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Category: fiction
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Horror week #005: “What are you afraid of?” Michael Slade
8+ FEARS TO THINK ABOUT In October, 2005, I attended a session given by Jay Clarke, aka Michael Slade, horror/thriller novelist. The subject of the workshop was FEAR. Here’s a few of the notes I took: “No one ever lost money by offering readers a good ride to hell.” –Michael Slade –“Fear is the…
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Horror week #004: VOICES make your horror fiction unsettling…
As writers, we all have those little voices in our heads; they’re called characters. But voices in the head of your character can be downright creepy. Look at how Ronald Kelly makes it even worse by making an INTERNAL voice EXTERNAL in his novel, Blood Kin: Dudley Craven stared at the piece of wood…
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Horror week #003: Exaggerate in your writing to grab your readers!
Exaggeration (hyperbole and understatement) is a tool often used in horror fiction. Stating that things are the absolute worst (hyperbole) sends a clear message to the reader: this character doesn’t want to be here right now–and neither would YOU! Look at how Nancy Holder and Debbie Viguie use it immediately…
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Horror writing #002: Miss you…!
If you want to create some mystery, right out of the gate, then have something missing that really ought to be there. Look at how horror writer Patricia Windsor manages that in The Blooding: They were found in the woods, curiously and awkwardly lying in the first leaves of autumn. The girl had fallen…
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Horror week #001: For a creepy effect in horror fiction, ZOOM IN!
It’s cinematic, really. To add power to your descriptions and even create a bit of suspense through them, ZOOM IN! Here’s how horror writer Stephen Dobyns does it in his novel, The Church of Dead Girls: Three dead girls in three straight chairs, collapsed against the ropes, heads tilted, their skin papery, their…
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July 31st post comes early: A Starter for You from Rachael Frey
Ok, I’m getting ready to embark on a 17-HOUR flight to Singapore, so tomorrow’s post is coming, well…tonight. As in just before I leave. As in now. It’ll be short and sweet (maybe not so sweet, but short) because of that, too. Here’s the beginning line to Rachael Frey’s “The Lost Twice Legend,”…
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A Starter for You from the January, 1921 National Geographic
One of my favorite writing exercises is to take a piece of writing I like, clip a piece of it, and try to continue writing in that author’s style. I also love making something nonfiction into fiction. The selection I’ll ask you to try this with today comes from “The Dream Ship,” a January,…
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Opening paragraphs #005: SUPER CHALLENGE!
Let’s do a quick review of our look at beginnings in the past four days: Day one: sharp contrast: tough, tough soft Day two: a bit of mystery Day three: 3-line description that ends with a powerful short line Day four: help NOT wanted; hesitation at interaction And now, on day five, we’re…
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Opening paragraphs #004: Help NOT wanted!
Have you ever been in a situation where you want to help someone, but they don’t want to be helped? Take a look at this opening by Jess Row in “The Call of Blood“: Mornings he finds Mrs. Kang upright in bed, peeling invisible ginger with an invisible knife. She watches her hands with…
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Opening paragraphs #003: Shake it up!
For day three of our investigation of openings, I thought I’d show you one that is powerful, sarcastic, hilarious, and tragic–all at the same time! Check out the beginning to “Property,” by Elizabeth McCracken: The ad should have said, For rent, six-room hovel. Quarter-filled Mrs. Butterworth’s bottle in living room, sandy sheets throughout, lingering…