Exhibit Three (the last). My reflection in the window before me. Perhaps something unusual in the melt of the glass. My face. The surrounding shadows seem to be overlapping it a little at a time, like bugs attracted to something sweet. But the only thing sweet about Alice is her blood, highly sugared over the years from her drinking habit. So what is it, then? Shadows of senility? Or those starving things I read about earlier this evening come back for a repeat performance, another in a yearlong series of echoes? But whenever that happens, it's always the reflection, the warped or imaginary image first… and then the real-life echo. Since when does reading a story constitute an incantation calling up its imagery before the body's eyes and not the mind's?
Something's backward here. Backward into a corner: checkmate.
Now, perhaps this seems like merely another cry of wolf, the most elaborate one so far. I can't actually say that it isn't. I can't say that what I'm hearing right now isn't some Hallowe'en trick of my besotted brain.
The laughing out in the hallway, I mean. That childish chuckling. Even when I concentrate, I'm still not able to tell if the sound is inside or outside my head. It's like looking at one of those toy pictures that yield two distinct scenes when tilted this way or that, but, at a certain angle, form only a merging blur of them both. Nonetheless, the laughing is there, somewhere. And the voice is extremely familiar. Of course, it is. No, it isn't. Yes, it is, it is!
Aaaaa ha-ha-ha-ha-ha.
Ex. 4 (the shadows again). They're all over my face in the window. Stripping away, as in the story. But there's nothing under that old mask; no child's face there, Preston. It is you, isn't it? I've never heard your laughter, except in my imagination, but that's exactly how I imagined it sounds. Or has my imagination given you, too, a hand-me-down, inherited laugh?
My only fear is that it isn't you but some impostor. The moon, the clock, the drink, the window. This is all very much your style, only it's not being done in fun, is it? It's not funny. Too horrible for me, Preston, or whoever you are. And who is it? Who could be doing this to a harmless old lady? Too horrible. The shadows in the window. No, not my face.
I cant see anymore I cant see
Help me
Father
Notes on the Writing of Horror: A Story (1985)
First published in Dark Horizons #28, 1985
Also published in: Songs Of A Dead Dreamer.
For much too long I have been promising to formulate my views on the writing of supernatural horror tales. Until now I just haven't had the time. Why not? I was too busy churning out the leetle darlings. But many people, for whatever reasons, would like to be writers of horror tales, I know this. Fortunately, the present moment is a convenient one for me to share my knowledge and experience regarding this special literary vocation. Well, I guess I'm ready as I'll ever be. Let's get it over with.
The way I plan to proceed is quite simple. First, I'm going to sketch out the basic plot, characters, and various other features of a short horror story. Next, I will offer suggestions on how these raw elements may be treated in a few of the major styles which horror writers have exploited over the years. Each style is different and has its own little tricks. This approach will serve as an aid in deciding which style is the right one and for whom. And if all goes well, the novitiate teller of terror tales will be saved much time and agony discovering such things for himself. We'll pause at certain spots along the way to examine specific details, make highly biased evaluations, submit general commentary on the philosophy of horror fiction, and so forth.
At this point it's only fair to state that the following sample story, or rather its rough outline form, is not one that appears in the published works of Gerald K. Riggers, nor will it ever appear. Frankly, for reasons we'll explore a little later, I just couldn't find a way to tell this one that really satisfied me. Such things happen. (Perhaps farther down the line we'll analyze these extreme cases of irreparable failure, perhaps not.) Nevertheless the unfinished state of this story does not preclude using it as a perfectly fit display model to demonstrate how horror writers do what they do. Good. Here it is, then, as told in my own words. A couple-three paragraphs, at most.
THE STORY
A thirtyish but still quite youthful man, let's name him Nathan, has a date with a girl whom he deeply wishes to impress. Toward this end, a minor role is to be played by an impressive new pair of trousers he intends to find and purchase. A few obstacles materialize along the way, petty but frustrating bad luck, before he finally manages to secure the exact trousers he needs and at an extremely fair price. They are exceptional in their tailoring, this is quite plain. So far, so good. Profoundly good, to be sure, since Nathan intensely believes that one's personal possessions should themselves possess a certain substance, a certain quality. For example, Nathan's winter overcoat is the same one his father wore for thirty winters; Nathan's wristwatch is the same one his grandfather wore going on four decades, in all seasons. For Nathan, peculiar essences inhere in certain items of apparel, not to mention certain other articles small and large, certain happenings in time and space, certain people, and certain notions. In Nathan's view, yes, every facet of one's life should shine with these essences which alone make things really real. What are they? Nathan, over a period of time, has narrowed the essential elements down to three: something magic, something timeless, something profound. Though the world around him is for the most part lacking in these special ingredients, he perceives his own life to contain them in fluctuating but usually acceptable quantities. His new trousers certainly do; and Nathan hopes, for the first time in his life, that a future romance—to be conducted with one Lorna McFickel—will too.
So far, so good. Luckwise. Until the night of Nathan's first date. Miss McFickel resides in a respectable suburb but, in relation to where Nathan lives, she is clear across one of the most dangerous sectors of the city. No problem: Nathan's ten-year-old car is in mint condition, top form. If he just keeps the doors locked and the windows rolled up, everything will be fine. Worst luck, broken bottles on a broken street, and a flat tire. Nathan curbs the car. He takes off his grandfather's watch and locks it in the glove compartment; he takes off his father's overcoat, folds it up neatly, and snuggles it into the shadows beneath the dashboard. As far as the trousers are concerned, he would simply have to exercise great care while attempting to change his flat tire in record time, and in a part of town known as Hope's Back Door. With any luck, the trousers would retain their triple traits of magicality, timelessness, and profundity. Now, all the while Nathan is fixing the tire, his legs feel stranger and stranger. He could have attributed this to the physical labor he was performing in a pair of trousers not exactly designed for such abuse, but he would have just been fooling himself. For Nathan remembers his legs feeling strange, though less noticeably so, when he first tried on the trousers at home. Strange how? Strange as in a little stiff, and even then some. A little funny. Nonsense, he's just nervous about his date with lovely Lorna McFickel.
To make matters worse, two kids are now standing by and watching Nathan change the tire, two kids who look like they recently popped up from a bottomless ash pit. Nathan tries to ignore them, but he succeeds a little too well in this. Unseen by him, one of the kids edges toward the car and opens the front door. Worst luck, Nathan forgot to lock it. The kid lays his hands on Nathan's father's coat, and then both kids disappear into a rundown apartment house.
Very quickly now, Nathan chases the kids into what turns out to be a condemned building, and he falls down the stairs leading to a lightless basement. It's not that the stairs were rotten, no. It is that Nathan's legs have finally given out; they just won't work anymore. They are very stiff and feel funnier than ever. And not only his legs, but his entire body below the waist…except, for some reason, his ankles and feet. They're fine. For the problem is not with Nathan himself. It's with those pants of his. The following is why. A few days before Nathan purchased the pants, they were returned to the store for a cash r
efund. The woman returning them claimed that her husband didn't like the way they felt. She lied. Actually, her husband couldn't have cared less how the pants felt, since he'd collapsed from a long-standing heart ailment not long after trying them on. And with no one home to offer him aid, he died. It was only after he had lain several hours dead in those beautiful trousers that his unloving wife came home and, trying to salvage what she could from the tragedy, put her husband into a pair of old dungarees before making another move. Poor Nathan, of course, was not informed of his pants' sordid past. And when the kids see that he is lying helpless in the dust of that basement, they decide to take advantage of the situation and strip this man of his valuables…starting with those expensive-looking slacks and whatever treasures they may contain. But after they relieve a protesting, though paralyzed Nathan of his pants, they do not pursue their pillagery any further. Not after they see Nathan's legs, which are the putrid members of a man many days dead. With the lower half of Nathan rapidly rotting away, the upper must also die among the countless shadows of that condemned building. And mingled with the pain and madness of his untimely demise, Nathan abhors and grieves over the thought that, for a while anyway, Miss McFickel will think he has stood her up on the first date of what was supposed to be a long line of dates destined to evolve into a magic and timeless and profound affair of two hearts….
Incidentally, this story was originally intended for publication under my perennial pen name, G. K. Riggers, and entitled: "Romance of a Dead Man."
THE STYLES
There is more than one way to write a horror story, so much one expects to be told at this point. And such a statement, true or false, is easily demonstrated. In this section we will examine what may be termed three primary techniques of terror. They are: The realistic technique, the traditional Gothic technique, and the experimental technique. Each serves its user in different ways and realizes different ends, there's no question about that. After a little soul-searching, the prospective horror writer may awaken to exactly what his ends are and arrive at the most efficient technique for handling them. Thus…
The realistic technique. Since the cracking dawn of consciousness, restless tongues have asked: is the world, and are its people, real? Yes, answers realistic fiction, but only when it is, and they are, normal. The supernatural, and all it represents, is profoundly abnormal, and therefore unreal. Few would argue with these conclusions. Fine. Now the highest aim of the realistic horror writer is to prove, in realistic terms, that the unreal is real. The question is, can this be done? The answer is, of course not: one would look silly attempting such a thing. Consequently the realistic horror writer, wielding the hollow proofs and premises of his art, must settle for merely seeming to smooth out the ultimate paradox. In order to achieve this effect, the supernatural realist must really know the normal world, and deeply take for granted its reality. (It helps if he himself is normal and real.) Only then can the unreal, the abnormal, the supernatural be smuggled in as a plain brown package marked Hope, Love, or Fortune Cookies, and postmarked: the Edge of the Unknown. And of the dear reader's seat. Ultimately, of course, the supernatural explanation of a given story depends entirely on some irrational principle which in the real, normal world looks as awkward and stupid as a rosy-cheeked farm lad in a den of reeking degenerates. (Amend this, possibly, to rosy-cheeked degenerate…reeking farm lads.) Nevertheless, the hoax can be pulled off with varying degrees of success, that much is obvious. Just remember to assure the reader, at certain points in the tale and by way of certain signals, that it's now all right to believe the unbelievable. Here's how Nathan's story might be told using the realistic technique. Fast forward.
Nathan is a normal and real character, sure. Perhaps not as normal and real as he would like to be, but he does have his sights set on just this goal. He might even be a little too intent on it, though without passing beyond the limits of the normal and the real. His fetish for things "magic, timeless, and profound" may be somewhat unusual, but certainly not abnormal, not unreal. (And to make him a bit more real, one could supply his coat, his car, and grandfather's wristwatch with specific brand names, perhaps autobiographically borrowed from one's own closet, garage, and wrist.) The triple epithet which haunts Nathan's life—similar to the Latinical slogans on family coats-of-arms—also haunts the text of the tale like a song's refrain, possibly in italics as the submerged chanting of Nathan's undermind, possibly not. (Try not to be too artificial, one recalls this is realism.) Nathan wants his romance with Lorna McFickel, along with everything else he considers of value in existence, to be magic, timeless, and the other thing. For, to Nathan, these are attributes that are really normal and really real in an existence ever threatening to go abnormal and unreal on one, anyone, not just him.
Okay. Now Lorna McFickel represents all the virtues of normalcy and reality. She could be played up in the realistic version of the story as much more normal and real than Nathan. Maybe Nathan is just a little neurotic, maybe he needs normal and real things too much, I don't know. Whatever, Nathan wants to win a normal, real love, but he doesn't. He loses, even before he has a chance to play. He loses badly. Why? For the answer we can appeal to a very prominent theme in the story: Luck. Nathan is just unlucky. He had the misfortune to brush up against certain outside supernatural forces and they devastated him body and soul. But how did they devastate him, this is really what a supernatural horror story, even a realistic one, is all about.
Just how, amid all the realism of Nathan's life, does the supernatural sneak past Inspectors Normal and Real standing guard at the gate? Well, sometimes it goes in disguise. In realistic stories it is often seen impersonating two inseparable figures of impeccable reputation. I'm talking about Dr. Cause and Prof. Effect. Imitating the habits and mannerisms of these two, not to mention taking advantage of their past record of reliability, the supernatural can be accepted in the best of places, be unsuspiciously abandoned on almost any doorstep—not the bastard child of reality but its legitimized heir. Now in Nathan's story the source of the supernatural is somewhere inside those mysterious trousers. They are woven of some fabric which Nathan has never seen the like of; they have no labels to indicate their maker; there is something indefinably alluring in their makeup. When Nathan asks the salesman about them, we introduce our first cause: the trousers were made in a foreign land—South America, Eastern Europe, Southeast Asia—which fact clarifies many mysteries, while also making them even more mysterious. The realistic horror writer may also allude to well-worn instances of sartorial magic (enchanted slippers, invisible making jackets), though one probably doesn't want the details of this tale to be overly explicit. Don't risk insulting your gentle reader.
At this point the alert student may ask: but even if the trousers are acknowledged as magic, why do they have the particular effect they eventually have, causing Nathan to rot away below the waist? To answer this question we need to introduce our second cause: the trousers were worn, for several hours, by a dead man. But these "facts" explain nothing, right? Of course they don't. However, they may seem to explain everything if they are revealed in the right manner. All one has to do is link up the first and second causes (there may even be more) within the scheme of a realistic narrative. For example, Nathan might find something in the trousers leading him to deduce that he is not their original owner. Perhaps he finds a winning lottery ticket of significant, though not too tempting, amount. (This also fits in nicely with the theme of luck.) Being a normally honest type of person, Nathan calls the clothes store, explains the situation, and they give him the name and phone number of the gentleman who originally put those pants on his charge account and, afterward, returned them. Nathan puts in the phone call and finds out that the pants were returned not by a man, but by a woman. The very same woman who explains to Nathan that since her husband has passed on, rest his soul, she could really use the modest winnings from that lottery ticket. By now Nathan's mind, and the reader's, is no longer on the lottery ticket at all, but on
the revealed fact that Nathan is the owner and future wearer of a pair of pants once owned (and worn? it is interrogatively hinted) by a dead man. After a momentary bout with superstitious repellence, Nathan forgets all about the irregular background of his beautiful, almost new trousers. The reader, however, doesn't forget. And so when almost-real, almost-normal Nathan loses all hope of achieving full normalcy and reality, the reader knows why, and in more ways than one.
The realistic technique.
It's easy. Now try it yourself.
The traditional Gothic technique. Certain kinds of people, and a fortiori certain kinds of writers, have always experienced the world around them in the Gothic manner, I'm almost positive. Perhaps there was even some little stump of an ape-man who witnessed prehistoric lightning as it parried with prehistoric blackness in a night without rain, and felt his soul rise and fall at the same time to behold this cosmic conflict. Perhaps such displays provided inspiration for those very first imaginings that were not born of the daily life of crude survival, who knows? Could this be why all our primal mythologies are Gothic? I only pose the question, you see. Perhaps the labyrinthine events of triple-volumed shockers passed, in abstract, through the brains of hairy, waddling things as they moved around in moon-trimmed shadows during their angular migrations across lunar landscapes of craggy rock or skeletal wastelands of jagged ice. These ones needed no convincing, for nothing needed to seem real to their little minds as long as it felt real to their blood. A gullible bunch of creatures, these. And to this day the fantastic, the unbelievable, remains potent and unchallenged by logic when it walks amid the gloom and grandeur of a Gothic world. So much goes without saying, really.