I’ve said it before and I’ll say it again: the root of all Horror fiction is Lovecraft’s theory of fearing the unknown. If you were to take a chisel and whittle away at any piece of Horror, you’d find that all you’re left with is mankind’s deepest, darkest fear; death. This could even include the metaphorical death of sanity, like, for example, the struggles of a split personality that John Dykstra faces in Stephen King’s ‘Rest Stop’ (2008)[1]. Our innate fear of death is what Horror writers manipulate, in various styles and forms, in order to send that familiar shiver down their readers’ spines.
The success of a Horror writer, however, is somewhat dependent on the reader. A writer can’t assume that every reader will squirm at body-horror, or thrill when a vampire pounces on its prey. Stephen King said that his writing approach therefore involves three levels, with ‘terror on top, horror below it, and lowest of all, the gag reflex of revulsion.’[2] He uses these varying degrees to prise an emotional response from his readers. Continue reading “Horror & the Writer”