Writing Good Horror by Goose
	So you want to write horror? A lot of folks do, it's the typical publishing industry many temporarily do. Regrettably, many great novels published in these markets are unimaginative and just dreadful. Do you want your work to stand out from the rest? Do you want to start advertising to bigger and more prominent markets? Do you want your horror stories to be so good of quality that people with bated breath to rush through your text, only just able to murmur exhaustedly when they've finished reading? It's not simple, but here are three guides presented that will amplify your likelihood of joining with the greatest of horror writers. Look out for clichés. You should start by reading in and out of the horror genre, by doing this you can recognise different plots and sub-plots that have been used repeatedly by many authors. After recognising these plots, you now know better than to end a story like; "And with that he jumped up from his bed and realised it was all a dream," or "And he now knew that this wasn't a figment, but a real ghost in front of him..." Retribution stories are one of the leading clichés in horror creative writing; there is no tension in them at all. Readers know exactly how they're going to turn out every time they read them, but you can still make clichés work for you. Alternatively instead of ending with a cliché, why not begin with one? It may very well work out for you. Try and start with something like, "It started with a dream," and develop your novel from there. Why not start with a man realizing his lover is a vampire and see what happens after that, or even turn the cliché around. What if a vampire found out his lover wasn't another nosferatu, but instead was a human? Make an effort to keep away from the most overworked plot in horror fiction, stories in which characters are simply props to be consumed, drained, eviscerated, sliced, chopped up and turned into dust by your creatures; whether it's a vampire, werewolf or the ever-present serial killer. These novels aren't tedious and they are insulting to readers who want more from the novelist. Possibly the best way to keep away from clichés is to stick to writing what you already know. Represent your own understanding for your story ideas. Write about the things that motivate and frighten you; the public, places and events that form the irreplaceable framework of your subsistence which makes your life unlike that of any other that has ever been lived before. If you do this, you can't help but be unique. Find the difference in grossing the readers and disturbing them. Many beginners think that writing horror is all about thorough descriptions of disembowelments and gushing fluids. They mix it up with the use of such fundamentals for imaginative audacity and cutting-edge writing. Good quality horror, like all fiction, is about touching readers psychologically. Distaste is an emotional reaction but it's a one-dimensional one with a partial outcome on readers. They finish your story about something repugnant and think, "that's sick," and straight away disregard your entire story. You have unsuccessfully impressed them, save on the most shallow of levels. I'm not saying you should keep away from writing about the shadowy and distressing. That is what horror is all about, from the calm subtleness of a half-glimpsed shadow on an otherwise sunlit day to the in-your-face malice of blood saturated from the luminous metal of a straight razor. But if you are going to go for the gross-out, it has to take place logically from the narrative itself to be so vital to the tale you're telling that it can't be aloof without making the story suffer. Bear in mind that severe elements, like anything else in fiction, are only an apparatus to help you tell your stories in the paramount way that you can. But like any prevailing tool, they should be used in moderation, vigilantly and always with good reason. Characters that we care about. Let me say now that this self-guidance doesn't mean that we have to be fond of your characters, it simply means your characters should be so well developed and fascinating that we want to read your story to find out what happens to them. There are characters like Captain Ahab, Sherlock Holmes, and Hannibal Lector who aren't at all times likable and are sometimes contemptible, but who are so unique, so fully comprehendible, that they can't neglect to captivate. Persuasive characters are what unforgettable fiction is all about. If a novelist did their piece of work perfectly, readers would be fascinated not only in the accomplishment in the story, but also in the promoter himself. So when the story accomplishes its climax, the characters expedition is fulfilled in a way that he and with luck the readers never anticipated. There's not only an emotional pay-off, but confidently readers will leave the story reflecting a little bit about their own spirituality. There is a lot more to writing good horror but if you take these three fragments of advice and take them to heart, you'll produce stories which will not only ascend above the common accounts of flesh-munching zombies and blood-lusting serial killers that are out there, you'll create fiction worth understanding and worth recalling.