that all the passengers are long-dead corpses.

Monster Horror Prompts

• Night-time brings terror for caring but agoraphobic cat lady as her six beloved pets transform into flesh-hungry demons as soon as it’s dark out.
• You’ve seen The Quiet Place and Birdbox , but what if the monstrous entity who invaded Earth destroyed humanity through touch? Each ‘spore’ is as big as a city, growing bigger each time it absorbs a victim. A pack of survivors must spread out if they want to make it through an ever-narrowing world in order to find, and destroy, the epicentre.
• Susie is a wedding photographer whose camera starts to reveal monsters unseen to the eye that prey on the love of newlyweds. When Susie’s clients start to disappear from their honeymoons, she is the only person who knows what’s really happening to them.  
• You’re a teacher chaperoning swimming lessons at your school. You inspected the pool yourself, but when the kids get in you see an enormous, invisible creature come to life. The first drowning is ruled as accidental, and to your horror, the lessons continue.

Paranormal Horror Prompts

• College student Josh is tapped as a pledge for an ultra-secret society via coded messages, which are unbeknownst to him left by the ghosts of past members who each met gruesome ends. The final test forces him into an abandoned storage facility where he must carry out increasingly punishing tasks on other pledges.
• A close relative who died before you were born is standing in the upstairs window of the house across the street. You have no doubt it’s them. When you work up the courage to break in to the neighbour’s house and confront them, you turn to see the person you came to find now visible in the window of your own house.
• The local sheriff’s night turns hellish when the man he locked up uses his telekinesis to lethally booby trap the station.
• A mother of three does all she can to protect her family from imminent doom when she begins having visions of their collective deaths.
• You’re out walking the dog one afternoon when you find yourself caught in a physical endless loop in the woods. You feel yourself losing time but you can’t find a way out.

Post-Apocalyptic Horror Prompts

• Humanity took to the sea to survive the rising sea levels caused by climate change, but now their ocean rigs are massively overcrowded, resource-poor, and steeped in disease. A deadly class struggle breaks out on one of the stations. 
• A wayward AI has slowly infected all computers and devices, subtly turning humans against each other. Now living in a culture of suspicion and distrust running on the currency of violence, nomadic young Kit refuses to kill to survive.
• You’ve grown up as the next generation of the most wealthy and successful humans who survived the end of the world. Your world unravels when you realise that those raising you have in fact been the robot overlords who destroyed humanity. They copied the skins of those they found locked in an emergency bunker and started to artificially grow humans as pets and slaves.
• Trapped inside a small cabin by her phobia of the rain, one of the last surviving human women on earth tries to survive the night when a horde of those infected with the plague (that wiped out most of the human race) track her down hungry for blood.

Psychological Horror Prompts

• After a tragic accident on his 21 st birthday, Peter gets back in touch with his estranged father via email. He flies 6000 miles to stay with him, but when he arrives he’s pulled into a deadly catfishing game carried out by a wolf in sheep’s clothing.
• You wake up in your childhood bed, look down at yourself, and find that you’re 12 again. You can’t see yourself in the mirror, or in photos, but everyone else can see you. You’re convinced you’re going to disappear altogether.
• Suspecting his wife of infidelity, Ben hires a private investigator to catch her in the act. When she disappears without her lover, Ben begins to suspect the man he hired had something to do with it.
• You work the graveyard shift at a 24 hour on-campus library. While snooping around you come across a handwritten book that was started three decades ago. It contains a record of all the accidents and atrocities that have happened at the school since then. A week later, a girl falls off the roof and dies. During your next shift, you see a beloved professor writing in the book. You start to doubt everything when the death is ruled an accident.

Religious/Folk Beliefs Horror Prompts

• Summer is excited to be spending her semester abroad, until she witnesses some locals performing a horrifying ritual on her fellow traveller.
• Your parents reveal a horrid secret to you on your 18th birthday. Your idyllic lifestyle in a small, isolated community will come to an end if you don’t start participating in the cult’s obscene rituals. If you refuse, you’ll be sacrificed against your will for the cause.
• Born into a futuristic fringe community that abhors physical contact, a young woman’s attempts to break free are met with the harshest repercussions.  

Slasher Horror Prompts

• Callie is delighted to be driving to college in her graduation gift – a brand new electric Mercedes – when an EMP attack leaves her stranded by the side of the road. There’s nothing but forest around for miles, until a lumberjack with a dark past pulls up beside her.  
• Ten years after you said goodbye to your imaginary friend, you see their face on the evening news next to the headline ‘The Redfield Ripper’s Recent Attacks’.
• An insane chef renting a cabin in the woods sharpens up their knife skills on whoever is unlucky enough to disturb them.

Vampire Horror Prompts

• Cal is a postman resigned to a boring new route in a rural valley when he comes across three beautiful sisters living alone in a big house. He finds himself there almost every day hauling curious packages. A bout of bad weather knocks a tree down on the only road in, and a few days later, Cal is greeted with a terrifying scenario at the front door.  
• For months, your dog keeps waking you up at the same time every night. He barks at the window. When you look out onto the street, you see the same stranger watching you. The stranger can’t be recorded, and nobody believes you when you tell them. One night, thinking yourself delirious, you invite him in.
• Told from the POV of the youngest sibling of an ancient coven of vampires, Clara and her family are ‘monsters’ living their lives in fear of a powerful new hunter who has trapped them in a small town and is threatening to pick them off one by one.

Witchcraft Horror Prompts

• Down on her luck librarian Eliza idolises famous American movie star Marsha Green. When she comes across an ancient tome under some rotten floorboards and begins to meddle with unknown forces, she sets events in motion which alter Marsha’s life forever.
• You win the lottery. But every time you spend some of the money, no matter what you use it for, bad things happen. You go back to where you found the lucky ticket, pinned to a tree, and it’s now covered in unfamiliar symbols.
• A revolutionary new computer game downloads itself onto the laptops of a group of 11-year-olds. After playing all night, they return to school to find their in-game actions inflicted on their classmates. Suspecting their strict teacher to be behind it, the kids must figure out how to undo her spell and reverse the damage they have done.  
• You’re an overbearing mother who wishes she could give her daughter the perfect life. You do more harm than good with your cosmetic spells and emotional enchantments, nearly destroying the life of your sixteen year old, who eventually exacts her revenge in equal measure.
• Working late one night, an exec finds himself unable to leave his bewitched office chair as a scorned investor instructs him to perform humiliating acts in front of his webcam as penance.

Zombie Horror Prompts

• A teenage girl goes to an illicit gathering in the woods one night and meets a boy. Their encounter ends badly. She wakes up to find teeth and nail marks, and realises she is a little less alive than she was the day before.  
• You dreamt of the zombie pandemic as a child. You dedicated your life to preparing an antidote, waiting for the outbreak so you could develop a cure. You are shunned from the scientific community for your ‘fringe beliefs’. At the first signs of sickness in your loved ones, you kidnap them and take them to an underground research facility where you push yourself to your limits and make dire choices in anticipation of saving the human race.
• Years after her best friend is murdered, detective Alana’s latest case leads her to a mansion overrun by a horde of zombies led by a hauntingly familiar face.
• You’ve never questioned your landlord’s odd behaviour, desperate as you were for cheap rent. But when the fuse blows and no one is around to fix it, you uncover a nasty truth in the basement’s freezer. It’s overflowing with brains!
• You’re a doctor volunteering in the latest wave of deadly outbreaks across Europe. When you’re morally unable to kill patient zero in the early stages of a new unknown strain, you must live with unleashing the zombie virus across the world’s population.

50 Places To Find Inspiration For Your Horror Story

The setting of a horror story is everything – but not all scary novels have to take place in a scary place (in fact, sometimes the most mundane of places can be given a horrifying twist by adding a bit of the unknown). When looking for inspiration, it really helps to physically go to a place, or research old relics, to help kick-start your imagination. Take a look at our 50 places that may inspire your next creepy tale. In fact, see if you can think of a horror book or movie set in some of these places (we certainly can!).

• An empty school
• A graveyard
• Look at old paintings
• Go through old photo albums
• An empty house
• The basement
• A toy store after closing time
• Visit an old library
• An old lady’s house that hasn’t changed in decades
• A scrapyard
• The dessert
• The ocean (the deeper, the scarier)
• A secluded island
• The forrest on a misty day
• A snowy tundra
• A corn field
• A shopping mall
• An abandoned…well…anything
• A locked room
• A log cabin
• A swelteringly hot day
• Suburbia…but different
• A run-down urban street
• A room full of puppets
• Backstage of the theatre
• Empty corridors leading nowhere
• A rubbish dump
• An empty road in the rain
• The top of a mountain
• Ancient ruins
• The inside of a church
• A fairground after closing hours
• Beneath the streets of a big city
• A metro station/the tube
• The kitchens of a hotel or restaurant
• An old stone quarry
• Overgrown railway line

50 Horror Story Characters To Inspire you

Sometimes, the most simplest of storylines with the most mundane of setting, can be utterly horrifying of you add one very complicated character. Of course you can use monsters and fantastical characters you have created, but often the best effect is mixing an everyday character with a setting where they belong; for instance a clown hiding inside a car at an empty scrapyard, or a little old lady, bony and bent double, in the middle of the jungle. And remember – these characters can be the good gifs, the bad guys, or maybe a mix of both!

• Little old lady
• Troubled teenager
• A person with no eyes
• Police officer
• Woman with dramatically applied make-up
• Sex worker or pimp
• Someone with blades for fingers
• Baby in a crib
• Toddler that doesn’t speak
• Girl in bedclothes with hair that covers her face
• A character that belongs in another time
• Animal that can talk
• Person with wings for arms
• A very normal looking mother. A bit too normal.
• Someone who is meant to be dead
• A goody-two-shoes child
• Airline pilot
• Captain of a ship
• Firefighter
• Scientist (everyone loves a mad scientist)
• A single dad
• A mother with more kids than she can handle
• Sewage worker
• Builder working on an new house
• Archeologist
• Security guard
• Traffic warden/meter maid
• Someone with wheels for feet
• Prison warden
• Door to door salesperson
• Shy secretary
• Nun or priest

Writing Horror Doesn’t Have To Be Hard

We hope our list of writing prompts for horror , along with settings and characters, has sparked your imagination! If not, here’s how to take our horror ideas to the next level:

Found a horror story prompt you like but unsure of where to take it next? Let’s take #8 from the top list, for example, and add a few interesting characters from our list and choose a setting or two. Then start to build an information bank on your protagonist from there. At this point focus on the character , not the plot – because often one thing can lead to another. The Prompt: You’re a troubled teen who terrifies your family when you wake up floating two metres above your bed. You just moved into an old house in a quiet, creepy suburban street. An exorcist tells your family he has cured you, but the demon doesn’t actually leave your body, and learns to come out only when you are alone.

You’re still a teenager, living at home. Your name is Jackson, but you go by Jax. You’re a second generation immigrant and you speak Greek at home with your family. Your father named you after his favourite American baseball player. You have dark hair, dark eyes, and when you would steal your grandmother’s baklavas off the kitchen counter she would say she could see the devil in your face. You spend the weekends riding the coastal roads on motorbikes with your friends, doing your best to stay out the way of your spoiled little sister and your overworked father. You’re closest to your YaYa but too afraid to tell her where you spend most of your time. Moving house unsettled you and took away everything you ever loved.

Or, why not map out a rough plot first? The inciting incident for this prompt could be: You’ve snuck back into your room after a long night out with your friends. You left the window open. Four hours after you collapsed onto your bed in your clothes, you wake with a start to find yourself hovering inexplicably in the air. Your body is locked into position. You spend a panicked hour trying to wriggle free of its grip, but you can feel another presence inside your own body, forcing you down. You’re going to be late for your new school, your sister is turning the doorknob and your father is yelling for you. Your feet frame the pure terror in the three faces at the door as your eyes strain to see them. Your grandmother recovers the quickest, stuffing her komboskini into your frozen fist and running out of the room to phone her priest. Whether you start your horror story with just a vibe, a small seed of an idea, a great setting, character , or a full plot – it doesn’t matter. A great story can start anywhere, you just have to make sure that (like any scary monster) you keep feeding it and watch it grow bigger and more horrifying every day!

About the author

Thea is part of the Writer Support T eam here at Jericho Writers. She has a degree in German and English Literature  from The University of Edinburgh and enjoys spending time with her dogs and  working on her first novel in her spare time. 

Most popular posts in...

Advice on getting an agent.

• How to get a literary agent
• Literary Agent Fees
• How To Meet Literary Agents
• Tips To Find A Literary Agent
• Literary agent etiquette
• UK Literary Agents
• US Literary Agents

Help with getting published

• How to get a book published
• How long does it take to sell a book?
• Tips to meet publishers
• What authors really think of publishers
• Getting the book deal you really want
• 7 Years to Publication

Get to know us for free

• Join our bustling online writing community
• Make writing friends and find beta readers
• Take part in exclusive community events
• Get our super useful newsletters with the latest writing and publishing insights

Or select from our premium membership deals:

Premium annual – most popular.

per month, minimum 12-month term

Or pay up front, total cost £150

Premium Flex

Cancel anytime

Paid monthly

Privacy Overview

• International
• Education Jobs
• Schools directory
• Resources Education Jobs Schools directory News Search

Junior Cycle First Year English: Creative Writing and Reading - Gothic Horror Unit

Subject: English

Age range: 11-14

Resource type: Unit of work

Last updated

21 October 2021

• Share through email
• Share through twitter
• Share through linkedin
• Share through facebook
• Share through pinterest

Creative Writing and Reading - Gothic Horror Unit This highly engaging and enjoyable unit is designed to develop key skills in reading fiction and non-fiction as well as writing creatively. It is based on the topic of Gothic Horror with lots of activities and great texts to help students develop key reading skills such as inference and comparison as well as key writing skills such as opening a story, writing direct speech, using narrative voice and varying sentences. Texts include extracts from non-fiction and fiction including W W Jacobs’ ‘The Monkey’s Paw’ and information texts on the London Burkers (body snatchers!) All 12 student resources are included in word and pdf formats as well as a nicely presented 50 slide teaching PPT and a set of detailed teacher’s notes. I hope you enjoy teaching the unit.

Junior Cycle Learning Outcomes include: Reading 3. Use a wide range of reading comprehension strategies appropriate to texts. 4. Use an appropriate critical vocabulary while responding to literary texts. 8. Read their texts to understand and appreciate language enrichment by examining an author’s choice of words. Writing

• Demonstrate their understanding that there is a clear purpose for all writing activities and be able to plan, draft, re-draft, and edit their own writing as appropriate
• Write for a variety of purposes, for example to imagine.
• Engage with and learn from models of oral and written language use to enrich their own written work.
• Use and apply their knowledge of language structures, for example sentence structure, paragraphing, grammar, to make their writing a richer experience.

Tes paid licence How can I reuse this?

Your rating is required to reflect your happiness.

It's good to leave some feedback.

Something went wrong, please try again later.

This resource hasn't been reviewed yet

To ensure quality for our reviews, only customers who have purchased this resource can review it

Report this resource to let us know if it violates our terms and conditions. Our customer service team will review your report and will be in touch.

Not quite what you were looking for? Search by keyword to find the right resource:

• Skip to main content
• Skip to primary sidebar

EveryWriter

A New Community of Writers

50 Horror Writing Prompts from Different Points of View

April 13, 2024 by Richard 1 Comment

50 Horror Writing Prompts from Different Points of View: In the realm of horror fiction, perspective plays a crucial role in crafting tales that unsettle, terrify, and captivate readers. By exploring the depths of fear through various viewpoints, writers can tap into the psyche of both the tormentor and the tormented, creating a rich tapestry of horror that leaves a lasting impact. This list of 50 horror writing prompts invites authors to step into the shoes of diverse characters, from vengeful ghosts and struggling vampires to cursed individuals and haunted objects, each with their own unique story to tell.

The power of perspective in horror lies in its ability to humanize the monstrous and demonize the human. By delving into the minds of the undead, the cursed, and the supernatural, writers can explore the complexities of their existence, their motivations, and their struggles. Simultaneously, by portraying the darkness that lurks within the hearts of seemingly ordinary people, authors can expose the true horrors that reside in the depths of the human soul. These prompts challenge writers to confront the uncomfortable, the grotesque, and the unimaginable, pushing the boundaries of their creativity and testing the limits of their readers’ courage.

From the classic tropes of haunted houses and werewolf transformations to the modern terrors of sentient AI and post-apocalyptic mutations, this list encompasses a wide range of horror subgenres. Each prompt offers a unique opportunity to explore the fears that have captivated audiences for generations, while also inviting writers to put their own spin on these timeless tales. Whether delving into the psychological horrors of a person slowly losing their grip on reality or the physical terrors of a monster’s relentless pursuit, these prompts provide a foundation upon which writers can build their own nightmarish visions.

Moreover, these prompts encourage writers to experiment with narrative structure and pacing. By focusing on specific moments, such as a night in a haunted asylum or a serial killer’s inner monologue during a murder spree, authors can create immersive, visceral experiences that leave readers breathless. Alternatively, by exploring the long-term consequences of a curse or the gradual transformation of a person into a creature, writers can craft slow-burning tales that build tension and dread with every passing page.

Ultimately, this list of 50 horror writing prompts from different points of view serves as a catalyst for writers to explore the depths of their imagination and confront the fears that lurk within us all. By embracing the power of perspective and delving into the minds of the monstrous and the human alike, authors can create horror stories that not only entertain but also provoke thought, evoke emotion, and linger long after the final page is turned. So, grasp your pen, summon your courage, and prepare to traverse the darkest corners of your psyche as you embark on a journey through these 50 spine-chilling prompts.

Here are 50 horror writing prompts from different points of view:

• Write a story from the perspective of a vengeful ghost haunting their murderer.
• Describe a day in the life of a vampire struggling with their thirst for blood.
• Narrate a tale from the point of view of a cursed object that brings misfortune to its owners.
• Write about a werewolf’s transformation during a full moon from their perspective.
• Describe a haunted house from the point of view of the malevolent entity residing within.
• Write a story from the perspective of a doll possessed by a child’s spirit.
• Narrate a zombie apocalypse from the point of view of a newly turned zombie.
• Write about a serial killer’s inner monologue during a murder spree.
• Describe a demonic summoning ritual from the perspective of the demon being summoned.
• Write a story from the point of view of a shapeshifter luring their prey.
• Narrate a tale of a cursed family from the perspective of the family’s patriarch.
• Write about an alien abduction from the point of view of the extraterrestrial.
• Describe a night in a haunted asylum from the perspective of a tortured soul.
• Write a story from the point of view of a sentient AI that turns against its creators.
• Narrate a tale of a cult ritual from the perspective of the sacrifice.
• Write about a post-apocalyptic world from the point of view of a mutated survivor.
• Describe a monster’s lair from the perspective of the monster itself.
• Write a story from the point of view of a person slowly turning into a creature.
• Narrate a tale of a cursed town from the perspective of the town’s oldest resident.
• Write about a possessed vehicle from the point of view of the vehicle.
• Describe a night in a morgue from the perspective of a reanimated corpse.
• Write a story from the point of view of a scientist’s failed experiment.
• Narrate a tale of a haunted theater from the perspective of a ghostly actress.
• Write about a monster’s hunt from the point of view of the monster’s prey.
• Describe a night in a haunted forest from the perspective of a lost hiker.
• Write a story from the point of view of a person trapped in a time loop.
• Narrate a tale of a cursed painting from the perspective of the artist.
• Write about a possessed child from the point of view of the exorcist.
• Describe a night in a haunted hospital from the perspective of a deceased patient.
• Write a story from the point of view of a person whose dreams become reality.
• Narrate a tale of a witch’s curse from the perspective of the cursed individual.
• Write about a haunted ship from the point of view of a ghostly crew member.
• Describe a night in a vampire’s castle from the perspective of the vampire’s servant.
• Write a story from the point of view of a person whose reflection starts talking back.
• Narrate a tale of a cursed amulet from the perspective of the amulet’s creator.
• Write about a monster’s transformation from the point of view of the monster’s loved one.
• Describe a night in a haunted prison from the perspective of a wrongly accused inmate.
• Write a story from the point of view of a person whose imaginary friend turns evil.
• Narrate a tale of a cursed book from the perspective of the book’s author.
• Write about a monster’s origins from the point of view of the monster’s creator.
• Describe a night in a haunted carnival from the perspective of a creepy clown.
• Write a story from the point of view of a person slowly turning invisible.
• Narrate a tale of a demonic possession from the perspective of the possessed individual.
• Write about a monster’s last stand from the point of view of the monster hunter.
• Describe a night in a haunted cemetery from the perspective of a restless spirit.
• Write a story from the point of view of a person whose nightmares come true.
• Narrate a tale of a cursed mirror from the perspective of the mirror’s trapped souls.
• Write about a monster’s offspring from the point of view of the monster’s mate.
• Describe a night in a haunted castle from the perspective of a cursed knight.
• Write a story from the point of view of a person who discovers they are a monster.

As we reach the end of this list of 50 horror writing prompts, it becomes clear that the possibilities for terror and intrigue are truly endless. Each prompt, with its unique perspective and premise, offers a gateway into a world of fear, where the boundaries between reality and nightmare blur. These ideas serve as a testament to the enduring power of horror fiction, its ability to tap into our deepest anxieties, and its capacity to make us question the very nature of our existence.

Through these prompts, we have explored the realms of the supernatural, the psychological, and the visceral. We have walked in the footsteps of the haunted and the haunting, the cursed and the cursed, the monstrous and the all-too-human. In doing so, we have discovered that horror is not merely about the external threats that lurk in the shadows but also about the darkness that resides within ourselves. By confronting these fears head-on, we gain a deeper understanding of what it means to be human in a world where nothing is quite as it seems.

As writers, these prompts offer us a chance to push the boundaries of our craft, to experiment with voice, style, and structure, and to create stories that leave an indelible mark on our readers’ minds. Whether we choose to explore the classic tropes of the genre or to venture into uncharted territory, these ideas provide a solid foundation upon which to build our own unique visions of terror. By embracing the challenge of writing from different perspectives, we can unlock new depths of creativity and discover fresh ways to make our readers’ hearts race and their skin crawl.

But perhaps the greatest gift of these prompts is the reminder that horror is not merely a genre but a lens through which we can explore the human condition. By delving into the darkest corners of our imagination, we can shine a light on the fears, desires, and struggles that unite us all. Through our stories, we can offer our readers a chance to confront their own demons, to find catharsis in the face of terror, and to emerge stronger, wiser, and more empathetic than before.

So, as we close this list of 50 horror writing prompts, let us embrace the power of perspective and the endless possibilities of fear. Let us take these ideas and run with them, crafting stories that will haunt our readers’ dreams and linger in their minds long after the final page is turned. For in the end, it is through our words that we can truly explore the depths of the human experience, and in doing so, perhaps even catch a glimpse of the divine in the darkness. We have many more writing prompts you might be interested in . 

Related Posts:

About Richard

Richard Everywriter (pen name) has worked for literary magazines and literary websites for the last 25 years. He holds degrees in Writing, Journalism, Technology and Education. Richard has headed many writing workshops and courses, and he has taught writing and literature for the last 20 years.  

In writing and publishing he has worked with independent, small, medium and large publishers for years connecting publishers to authors. He has also worked as a journalist and editor in both magazine, newspaper and trade publications as well as in the medical publishing industry.   Follow him on Twitter, and check out our Submissions page .

Reader Interactions

planet clicker says

May 16, 2024 at 1:00 am

Great article! I really appreciate your efforts to create quality and meaningful work. Thank you for your inspiration!

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Privacy Overview

Get the Reddit app

If you're writing fiction, whether it be flash fiction, short stories, novellas, novel, epics, screenplays, poetry, or even something like writing for a videogame then this subreddit is for you. Join us, ask your questions, share your knowledge, and use us to have a look at your work.

Horror Writing Unit

I teach a creative writing class to sophomores and juniors in high school. I worked on an example story for our horror genre unit. Anyone who feels like reading and providing input would be appreciated: **edit: I’m sorry for the format! I tried to post pictures for easier reading but it wouldn’t allow it.

It all happened so fast. I didn’t know what was happening until it was over. I was just driving home from my job at the fish plant. My old red Chevy was chugging along, making a screeching noise when it shifted from second to third gear, as it usually does. Right when I was approaching the intersection of Fifth and Jackson, right when I was under the green light, it happened. Crash. The next ten minutes were a blur. There was an intense force and my body shook violently inside the single cab. I felt the tumult as the truck turned over. I was told later that it flipped three times, but I don’t remember that. I remember lying on the broken windshield, disoriented and in more pain than I thought possible. I heard the blood in my ears and a car peel out and drive away. The last thing I remembered seeing before the ambulance arrived was tail lights in the distance. The ride to Paul B. Johnson Hospital was a blur. I saw bright lights and two EMTs talking in hurried and worried voices. There were needles pricking me and beeping from machines. Then I passed out completely. I woke up eight hours later. “Good morning, Mr. Benson. You know, you’re one lucky SOB. That was the kind of car crash that should’ve killed you. You know, you really should wear a seatbelt.” The doctor was looking down at me with a worried expression but an attempt at a smile. His white coat was stained on the left lapel with what looked like a spot of mustard. His graying beard was unkempt. He generally looked tired and disheveled, but he had a kind face. “What…what happened?” I manage to stutter out. “Well, the short story is there was a hit and run and miraculously we were able to save you. The long story is that a truck T-boned you going at least 50 or 60, you flipped three times, sustained a concussion, lesions on your arms, legs, and face, and broke your foot and two ribs. We performed two surgeries in the past eight hours, and you should actually be able to go within a week or two.” “Oh my God. I can’t believe it. This is crazy.” The doctor nodded and genially replied, “Yes, yes it is. But the important thing is that you’re okay. I’m Dr. Griggs, and I’ll be back in to check on you in a few hours. The floor nurse, John Bates, will be in periodically to administer medicine until his shift ends at 3:00. If you need anything, just press the button.” Then he walked briskly away. At that time my mind was a race of thoughts…how did this happen…would they catch who did this…why was I able to be saved against all odds…why would this happen to me? As my mind continued to wonder, I drifted off into another bout of deep sleep. When I awoke next, it was noon, and a male nurse in blue scrubs was checking my monitor and writing on his clipboard. He quickly introduced himself as John, told me he was giving me something to help me continue to sleep and rest, and walked out. I barely had time to process the short interaction before I was out again. The next time I woke up, I felt much better. Still weak, and my ribs ached fiercely, but I felt like I’d actually make it to the other side of this horrible ordeal. That’s when he walked in. It was another male nurse. Blue scrubs, a surgical mask on, and no name tag. The room was dark except for the dim lamp on the other end of the room, and only darkness came through the windows. The clock said it was 9:46. This nurse didn’t say anything. “Hi, how’s it going?” I ask in an attempt to break the awkward silence. But he didn’t reply. He moved briskly to my IV bag and started fiddling with a syringe of clear liquid. “What’s that? I don’t think I need any medicine right now. I’m actually feeling much better,” I say in a timid voice. He looks at me with his dark eyes and simply says, “Yes, you do.” His voice was husky and gruff. He had no bedside manner and something in that stare made me feel uneasy. “No…I really do think I’m okay. What is that anyway?” As he shot the liquid into the IV, he looked back at me once more. His reply made me shutter. “Something that will finish the job.” He turned and walked quickly from the room, and the panic set in. What? What job? What does he mean? That’s when I started to feel the effects. I became cold, achy all over, and my brain started to fog over. I knew this wasn’t right, and I ripped the IV needle from my arm. Within a few minutes the effects began to wear off, and I thought that I would be okay. But at the same time…this nurse tried to kill me, and I think he tried to kill me in my truck last night. I struggle to get out of the bed, being careful not to put too much pressure on my left foot and clutching at my ribs, wincing with every slight movement, but I manage to stand. I’m still foggy from whatever that “nurse” gave me, but it’s getting clearer by the second. I know that I have to get help. I hobble my way to the door. Gasping as I limp across the room, every step feels like I’m running a mile through Hell. When I make it to the door and open it, I first notice how…quiet the hallway is. There’s no sound at all. No monitors beeping, no patients in their rooms, no doctors or nurses or staff anywhere to be seen or heard. Then the lights cut out. It’s pitch black except the green EXIT sign at the end of the hallway. Knowing that the man could be anywhere, I go as fast as I can. Using the wall to steady myself, I half walk, half drag myself. I make it through the ominous hall room by room. Room 17…my ribs are starting to feel like knives stuck into my sides…room 16…my breathing feels like swallowing glass…room 15…I collapse, resorting to dragging my body along the cold tiles…room 14…there’s no way I’ll ever make it…there’s much too far to go…room 13…at this moment, I hear the unmistakable sound of a door opening behind me down the hall. Then there’s a deep growl of frustration. I crane my head to see behind me, and I see him. The man. Or rather, I see the outline of a man in the darkness. I know he’s coming for me. With every second that passes, I hear his heavy thudded footsteps getting closer. His rattled breathing sounds like gravel crunching under a car’s tires. It shakes me to the core, but I make a break for it. Blocking out the excruciating pain in my foot and ribs, I clamor into room 13 and slam the door shut, locking it from the inside. Almost as soon as the lock clicks, the doorknob starts to rattle. It’s a furious, ferocious rattling, and I hear the man grunting and cursing under his breath, attempting to break through. In a panic I turn to find something, anything, to further block the door, but…there’s nothing. This room is entirely and utterly empty. At that moment, the noise at the door stops. Then a second later the lights turn back on, but there’s only a dim lamp in the room. With the light, though, I’m able to make out some of the details of the barren room. The walls are painted a dark gray, a severe contrast to the white of the other rooms’ walls. The checkered tile floor is grimy as if it hadn’t been mopped in years, and it was devoid of anything. No bed, no couch, no chairs, no…nothing. The only thing to be seen was a wooden chest in the corner that was painted black and had a large silver handle on it. The paint was faded and peeling, and there were red smudges splattered all over it. I couldn’t think of why or what that was here for, but I didn’t get much time to think about it at all. At that second, I heard a sound. Click. I look back to see the door knob turning slowly. Screeeeeech. The door starts to open. Oh God, no. He’s in. I hobble to the chest and wrench it open. The smell of decaying animals and dirt punch me in the face, but I clamor into the tight space anyway. As I turn around to close the lid, I see the man approaching with a scalpel in hand, his eyes as steady and dark as ever. I slam the lid shut and fumble with the latch to lock it, not thinking about why there would be a lock on the inside of this chest in the first place. I sit there, cramped and feeling like my foot and ribs are on fire. This must be what Hell is like…burning, blinding pain…unparalleled fear…no way out…I can’t do this anymore. I’m not going to make it. This is too much. But while these thoughts crept through my fear-ridden mind, I noticed something. It was…quiet. No attempt to open the chest, no grumbling or grunts, no footsteps. It’s just…silent. I tried to think about why or how the man wasn't trying to get in, but the pain became too much. I couldn’t take it anymore. Before I knew it, I passed out. When I came to, I was disoriented, and it took me a minute to remember what was happening. Then the fear sank back into my bones. I began to panic, wondering where he was, how long I had been in there, and if it was safe to get out. But then, I heard a voice. “Ahh…wakey wakey, I see. Welcome back, Jasper. It’s time to finish this.” The voice was deep and had that sound of gravel crunching, but the scariest part wasn’t the tone or the words themselves…the scariest part was that it didn’t come from outside the chest. It came from beneath. Crash. The floor opened up beneath me and I fell ten feet to the ground. It was a dirt floor, very hard and damp. I felt my left wrist break when I tried to catch my fall, and I let out an agonizing scream. “Oh, that’s what I’m talking about. Make it more fun for me, Jasper. I like to hear the screams.” In the dim light I make out his figure. He walks toward me slowly and steadily, knowing I couldn’t run even if the fear wasn’t paralyzing me. I manage a slight little shimmy backwards, but the fire erupts in my ribs again, and I can’t go any further than a foot or two. Looking around for anything that could help me defend myself, I see them. The bodies. They’re littered around the small room, piled three high in places. The stench is unbearable, and I turn and vomit immediately, causing my ribs to burn even more. I turn back to my attacker, only managing a soft whimper as he brings the scalpel down to my throat. “Time for your medicine, Jasper.”

By continuing, you agree to our User Agreement and acknowledge that you understand the Privacy Policy .

Enter the 6-digit code from your authenticator app

You’ve set up two-factor authentication for this account.

Enter a 6-digit backup code

Create your username and password.

Reddit is anonymous, so your username is what you’ll go by here. Choose wisely—because once you get a name, you can’t change it.

Reset your password

Enter your email address or username and we’ll send you a link to reset your password

Check your inbox

An email with a link to reset your password was sent to the email address associated with your account

Choose a Reddit account to continue

TRY OUR FREE APP

Write your book in Reedsy Studio. Try the beloved writing app for free today.

Craft your masterpiece in Reedsy Studio

Plan, write, edit, and format your book in our free app made for authors.

Blog • Perfecting your Craft

Last updated on Jun 20, 2022

How to Write a Horror Story: 7 Tips for Writing Horror

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Savannah Cordova

Savannah is a senior editor with Reedsy and a published writer whose work has appeared on Slate, Kirkus, and BookTrib. Her short fiction has appeared in the Owl Canyon Press anthology, "No Bars and a Dead Battery". 

In our era of highly commercialized crime and thriller novels, it may seem like zeitgeist-defining horror books are a thing of the past. Indeed, Stephen King was once the perennial bestselling author in the world, and children in the 90s devoured Goosebumps books like The Blob devoured, well, everything.

But let’s not forget there’s a huge base of horror fans today, desperate for their next fix . So if you’re hoping to become the next Crown Prince of Dread, your dream can still come true! Here are seven steps to writing truly chilling horror:

1. Start with a fear factor

2. pick a horror story subgenre, 3. let readers experience the stakes, 4. create suspense through point of view, 5. consider plot twists to surprise your audience, 6. put your characters in compelling danger, 7. use your imagination.

The most important part of any horror story is naturally going to be its fear factor . People don’t read horror for easy entertainment; they read it to be titillated and terrorized. That said, here are a few elements you can use to seriously scare the pants off your reader.

Instinctive fears

Fears that have some sort of logical or biological foundation are often the most potent in horror. Darkness, heights, snakes, and spiders — all these are extremely common phobias rooted in instinct. As a result, they tend to be very effective at frightening readers.

This is especially true when terror befalls innocent characters apropos of nothing: a killer traps them in their house for no apparent reason, or they’re suddenly mugged by a stranger with a revolver. As horror writer Karen Woodward says, “The beating undead heart of horror is the knowledge that bad things happen to good people.”

Monsters and supernatural entities

These stretch beyond the realm of logic and into the realm of the “uncanny,” as Freud called it. We all know that vampires , werewolves, and ghosts aren’t real, but that doesn’t mean they can’t shake us to our core. In fact, it’s the very uncertainty they arouse that makes them so sinister: what if monsters are really out there, we’ve just never seen them? This fear is one of the most prevalent in horror, but if you decide to write in this vein, your story has to be pretty convincing.

Societal tensions

Another great means of scaring people is to tap into societal tensions and concerns — a tactic especially prevalent in horror movies. Just in recent memory, Get Out tackles the idea of underlying racism in modern America, The Babadook examines mental health, and It Follows is about the stigma of casual sex. However, societal tensions can also easily be embodied in the pages of a horror story, as in Shirley Jackson’s The Lottery .

The right atmosphere for your story depends on what kind of horror you want to write. To use cinematic examples again, are you going for more Texas Chainsaw Massacre or Silence of the Lambs? The tone and atmosphere of your story will hang upon its subgenre.

• Thriller-horror employs psychological fear, often occurring near the beginning of horror stories before very much has happened
• Gross-out horror involves vivid descriptions of spurting blood, hacked-up flesh, and gouged-out organs in order to shock the reader; think gore movies of the 70s
• Classic horror harks back to the Gothic (or Southern Gothic) genre , with spooky settings and bone-chilling characters like those of Dracula and Frankenstein
• Terror provokes a feeling of all-pervasive dread, which can either serve as the climax of your story or be sustained throughout

It’s also possible to combine subgenres, especially as your story progress. You might begin with a sense of thrilling psychological horror , then move into gothic undertones, which culminates in utter terror.

But no matter what type of horror you’re working with, it should be deeply potent for your reader — and yourself! “If you manage to creep yourself out with your own writing, it's usually a pretty good sign that you're onto something,” editor Harrison Demchick says.

PRO-TIP : Ever wanted to find out which book genre  you  are? Take our 1-minute quiz below to see! 

Which book genre are you?

Find out here! Takes one minute.

In order for readers to truly thrill at your horror story, you need to make them aware of the stakes. Clearly establish the main problem or motivation for your character(s) , and what they have to lose if they don’t figure it out. These stakes and motivations might involve: 

Survival. The most basic objective of characters in any horror story is to survive. However, there are nuances that accompany that goal. Perhaps their objective isn't just to stay alive, but to defeat their murderous nemesis while doing it — whether that’s another person, an evil spirit, or even themselves, if it’s a Jekyll and Hyde-type scenario.

Protecting loved ones. The more people the protagonist has to keep safe, the higher the stakes. Many horrific tales peak with a threat of death not to the main character, but to one or several of their loved ones (as in Phantom of the Opera or Red Dragon ).

Cracking unsolved mysteries. Because some horror stories aren’t about escaping peril in the present, but rather about uncovering the terrors of the past. This especially true in subgenres like cosmic horror , which have to do with the great mysteries of the universe, often involving ancient history.

Again, as with atmosphere, you can always merge different kinds of stakes. For instance, you might have a character trying to solve some mysterious murders that happened years ago, only to find out that they’re the next target!

The main thing to remember when it comes to horror — especially horror stories — is that straightforward stakes tend to have the greatest impact. Says author Chuck Wendig, of his perfect recipe for horror: “Plain stakes, stabbed hard through the breastbone.”

Bonus tip! Need help conjuring stakes and suspense? Try reading some masterfully crafted true crime — which can be even scarier than bone fide horror, since it actually happened.

Your reader should feel a kinship with your main character, such that when the stakes are high, they feel their own heart start to beat faster. This can be achieved through either first person or third person limited point of view. (When writing horror, you’ll want to avoid third person omniscient, which can distance your reader and lessen their investment in the story.)

We'll get into only the major POV's to consider in this post, but if you want a full point of view masterclass, check out our free course below.

FREE COURSE

Understanding Point of View

Learn to master different POVs and choose the best for your story.

First person POV

Speaking of beating hearts, for a great example of first person narration in horror, look no further than The Tell-Tale Heart . Many of Poe’s stories involve deranged first-person narrators ( The Black Cat , The Cask of Amontillado ) but none are more notorious than this one, in which the main character is driven to murder his elderly housemate. Notice Poe’s chilling use of first person POV from the very first lines of the story:

It’s true! Yes, I have been ill, very ill. But why do you say that I have lost control of my mind, why do you say that I am mad? Can you not see that I have full control of my mind? Indeed, the illness only made my mind, my feelings, my senses stronger… I could hear sounds I had never heard before. I heard sounds from heaven; and I heard sounds from hell!

First person POV is excellent for hooking your reader at the beginning, and keeping them in suspense throughout your story. However, it might be too intense for longer, more intricate pieces, and may be difficult to execute if you’re trying to conceal something from your readers.

It’s also worth thinking about the implications of first person, past tense POV in a horror story — it suggests they’ve lived to tell the tale, which might ruin your dramatic ending. Therefore if you do decide to use first person narration, you should probably keep it in present tense.

Third person POV

If you find yourself struggling to make first person POV work, consider a third person limited perspective instead. This kind of narration is often used in longer-form horror, popularized by the likes of Stephen King and Dean Koontz . Look how it’s used here in King’s 1974 novel Carrie , in the description of its eponymous character:

Carrie stood among [the other girls] stolidly, a frog among swans. She was a chunky girl with pimples on her neck and back and buttocks, her wet hair completely without color… She looked the part of the sacrificial goat, the constant butt, believer in left-handed monkey wrenches, perpetual foul-up, and she was.

This narration paints an intimate picture of the character, while still allowing the freedom for commentary in a way that first person narration doesn’t as much. Third person limited narration also works well for building to a certain atmosphere, rather than jumping right into it, as Poe’s narrator does — which is part of why third person is better for lengthier pieces. (See more of King's masterful use of POV to wrack up tension in our Guide to King! )

Unreliable narrators

Alternately, if you’re committed to having a first person narrator but you don’t want to reveal everything to your readers, an unreliable narrator could be your perfect solution ! Many mystery and thriller novels employ unreliable narration in order to work up to a big twist without giving away too much. So whether or not you’ll want an unreliable narrator probably depends on how you end your story: straight down the line or with a twist.

Plot twists are exciting, memorable, and help bring previous uncertainty into focus, releasing tension by revealing the truth. However, they’re also notoriously difficult to come up with , and extremely tricky to pull off — you have to carefully hint at a twist, while making sure it’s not too predictable or clichéd.

So: to twist or not to twist? That is the question. 

Big plot twists in horror writing tend to follow the beaten path: the victim turns out to be the killer, the person who we thought was dead isn’t really, or — worst of all — it was all in their head the whole time! But keep in mind that small, subtle plot twists can be just as (if not more) effective.

Take William Faulkner’s short story A Rose for Emily . After Emily dies, the villagers discover the corpse of a long-vanished traveler in one of her spare beds — along with a strand of silver hair. While the discovery of the body might be gruesome, it’s the presence of Emily’s hair (suggesting she enjoyed cuddling with a cadaver) that really haunts you.

Not to twist

The ending of your story doesn't have to come out of left field to shock and horrify readers. The classic horror approach leaves the reader in suspense as to precisely what will happen, then concludes with a violent showdown (think slasher films).

In this approach, while the showdown itself might not be a surprise, the scenes leading up to it build tension and anticipation for the climax. That way, when the big moment does arrive, it still packs a dramatic punch.

“A horror novel, like any story, is about a character or characters trying to achieve a goal based upon their individual wants and needs,” says Demchick. “If you let concept overwhelm character, you'll lose much of what makes horror as engaging as it can be.”

To scare your characters, you need to have a solid understanding of their psyche. Filling out a character profile template is a great start to fleshing out believable characters, so give ours a try.

FREE RESOURCE

Reedsy’s Character Profile Template

A story is only as strong as its characters. Fill this out to develop yours.

As you write, you need to stay conscious of basic storytelling techniques and not get carried away with the drama of horror. It might help, before you begin, to answer these questions about your characters and plot:

• What fear or struggle must your protagonist overcome?
• What decision do they make to put them in this situation?
• How will they defeat or escape their adversary, if at all?
• What are the ultimate consequences of their actions?

This will help you create a basic outline for your horror story , which you can embellish to create atmosphere and suspense. In plot-driven genre stories, a thorough outline and emotionally resonant elements are vital for keeping your reader invested.

A great horror story balances drama with realism and suspense with relief, even with the occasional stroke of humor. Gillian Flynn is the master of this technique — as seen in this excerpt from her horror story The Grownup , wherein the narrator is scheming how to capitalize on her “spiritual cleansing” services:

I could go into business for myself, and when people asked me, “What do you do?” I’d say, I’m an entrepreneur in that haughty way entrepreneurs had. Maybe Susan and I would become friends. Maybe she’d invite me to a book club. I’d sit by a fire and nibble on Brie and say, I’m a small business owner, an entrepreneur, if you will.

In order to stand out from the crowd, you need to think about overused trends in horror and make sure your story’s not “been there, done that.” For instance, the “vampire romance” plot is a dead horse with no one left to beat it after all the Twilight, Vampire Diaries, and True Blood hype.

However, that doesn’t mean you can’t use certain elements of popular trends in your writing. You just have to put a spin on it and make it your own!

For example, zombie horror was already a well-worn genre when Seth Grahame-Smith’s Pride and Prejudice and Zombies came out in 2009. But by setting it in the regency era and featuring Jane Austen’s well-loved characters, he created a brilliant original work and carved out a brand new audience for zombie fiction. You can also pay homage to well-known horror tropes, like the Duffer brothers of Stranger Things   did for Stephen King and Steven Spielberg — and which savvy audiences are sure to appreciate.

It certainly feels sometimes like all the good horror stories have already been written, making your own ideas seem  trite. But don’t forget that new horror comes out all the time, and it only takes one great idea to be a hit! So try not to stress out about it, and remember: just by having read through this guide, you’re already that much closer to becoming a literary graveyard smash .

11 responses

Sawan says:

04/11/2018 – 19:34

Thank you so much for writing this article. I am currently writing a short horror story. Sometimes when I write a horror scene, I get really terrified, but after some days it all feels shitty.

↪️ dilinger john replied:

08/05/2019 – 12:28

it happens with everyone don't stress over it and pass your work to someone who will review it. you are a writer and can not be a critic at the same time.

↪️ Shane C replied:

28/09/2019 – 21:15

Sawan -- been writing for 22 years... NEVER judge your own work. You write it -- finish it off -- then have some friends that enjoy horror and reading read your work and give you honest critique. Record their critique or take accurate notes. Repeat this with several friends (but only those you can trust not to try to steal your work, Creative Commons and/or Registered Mail can be your best friend BEFORE this stage). Pick the best one you like, that makes the most sense -- but if several people say "blah blah blah should have happened," or a really close variation throughout reader opinions... Go with it! I know most people hate that, feels like butchering your art (I know I hate it), but use it anyway. It'll likely be more widely received... Just a few pointers.

Annabelle says:

21/05/2019 – 01:51

This is awesome I love this! I’m writing my own horror novel too.🙂

↪️ Andrew replied:

31/10/2019 – 20:23

what is it?

NAVEEN says:

29/07/2019 – 15:22

i am at the age of sixteen and i decided to write a horror story. thanks a lot!!

Bobette Bryan says:

27/08/2019 – 19:09

Ghosts are real. I've seen many in my lifetime and have had some very terrifying experiences with some.

↪️ smr replied:

03/01/2020 – 13:25

what the hell ??

↪️ John Brown replied:

16/01/2020 – 02:28

Me too! And I think it actually helps with writing horror stories, because you have more experience than most.

John Brown says:

16/01/2020 – 02:27

I’m 14 and I love writing horror novels, but I usually freak my self out too much to keep writing... 😕

Comments are currently closed.

Continue reading

Recommended posts from the Reedsy Blog

How to Introduce a Character: 8 Tips To Hook Readers In

Introducing characters is an art, and these eight tips and examples will help you master it.

450+ Powerful Adjectives to Describe a Person (With Examples)

Want a handy list to help you bring your characters to life? Discover words that describe physical attributes, dispositions, and emotions.

How to Plot a Novel Like a NYT Bestselling Author

Need to plot your novel? Follow these 7 steps from New York Times bestselling author Caroline Leavitt.

How to Write an Autobiography: The Story of Your Life

Want to write your autobiography but aren’t sure where to start? This step-by-step guide will take you from opening lines to publishing it for everyone to read.

What is the Climax of a Story? Examples & Tips

The climax is perhaps a story's most crucial moment, but many writers struggle to stick the landing. Let's see what makes for a great story climax.

What is Tone in Literature? Definition & Examples

We show you, with supporting examples, how tone in literature influences readers' emotions and perceptions of a text.

Join a community of over 1 million authors

Reedsy is more than just a blog. Become a member today to discover how we can help you publish a beautiful book.

We made a writing app for you

Yes, you! Write. Format. Export for ebook and print. 100% free, always.

1 million authors trust the professionals on Reedsy. Come meet them.

Enter your email or get started with a social account:

• Rating Count
• Price (Ascending)
• Price (Descending)
• Most Recent

Short story unit horror

Resource type.

Scary Short Stories Unit - Horror Stories for Halloween in Middle School ELA

Short Story Unit - Mystery and Suspense - Scary Stories Horror - Suspenseful

Scary Short Story Units - Horror Stories - Halloween Reading Comprehension

The Birds by Daphne Du Maurier Short Story Unit - Horror Short Stories Projects

Element of Suspense | Short Story Unit | Horror Genre | Suspenseful Stories

Gothic Literature Short Stories Unit - Dark Romanticism - Horror Genre

Horror short story unit -Middle School-October/Halloween-slides/docs

Short Story Unit on Writing Horror , Science Fiction, and Fantasy

Stephen Graham Jones Unit : Horror Genre | Scary Short Story | Elements of Horror

Horror Story Unit - Short Story Bundle with Texts, Quizzes, Worksheets, and More

Halloween Language Arts Short Story | Foreshadowing Mini-Lesson | Horror Unit

Tell-Tale Heart Activities & Assessments (Test) by Poe Short Story Unit

High School Short Stories Quiz, Close Reading, and Vocab Games Bundle (Vol. 1)

Fear and Suspence Short Story Unit - UPDATED!

Short Story Unit Saki's The Open Window

Horror Creative Writing Unit

Science Fiction Unit - Sci -Fi Short Stories - Elements of Science Fiction Genre

High School Short Stories Quiz, Close Reading, and Vocab Games Bundle (Vol. 4)

Short Stories Quiz, Close Reading, and Vocab Games Bundle (Vol. 4) - Google

Edgar Allan Poe Short Story BUNDLE

High School Short Stories Quiz, Close Reading, and Vocab Games Bundle (Vol. 3)

Short Stories Quiz, Close Reading, and Vocab Games Bundle (Vol. 3) - Google

• We're hiring
• Help & FAQ
• Privacy policy
• Student privacy
• Terms of service
• Tell us what you think