I’d say Alien falls in the latter category, while something like It Follows lands in the former. Boris Karloff — Pexels. How does the sin function in the story? Books on writing horror films that everyone is talking about. A lot of horror movies – including Mike’s, the one that started this whole discussion — fall into the Monster in the House (MITH) genre. We keep watching (or reading) to see which it is, which will win out. If you’re questioning conventional wisdom, you’re making sure the unique demands of your story are being served. The house is the family unit that she invades. In It Follows, the main character is grappling with the issue of how to have intimate relationships and the monster speaks directly to that. Monster: A man-eating, great white shark. I am so grateful I hired Naomi to review my screenplay. Yes, Naomi knows the science of story, and I would recommend her to any storyteller who wants to take their material to a higher level. 6 min read. This should be short, and shouldn’t extend the action more than a couple of pages after the final confrontation — there’s nothing worse than a convoluted twist (or a misguided attempt to set up a sequel) that unnecessarily drags the screenplay out. Since the introduction of colour and special effects the scripting seems to have taken the backseat, in favour of audience figures. It gives the story a sense of purpose. Some horror scripts stumble out of the gate as they try to set up an overly-complicated set of circumstances. Tweet. From these examples it seemed the “monster” should challenge some internal deficit in the main character in order create a more cohesive story. So these “genre” categories are determined by the story elements, not by the tone or marketing hook of the movie. And the “sin” can help establish that fear. He writes: A horror movie has certain rules. by BlueCat | Oct 17, 2017 | The BlueCat Screenplay Competition Blog | 0 comments. That’s what makes one stand out from the rest. That’s the one that relies a little too heavily on flashy scares, but doesn’t have the substance to make it emotionally engaging. All are from reputable agencies. After that, you'll get a weekly dose of pro screenwriting tips and industry insights that'll help you get an edge over the competition. However, we started this article talking about questioning our assumptions. In The Babadook, the main character is dealing with depression and grief, and the monster is a direct representation of that. (Full disclosure: I worked on this book with Blake). She has to make a real choice between the two. The most appealing horror movies are based on a simple yet effective premise that can be relayed to the audience via Act One. This ties into her need to grow up or become her own hero in life, as she’s just learned she’s been deceived/betrayed by the parental figure of the corporation. Doubt and a faltering of faith between Fathers Karras and Merrin invite the dark spirit into the child. Within film, a paradigm is a typical model formed by pre established audience expectations. Think of this monster / character arc connection as a spectrum. K.D.Wilson. So it only makes sense to ask: And the short answer is No. It’s the constant push-pull of hope and dread (or fear) that keeps us invested in a story. Writing the Horror Movie; On Writing Horror: A Handbook by the Horror Writers Association ; Writing Scary Scenes: Professional Techniques for Thrillers, Horror and Other Exciting Fiction; Get to writing. Each turn they take should lead them deeper into danger, and inaction is not an option. This is a very short, no fluff, blueprint of how to write a horror script. Comment document.getElementById("comment").setAttribute( "id", "a64260b64fcb0a98a2c775d0ce99a985" );document.getElementById("idfbec4ff0").setAttribute( "id", "comment" ); © 2017 BlueCat Screenplay Competition | All Rights Reserved |. And with the recent “resurgence in imaginative, brainy and – most importantly – frightening fare” – It Follows, The Babadook, Green Room, Raw, Get Out, It Comes At Night — there’s even more interest in finding that next great, elevated horror movie. She found a big flaw in my script and presented a tactical approach on how to solve the problem. Start with a bang. You’re not just doing what everyone else does because you heard it was the “right” way. So the sin isn’t necessarily reflective of or related to the character’s arc. There should be tangible shifts from one act to the next, and, whether you opt for a slow burn or peaks and troughs, there should be a steady increase in tension until the climax. If you look at The Ring, the main character is dealing with balancing motherhood and career. If you break too many the audience will be disappointed. Learn from taking a look at these iconic books on horror films. this is set in the first year of the course but overlaps into second as it needs a lot of reviews to make it perfect however with this script its completely done and you will save time by using this or parts of it to blend with your own as its finished. The final stage of the action should go all out, with the protagonist drawing on every resource they have to escape — or defeat — the Threat, which responds by attacking with a viciousness we haven’t seen before. She honed in on plot, character and theme. It forces the main character to deal with her grief and the effect that grief is having on her life. And yes – even silly horror movies need to grab us somewhere deeper. For the MITH genre, which includes such diverse movies as Jaws, Alien, Tremors, Jurassic Park, The Ring, The Cable Guy, and Fatal Attraction, Blake lays out three essential elements: The discussion I had with Mike started around the idea of the “sin.”. Okay, I hear you. So there’s a good market for horror scripts, with more potential buyers. They introduce too many minor characters, or jump around too much. No one is safe, so Ripley needs to come into her own, become her own hero. You want to get your central narrative up and running as quickly as possible, without any distractions. But the circumstances of the plot and the forces of antagonism make us fear the worst. Agents may switch agencies or close their lists, and submission requirements may change. Not exactly, here’s some tips in finding originality within the horror genre. Why? Chris pays what he hopes will be a brief visit to his white girlfriend’s family only to discover they have no intention of letting him leave (GET OUT), Rocky and her friends attempt to burglarize a blind man’s home and discover he has killer defenses (DON’T BREATHE), A gang of misfit kids decides to investigate the clusters of mysterious deaths and disappearances that happen once every 27 years in their small town (IT). We're available through e-mail, live chat and Facebook. H ere are eight agents actively seeking horror. And she also delivered her feedback in prompt fashion. There’s no one right way to build a story. Anthony Stitt, Nicholl Fellowship Semifinalist, Scriptapalooza Top-10 Finalist, Philadelphia Film Festival Grand Prize Winner, “resurgence in imaginative, brainy and – most importantly – frightening fare”, even silly horror movies need to grab us somewhere deeper, main character is dealing with balancing motherhood and career. Even as we hope they don’t. I’ve read a lot of horror screenplays. In his book, Blake says that someone does something to let the monster in, and that’s part of the terror, because the monster entering is our own fault. A horror movie has certain rules. Alien. It is passed via sexual interactions. (Ha!) So even if the “monster” is related to the protagonist’s flaw (as in, a direct challenge to it), that doesn’t mean that the monster has to be related to the “sin” because the sin might belong to a character other than the protagonist. Fatal Attraction takes this strategy too — the monster of the scorned woman is a direct challenge to the hero’s deficit. But that doesn’t relate to the “sin” of greed, which put the group in that dangerous position in the first place. coursework for the a level english language 2015 onwards pearson course. Many horror screenplays start out well, establishing a disturbing set of circumstances that hint at trauma to come. In some ways the horror genre has suffered from technology. Or to the protagonist’s flaw? Is the monster connected to the sin? A horror script should be uncanny page-turner for the reader. You’re shaking that Jenga tower of a story you’re building and making sure it’s solid. This is the Boss Monster level, and it can be as bonkers as you can make it — think of the glorious mayhem of the last act of THE WITCH or CARRIE — as long as it pays off set-ups from earlier in the plot. Writing Horror Screenplays: How to Write Supernatural Horror. The Flaw. So first, understand your genre. Contradicting, isn’t it? This character must experience this story right now. A pithy prologue can be a useful device to set mood, but if it goes on for more than a couple of pages, or is too remote from the main action, it can represent a false start. Some stories are more obvious metaphors. If a lot of horror scripts flounder in Act Two, still more fail to deliver in Act Three. Even as we understand movie protagonists usually make it out alright. Rather, it seems like the sin’s function is to create a sense of dread in the audience. Your voice and your choices make your story unique. As mentioned above, stories gain a sense of cohesiveness when the “monster” does relate in some way to the main character’s flaw. That’s simply a horror-specific way of saying that coming up against the antagonist of the story is what forces the protagonist to grow. If you break too many the audience will be disappointed. The Hook. Monster: A metamorphic creature with acid for blood and an uncanny ability to hide. A great white shark traps surfer Nancy on a rock 200 yards from shore as the tide rises (THE SHALLOWS). However, many scripts also fall apart in the second act, as the screenwriter fails to heed the imperative, ‘Raise the stakes!’. Why the Reasons You Write a Script Matter. One noticeable trend is the “basic” horror script. The main action tends to be constricted in time and space and this tight focus helps increase tension. It’s always disappointing to see a deus ex machina or other random element tossed into the final pages because the writer couldn’t figure out a cohesive or inventive enough resolution using their existing set ups. Maybe it is because I have watched so many movies (especially horror) when I was growing up, but these all kind of seem like common sense when I was writing, so I am very pleased that none of them have made it into the script. Rather than getting caught up in the rules of how a horror screenplay must work, to build a truly effective screenplay let’s focus on the unique needs of your story and build the screenplay to best serve it. Step right into a suspense scene. The same way that an antagonist and a protagonist often feel like two sides of the same coin. And, you’re also free to break with the odd convention. Your email address will not be published. If we think the group that’s being targeted by the monster kind of deserves it, we anticipate that they might just get what’s coming to them. In Alien, the monster attacks and kills members of the crew indiscriminately. Or do they? Remember that a genre paradigm is a framework, not a prescription. Many great horror films scare us precisely because they reverse expectations (as in the ending of NIGHT OF THE LIVING DEAD). Perhaps they realize they’re battling a new, secondary threat? I have recently finished writing the script for a horror short that will be set in the Star Wars universe. Is it truly necessary? The horror paradigm is relatively straightforward and easy to follow. Or both. ("Scream" opens with a terrifying sequence with Drew Barrymore on the phone with a killer) 2. Understanding how the basic elements of the genre work equips you to play on those expectations, and elevate the genre. Sin: Greed. Start with a bang. Some horror scripts stumble out of the gate as they try to set up an overly-complicated set of circumstances. The “sin” element is not the same thing as the character’s flaw. This examination is a good thing. Is the sin the same thing as the protagonist’s flaw? When the city officials refuse to close down the beaches during the busy tourist season, they invite the monster into the house. Protagonists shouldn’t make turns that are obviously stupid, however. In search of patterns, we looked at many MITH horror movie examples. No matter how much experience you have, there’s always a point (maybe several) in the process of developing a new screenplay idea where you start to question your assumptions. Writing a genre screenplay might sound painless, but it’s challenging to do with originality and flair. The Hook. These are all relatively straightforward scenarios and, it’s worth noting, dependent on limited locations. In the end, this is a good reminder to focus on tools, not rules. You’ll see some below. Sin: Disbelief. Supernatural Horror is perhaps the most writer-friendly of all Horror sub-genres because its effectiveness really does live on the page, rather than being hostage to practical or CGI effects (even though we should love those too! They introduce too many minor characters, or jump around too much. During the second act of a horror movie, things need to get worse for the protagonist in every scene, as they do for poor Justine in RAW or the unluckiest punks in the world in GREEN ROOM. Monster: A powerful demon. From these examples, it’s clear the sin isn’t always something done by the story’s protagonist. BlueCat readers love being scared all year round, not just during the month-long frightfest of Shocktober. If you’re so inclined, writing a horror script can be a smart way to open some doors. Start with my 3-part email series: "The 3 Essential, Fundamental, Don't-Mess-These-Up Screenwriting Rules." When films were shot in black and white it took more effort from script-writing to construct a compelling and thrilling horror story. ALWAYS check the agency website before submitting. Sin: Greed again. Company Registration Number: 61965243, Stuvia is not sponsored or endorsed by any college or university, Discovering Statistics Using IBM SPSS Statistics, Multivariate Data Analysis: Pearson International Edition, Strategic Management and Competitive Advantage Concepts and Cases, Global Edition - William S. Hesterly, Jay B Barney, The Economics of Money, Banking and Financial Markets Global Edition - Frederic S. Mishkin. Available through e-mail, live chat and Facebook dealing with depression and grief, fear... These are all relatively straightforward scenarios and, you ’ re making sure the unique demands of story. Often budget-friendly and proves to be a smart way to open some doors ve read lot... 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