Let's Write Horror: 15 Quick Lessons to Generate Ideas | Udern Stroud | Skillshare

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Let's Write Horror: 15 Quick Lessons to Generate Ideas

teacher avatar Udern Stroud, Creative Hobbyest

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Let's Write Horror: Intro to Fear


    • 2.

      LWH: Importance of Emotions


    • 3.

      LWH: Fear is Subjective


    • 4.

      LWH: Shock and Gore


    • 5.

      LWH: The Uncanny Valley


    • 6.

      LWH: Modernizing Horror


    • 7.

      LWH: Dark vs Light


    • 8.

      LWH: The Unknown


    • 9.

      LWH: Exorcising the Jaws of Research


    • 10.

      LWH: Little Tip Clip of Horrors


    • 11.

      LWH: The Horrors of Sensationalism


    • 12.

      LWH: When in Isolation


    • 13.

      LWH: The Death of Death


    • 14.

      LWH: Let the Games Begin!


    • 15.

      LWH Finale: Symbolism


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About This Class

(2020/15/13- Re-edited the audio for all videos, since it was considered the weakest part of the class. This is the only time that I plan on giving this course any large edits. I want to leave it as-is for the most part as a personal memorial for how I started on Skillshare and how much I've improved on storytelling and video editing. Thank you all again for the great reviews!)

This class is currently going through a large revision. It was my first class, so I didn't expect the compliments it received. Thank you! I'm also grateful for any feedback or criticisms that can help improve the class. I want to make it the best it can be!

Want to strike fear into everyone with just your words? Trying to get that script done up for a film or video game? Need to give your ideas an extra spark, but can't find it? Finally tired of complaining about blockbuster cliches and want to show Hollywood some REAL Horror?

Welcome to Let's Write Horror!

An introductory class about the art of terrifying storytelling. Here is where we discuss and write about Horror staples and the aspects that they're built upon. Each video will discuss a theme and offer prompts for students to write about. Feedback is encouraged all around!

Note: this course is designed with the expectation that students already know about basic storytelling, i.e, structure, plot, characters, writer's block, etc.

-ALSO, because of some of the themes and topics, this course is Teen+. There may be triggering topics, such as death, abuse, and insensitive imagery. Viewer discretion is advised!

Recommended reading: Pharmakembru: The Face. Available for ebook on Blurb and print on Amazon. Not required, but I helped with writing it and I will use it for examples in the course.

Meet Your Teacher

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Udern Stroud

Creative Hobbyest


Hello and welcome. I go by Udern Stroud (OO-durn).

I used to work as a freelancer but I recently changed jobs at the time of writing this to pursue creativity more as a hobby. I still self-publish under other pen names, but for the last while I've been thinking about my relationship with my creativity and where I want my path as a creative to go.

Despite that, I've been struggling to create and express myself. This is mainly due to leaving a couple of traumatic situations and rebuilding my life after I had to make the difficult decisions to finally deal with them. It's partially thanks to Horror stories that I've slowly been able to get back into the groove and enjoy creat... See full profile

Level: Beginner

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1. Let's Write Horror: Intro to Fear: Hello there. I've received many names in my current life the cracked Claudia, that friggin imp, Evil Devil Scott. But on here I go by modern Stroud With that said, Welcome Toe, let's write or a serious focusing on helping use all make the most for fine works. The media world has yet to see whether you're working on the next big indie game, a school project or, heck, just some fan fiction. It all involves one thing. A story, a start, middle and end, plus a character to focus on in a small dash of a plot to work through. Here are some plans these videos are going to be entertaining, informative, short and sweet. The topics included will be on horror sub genres, media types, conceptions, cliches, tropes unique to horror and suggestions on how to execute them. This video is not focused on telling people how to write a horror story so much as it is discussing elements of the genre that people can use to perfect their work. Although I'm more into satires, I have a love of horror. I'm currently helping to write a medical horror series with a friend. I also have a comic in the works that will contain horror elements as well. Last but not least, make sure to leave a comment below to introduce yourself and stay what you would love to learn about in terms of writing horror, considerate first assignment of sorts. You don't have to do these future assignments, but you won't get better writing if you don't write, write Beutner for now. 2. LWH: Importance of Emotions: emotions in general are important for anything. Sentence there filled in the stories rewrite, whether it's about love or curiosity or sadness, or uncovers the few means of fear and despair, acknowledging these feelings are important for our individual health and overall species evolution. I love me some good folklore. There's stuff about water monsters, ghost talking animals, devils and even fairies. While reading them, I noticed a pattern somewhere for pure entertainment, but most of them involved a lesson of some kind. The dunk around Hooper is a murder for money, ghost story, water monsters and Boogie Man. Stories are about discipline and Children. Stuff involving the devil deals with desires and ambition. Not all these lessons fit into our modern values, but they help to show how Hora has been a part of human culture long before the genre even had a name. Stories are primarily about other experiences by listening, reading, watching or playing through him. We take those experiences in Hora is important because most stories aren't about triumph, happy Andes and the goodness of humanity. While those air nice exploring our other hidden sides are equally important, horror shows us that we as a species are nest smart or strong or sadly compassionate as we like to think we are. Hora can show that not everyone gets a happy ending, and sometimes that's because of who we are or worse, that we have no control over our lives. It shows us all of this in a safe setting on the couch and wrapped in a little blanket for me. I don't like the thought of emotions taking over especially fear I consume and create horror as a way to explore and understand myself as well as other folks. How is Hora important to you? Go ahead and share in the comments Beutner for now. 3. LWH: Fear is Subjective: Hello, Welcome back. Last video, we talked about the importance of emotions such as fear. Everyone is scared of something. However, it's not always the same thing. Emotions like fear are subjective. One person is afraid of possess toys while someone else is afraid of heights. Of course, we can always touch on more general concepts, for example, being stalked by a shadow creature or a loved ones life threatened by your choices. This is important when writing about whore and not to get too down on yourself. If someone doesn't think what you're making is scary, it can still be a good story Overall. For example, I remember reading a creepy tale about a prince who played daily board gains with a monster . He always one, but started losing his mind when he lost a game. For once, the creature wasn't the main antagonist. It was the princes Pride. I found a delightfully tense and tragic, but not scary. While other reviewers found it terrifying to read, I remember it having an interesting plot, a strong voice and an easy to follow structure, which is why the story has stayed with me all this time. So yeah, a little reminder. Before we really get into the thick of things, you won't scare everyone. But that doesn't mean you're working scary. If you can write something comprehensible and scare yourself, that's good. First, start enjoying and express your fears. Time for an end of the video assignments. There are no end dates for these assignments right out the fear you have. I like to go for 1000 words, but if you want to do a shorter things, that school was also cool. Is music lyrics, poetry, fan fiction, screenplay format, nonfiction fiction or any other writing that I didn't think of Butner for now, thank you. 4. LWH: Shock and Gore: shocking Gore are not scary. Okay, okay, It's nighttime. You just got home from work and you want to catch that new chapter update of a horror story online. You read it and find it's completely filled with Pariah Chua's descriptions of blood, guts and body parts all around the room. You probably feel revolt and disgusted imagining the scene. After finishing it, you decide to watch a horror video. You pick one and revel in the attention on Lee to get hit with a jump scare of a cat or some dumb freak a teenager. It shocks you and makes you jump, but you quickly forget about it and continue watching or, heck, you just turn it off. I've been through both of these scenarios. I've watched him read things that maybe jumper lose my appetite. But after stepping away, I went to bed and slept easy. As most of us know, writing about people coming up behind a protagonist or describing a mass crime scene isn't horror. Yet. I see this again and again, sometimes catching it in my own writing. News topics can be drawn to the Hollywood and independent horror film, starting after World War Two accompanied by the rise of the slashers and serial killers in the 19 seventies and eighties. At the time these movies were controversial and pushed the envelope. They showed sex violence and we're fast paced for the time was jump scares to keep the audience engaged. Of course, nowadays, where sexual freedom isn't as much as, Ah, taboo as it was 50 years ago, these styles haven't aged well. Jump scares are seen as cheap and safe, while people tend to shrug or laugh at Gore. I think one of the reasons why we continue to use thes is due to emotional in maturity. Western societies tend to see certain emotions as weak, so we don't think too hard about complex fields and that we confuse or generalize them. Disgust and fear are two different things, as is feeling startled and feeling terrified when writing, We need to think about the emotions Were broking in our audience. What does everyone else think in the comments section below? You can write your own theories about jump scares and gore and horror, or you can choose to write about fear. Go ahead, describe it, invoke all the senses you can get us poetic as you want, And don't forget to give your fellow students feedback. Beutner, for now, 5. LWH: The Uncanny Valley: welcome to another. Let's write Hora. This time we'll be focusing on another important aspect of horror and storytelling as a whole, the phenomenon known as the uncanny. This is a quick rundown, and like every other subject, I encourage everyone to look more into this. At their own interest. The uncanny Valley was coined by Mass. A hero, Bori, a robotics professor when he made robots that were obviously robots. People love tooth Um, and consider them cute as he tried to make his robots look and act more human. There was a point where people started to find them creepy as he progressed and his robots became more human like vehicle started liking them again. Basically, when something is obviously non human, they're human like work. Stand out to us when something is human, we don't bat an eye. But when something can't be put to neither category, it creeps people out. This is the uncanny valley. Something described as uncanny can be considered not quite normal. Things that generally fit into that category can be human, like dolls on catch buildings and familiar sounds, or depending on how rigid a person's social norms are. People of certain minority groups. The Uncanny Valley works hard on the themes of bigotry, perception and normal versus abnormal. Because the phenomenon plays on our emotions, it is subjective. Kids can see everything as strange and outside of their understanding. While older people may find CDR cartoons creepy or strange. Well, that's all for now, folks, I might make another video expanded on the uncanny. If students are hungry for more now, further prompt assignment. What do you find that fits into the realm of the uncanny Valley? Write it up below, preferably in story, for See how you can invoke that feeling in the readers. That's all, folks, Beutner. 6. LWH: Modernizing Horror: There's something I've noticed about horrid cliches that stands out while cliches of other genres surrounded the job of the protagonist reliability of armor and whether the good characters are called out for the flaws or has some very unique cliches. These include technology not working human serial killers, teleporting or having immortality, Ghost without explanation and everyone being especially idiotic in visual media. Jump scares are included. I tried to find the origins of some of these cliches. Most of them are due to the imitation trend. Once something becomes a hit, everyone else does it to the point that we become desensitized. I think this is very true, but I think there's something else. In earlier video, I offered the theory of emotional in maturity for things like shocking Gore from another angle. It seems like horror is still stuck in the past, even when it's set in the 21st century. There's always exceptions, of course, but, uh, this is the general pattern. The roots of modern horror are tied to tragedies, older fables and fairytales. Ah, common trend to these is that they had a touch of the supernatural. Characters were consumed by fear and panic and the story always ended on a final scare. So the scary things origins either had little to no exposition. In the past, people had a small world and wanted to be scared or to scare others. Something unexplainable, bloody or unfamiliar was good enough. The strained worked very well, until an estimation the 19 nineties in North America. Ah, part of it is to sensitization, but another factor was technology. We're talking television phones and the Internet. Cities grew in size. People can now talk to each other, see the world and search up information wherever and whenever supernatural things are mostly disproven. We live in a time when help is just a call away. Our time and attention is precious, and we want stories that match in complexity to our world. Watching someone scream or see a shadow moving just isn't doing it. For most folks in the past, most scary tales and ghost stories would go into formula. A person from the place encounters a scary thing. They either survive or die, but scary things survives and turns out to maybe be supernatural. Now compare that scenario. Two stories, like the first Halloween and most devil tales they're very similar. The main difference is that we know the devil is an all powerful being. While Michael being immortal was a jarring throwing at the end of a twist, failing technology and Renda killers could even be considered a sort of remedy it like. If we can't bring horror stories to the present, then we'll just put him in a pseudo past. What that said, prompt time, right? Ah, Horror said in the 21st century, and utilize modern technology. Mobile devices, machines, computers and medicines are some examples of the tools of either protagonist or the antagonised or both. That would be a great way of avoiding the technology is evil thing. Try your own hand of bringing old fables into the modern era Beutner. 7. LWH: Dark vs Light: dark and shadows and Sonnenschein, fearing the dark is not only a common fear, it's an evolutionary trait. Humans are fundamentally day walkers, while other potential predators are nocturnal. Big surprise. It shows up in horror during those dark and stormy nights. It's pretty much rule of thumb that when a character walks into the dark, bad stuff is gonna happen. Darkness equals death. This, of course, makes for a great tool that horror writers can take advantage of. Darkness and shadows make great, mysterious and creepy visuals. They can hide the monsters and objects for the characters to bump into it. It's a setting where we can take other senses into account. The dark can also make us feel small, depressed and insignificant. Even if there isn't anything hiding in that scene, it's an easy way to add some tension. Of course, making every scene dark is boring, and never showing anything about the monster is extra. Born straight into cliches, Bill, that little thing called the sensitization happens. How it's presented is as important as how you use it. Another trip to remember is how the character feels and thinks about dark settings. Do they like their night walks, or is every light on in the house The minute the sunsets. Speaking of the sun. Daylight horrors less used but just as effective. It's one. The most terrifying moments take place in the day or when light is exploited for intensity . It can be used to create a false sense of security, illuminating the horror for shocking detail or to add a sense of realism. If it's overcast, it will paint a depressing mood. Here's a piece from an article by author K. Tingly when she experienced a several day power outage tagged as describing darkness. It's cold, bone chilling to the points you can't get more, but I had to wonder if it was the lack of heat that shivered through me, or if it was the fear of not knowing my place in the world around me anymore, of just how far I had to walk to get somewhere or where that safe place waas to put my foot down when I dared to blind to really move forward, it was also constricting. My chest felt heavy as I strained to see beyond the seemingly solid black walls around me. I actually could breathe easier if I closed my eyes away. I could control the darkness instead of it controlling me before electricity came to be. People understood what darkness? Waas. They lived it every day. The idea of light wasn't just a pleasant invention to make life easier. It was a beacon to their freedom, an age of enlightenment and understanding on end to their fears. I, as a Christian, understand Jesus's words. I am the light more now than ever before, because the world without light is a world without hope, product right to see nor story that plays on light and darkness. Don't forget to include the character's point of view in the setting. See what you can do with physically disabled characters in the dark scene, like visual hearing or mobility and parents for extra experience, Put yourself in dark settings and see what inspiration you'll find skulk in in the abyss. I'm in the dark right now. I'm recording this sad night with the lights off. The only other light sources from the Orange Street land subside. They don't offer comfort, they don't reach everywhere, and they only serve to segregate my apartment into sections. I didn't make one side, rationalizes that there's nothing here, but another suggests what could be if there waas Darkness is absence, but it brings the possibility of a presence. It tests my trust in myself with this environment, even though it's familiar with size and hums, the smooth flooring and the still air. Did I remember to lock my door? Thank you. And I hope that everyone who watched this video of Siri's up until now has learned something that they could use to help with the writing. More to come, I don't know for now. 8. LWH: The Unknown: there is an interpretation that darkness is Thea unknown. They're both evolutionary fears, going hand in hand and can't really be separated. The unknown veils itself in darkness, never on inclusive state of being that has us backing away in fear when it approaches and curiously, chasing after when it continues its path. However, most subjects on horror make a distinction between them, so we will see what makes them different to give an image of the unknown. Here is theon Canon chart. Where is the unknown? It's not on this side, and it isn't on this side. It's not even in the Valley. It's everywhere else beyond the can. This adds another layer of terror to all those other stables. People don't really know what's after death. If anything, you can't really calm yourself when it feels like something brushed your shoulder when alone, even when you can come up with an explanation. To know the unknown if that's not too much of an oxymoron, is to know the art of withholding information. Some ideas are not showing the monster, not even giving a name involved the impossible or not easily understood and dropping ideas to the characters and audience, so their assumptions and imaginations do the rest. Half truths can be full lies for the front. I don't know. I don't know what you don't know. Do you know what you don't know, right? Something you don't know or don't understand. Then before you google the answer, think up some sinister explanations for them Include how someone would discover the dancers , if they ever do Some things are simply beyond human understanding. 9. LWH: Exorcising the Jaws of Research: So far, we've had rundowns on the importance of horror writing our own fears, overused plot devices and the uncanny Valley. Let's say you want to write about a parasitic creature on one hand. You could watch every movie play of her game and read every SciFi horror your bank account can manage. And that can help in areas of pacing and tone, especially if you got your hands on some really good stuff. However, if you base your story just on things you see, you may end up getting something no better than exorcist ripoffs. In fact, let's talk about The Exorcist. I'm sure it's Everyone knows The Exorcist as well as the contrary, are based off of actual documented events. The original Exorcist novel was written by William Peter Blatty and was inspired from a case of demonic possession in 1949 he learned about while studying at Georgetown University . Likewise, the conjuring is based off a documented haunting by Demonologist Ed and Lorraine Warren. Several prequels, Sequels and imitations stemmed from both franchises. Most imitations take off the superficial elements. However, instead of researching the stories, ripped another example to add his jaws. Originally written by Peter Benchley and adopted into a major film by Steven Spielberg. The main story focused on a great white shark attacking local swimmers at a beach. This film was one of the first big blockbusters for many reasons, including its budget, it's roomies, its music, its premise and its suspense. However, the story basically treat sharks like they're ravenous killing machines. In reality, sharks are curious creatures who are important to marrying ecosystems and only attack humans due to mistaking them for seals. They also live for it out and see instead of shallow beaches. Although climate change has been screwing things up, of course, folks didn't look that up. Instead, they stopped going to the beach and supported mass cullings. Eventually himself regretted the effects of his works and became an advocate for a Marine conservation. No, I'm sure that most of you watching this aren't writing with the expectation of making bestsellers or blockbusters and influencing millions. But these examples go to show how doing proper research can differentiate a polished a story from a cheesy draft. Okay, from time, right? Ah, horror. Based on a topic of research for pick a piece of horror, media and research, its inspiration and origins. Don't forget to show your work and read the work of everyone. Foreigner for now, 10. LWH: Little Tip Clip of Horrors: so last video we discussed. Her research is important and help with writing. There's more to it than looking at your favorite media. It requires spending hours, days or even weeks sifting through libraries or in front of a screen. Of course, if you look into something you're interested in or you find such that cater to your style of learning, it shouldn't be too groomed, maybe even fun and inspirational. I wanted to write off some tips at the end of the last video, but that make it seem rushed. So in this video, I'm going to offer some research advice. Murray searching for horror. So the first point I want to share is to be prepared. We're going to come across some horrifying content. The topic she look up are not always safe for work. To put it lately, I'm not just talking about change some. It's a hot body. This includes stories and articles of cults, effects of isolation, biology, folklore, dangerous games and rumored hauntings. Research at your own risk, think about what you really want to know. No problem is starting out general, but it's best if you know specifically what you want to search up when searching online. I'd like to just ask a question or make a statement in the search bar. Sometimes I have to make sure I'm freezing it right, so I'm getting the results that I want. Fact check. I don't think I need to explain this, but I do need to say it. Don't just look on some site for answers. One of the best advantages for the Web is that it's way more up to date than textbooks. The downside is that anyone can post whatever and see that they're Whoever looking up as many sources as Akin will help separate the theories from the facts. For research, I recommend sites like YouTube and Wikipedia. If you're sociable, look up and contact some experts. I'm sure you won't be the first writer they talked with. Make sure to ask the right questions. And remember, you can't do too much research, but you can leave some unnecessary information out now for the writing problems. We're going to try something different. You're using someone else's computer and end up hooking on their history. One concerning article catches your eye and you click on it. Whose computer are you using? What is the article about? Was it something that protagonist shouldn't have seen? What did they do with the article's contents? Don't forget to share your work and for other street guvnor for now. 11. LWH: The Horrors of Sensationalism: When we think about creating Korver, we're usually thinking about making things scary. A great fear of a content creator is when the creation doesn't leave the emotional mark it was intended to do for horrors. There is a worry that the story isn't scary enough. But what about on the other side of things? Typically, we don't think of that. The scale fell on whether something waas not scary or scary. A suggested change to the scale is another category called sensationalism. This is when a story is overhyped to provoke strong emotional reactions. A good example is in journalism, where stories are manipulated through bias or omitted fats. I'm sure that anyone watching can think of at least one example of a story that had moments like that. It happens a lot in former. How many times are there lingering shots or descriptive passages of, Let's say, a woman in a vulnerable or tortured position, blood stained items and places, the victim getting killed or in a state of terror from the predators? View. Now, this is horror. People in terrifying, incomprehensible or life threatening situations is the genre's defining staple. However, we start to lose interest as an audience when the scenarios and the characters are used just for the sake of spectacle. I know Mad Max Fury Road is not a horror, but it is a great example of how we can really show without sensationalizing. It told a story that involved sexual violence and survival that didn't rely on exploited of scenes. There seems like the message the wives left and Morton Joe after they escaped. We are not things the wise, where white revealing fabric that shows thumb off also chastity belts. When one of the wives dies, Joe and his army don't even born her death, but instead mourn the brothers that won't be born through her. The wives show us their stories in their words and actions, with other characters enforcing it with their own dialogue. This can get really tripping horror, since most stories have mysterious things are a twist, and the audience now expects that when something is not explicitly shown, we get suspicious or disappointed. I know that sometimes we just want a thrill, but other times we wanna have stories that show its horror and darkness. In the subtext further prompts, you can write your views on sensationalism and horror. Or write your own story that tries out subtypes on a topic. Who knows what you'll come up with. A my right Beutner fan at home. 12. LWH: When in Isolation: so we all know the scenarios. A small group goes to a cabin in the woods, an abandoned building or a lone person takes a nice little walk at night, this person or people then get hunted and somebody always dies. What's worse is that there's never any service to call for help. Isolation is death. But why? As a killer, it makes sense alone. Person is easier to kill because it's only them that the killer has to pay attention to. Of course, we can go darker. Isolation is death because isolation is death, isolationist death. Because we believe that isolation is vulnerability. We are at times without connections. If something happens, we're on our own and we may not make it out all right. Prolonged isolation is even proven to negatively affect our mental and emotional six. One way this is portrayed is when people hallucinate other people or do something to establish a connection. It's a way to combat detachment. There are exceptions, introverts, people with social anxiety and people diagnosed with the soldiers like schizoid personality disorder, are better off alone. For most of the day. Being around people is a dream, so we've established that being alone in a horror story is a drawn out to death wish. However, we have also established that this is a rational fear. For most people, it is a revolutionary traits. A common problem is that this trope is played more as a clinicians than a fear. While death is meant to make isolation into more horrifying spectacle, it has become predictable and spawns cliches like the group splitting up or the after mention cabin in the woods. We need to ask how we can do isolation, as one way to do this is showing when the character feels lonely, small, detached, disconnected or isolated and what to do about it, something that happens even in a crowd, kinds that any character confuse. We could do this through the environments, the antagonists for the character themselves, for the promise, right of horror. On isolation. It can be about someone fighting off loneliness or someone trying to preserve their solitude. What is the threat and how do they deal with it? More to come 13. LWH: The Death of Death: it is unavoidable. It is a part of the cycle of existence. It is out of our control, death and by extension, the mystery of the after length is a topic, Human said, debated and theorized about forest long as time itself. It has many haunting personifications. It is in the top 10 list of phobias, someone who is not afraid of death or even seeks it is feared just as much. Death is supposed to drive home the fear factor in horror, for sometimes implying it is enough because it taps into our survival instinct. The question is, how are the ways it gets used in Horrible and one or the other things we can do with death serves as the ultimate consequence. This isn't just for the victim, but also for whoever was unfortunate enough to witness it. Another way death is used is to act as a punishment. The kind of people on this hit list are the stupid, the horny, the jerks, the delinquents, the minority skeptics and anyone trying to help. Typically, the bad guy will die. Actually stained it is another debate. The main difference between death by consequence and death by punishment is the intent of the creator. For example, the bad guy knocks on the door with a knife reading a person answers the door and yet skilled. On the other hand, the bad guy kills a person just before they start making out after they already had many opportunities to do the dirty deed. Death as punishment is more subjective. Sometimes this helps to drive home the story steam. But other times it's just to kill off the bad or immoral people in ironic or bloody ways. By extension, characters will live because the creator likes them not so much because they have any notable skills. I'd say another aspect of death and horror is just to show that the bad guy is dangerous by having a large body count. So sacrifice can either be beautiful or meaningless. What are the origins of thes ideas in terms of Western thoughts? Ancient Greeks had Tartars. This was where the titans were caged and later on, wicked souls were ashamed in ways to fit. The crime, for example, uses a fisted stuff to show how his cleverness made him better than the gods. His punishment was to roll a large boulder up a steep hill. When we get close to the top, the boulder rolls down to the bottom. This is to show how he's not really as clever as he thought, because he can't think of a way out of this So prompt. Guess is more than just physical decay. It is change and transformation. What does it mean to kill someone? What does it need to die and be dead? What is death? Is the death worth something? Does it help the story? Those are questions we should be thinking about the most. When we're getting into the whole death and the afterlife within our stories, we're here for now. 14. LWH: Let the Games Begin!: Hey there, I want to play a game. It will be fun. No way. We don't blame you in horror. Games are a catalyst for scarce. This can be drawn from stories where kids are playing a game that ends up with higher stakes, a wild dare with a group of friends, a fortune telling ritual or the game itself is meant to summon a being from another world. Not every horror story has a game in it or needs to have one, but they're pretty fun to read now games here are universal concept there, a structured form of play that can range from strategy to chance to competitive with ideas of entertainment, reward and penalties. So what are games in stores, particularly horrors that would have to depend on the kind of game along with stories, theme, characters and plots. One common idea is that the games and childhood are connected. Children played games, so having a story with the game turned scary is quite a fear for both kids and adults. There's an example of that in the country. The mother plays a form of Marco Polo with her youngest daughter in the house. They just moved into the daughter hides while the mother seeks her out. Using collapse since away to navigate, she hears a clap from the closet, so she checks it. But there's no one in there. Her daughter comes in the room and tells her that she was in another room. This is the audiences first really encounter with the angry spirit that haunts the house on Innocent Game was used to show the dangers in the story. One pitiful is that by now, when someone plays a game and a former, the audience already knows that the monster will show up. So be clever with how the monster plays along. They don't need to show themselves completely or even threatened. Anyone at first dares are perfect for Hora because they have that special element that thriller junkies get off their about taken risk and dash and headfirst into the unknown. Not to mention that a number of poor offense are thriller fans in some way, so there's already established connections for the onions. People who do dares are willingly choose in to step out of bounds. Of course, the usual could fall to avoid is making sure they're not written as too dumb to live fortune telling can be a form of game. Playing to one older ritual in the West was that a girl would chant in front of a mere in the dark with only a lit candid if she saw someone's face, that would be the man that she would marry if she saw a skull or the Reaper. That meant that she would die before she was married. One pitfall to remember is, especially if you're making up your own kind of fortune. Telling is to make sure that you got the story and the logic of why that practice came to be and how it works. The last kind of game you will find in horror for is that type of game that directly involves plane with another kind of being. The supernatural is a game partner and usually your opponents. One name for them is ghost games. You can research these games online and find in many stories from those who have tried them . It's interesting because games are about entertainment and fun, so twisting the concept into something serious and horrifying gives a familiar, unfamiliar scenario that anyone washing can understand. Make sure to give away for the player to either win or lose and showed the threat level. If a game is too dangerous, no one is going to play it. Prompt Rhoda Horror that involves again. What kind of game is it? How does it help serve the horror Is it just used to move the plot along or is a more intimately tied to the story? Alternatively, find a story that incorporates games, preferably ah, horror or thriller and dissected Beutner. 15. LWH Finale: Symbolism: so last but not least, we have symbolism. Symbols are objects, connections or archetypes to that represent ideas, scenarios and abstract concepts. Superstitions are a great example. Historically, black cats in most of the West represented bad luck because the color black was soon as negative and cats being nocturnal, were associated with darkness. That was also negative because darkness end the night are scary. Another example is the logo. It doesn't just give people a visual to recognize, but the design of the logo represents the ideas the business wants to convey. Objects that can heard importance is meaning of themes and emotions. It's one of the most powerful tools at a story to others. Disposal in former general symbolism surrounds concepts of the unknown fear, death, delusion and despair, as well as their anti thesis, which are comfort, love, clarity, security and hope. A murderer's weapon is treated as an icon to show death, and few a lamp gifted to the protagonist symbolizes love and safety. One character represents optimism, while another represents pessimism. Symbolism is useful to convey ideas and emotion through simple imaging and description, one done writes. It is simply breathtaking and can create a more more experience for the audience. Another factor of symbolism is that you can illustrate ideas without directly shelling. This is useful for a story with dark or sensitive subject matter that doesn't want to get to exploitative with, it seems, of course, there are always pitfalls and cliches. Some symbols, meanings, change, dependent on the culture, and other times they're overdone. Another thing is that the symbolism will get heavy, cluttered or just too on the nose. I find that the worst is when there's an obvious attempt to use symbolism. But it fails due to the story tell they're not putting much thought into it, or it just ends up getting dropped later on. In the story. The last prompt is to tell a story with symbolism. Look at your characters and find what could represent. Look at your setting and see that represents the mood you want to set. Look at the plot and find a way to show change or foreshadowing. Look at your theme and ideals and see how all the other parts of your story time into them and support them. An extra challenge is to try and find a new understanding to assemble for example, light symbols are always considered as good, and stories and dark Cymbals are played off as that in one story. The meanings could be flipped where light things are presented as back, such as lightly and dark. Things such as a calm night are played off as good. Let your imaginations run wild. Thank you very much for taking time to watch the souse, and hopefully it was both informative entertaining. And it inspired you to find your style and create unique pieces of Homer to scare your friends and family. Make something that will have your fans going to bed with their eyes. Wide shut is the imagine forms within shadows. Good luck, have fun and didn't.