  Horror/Scary
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The creature spits out the driver. He lands in a terrified heap, but he's alive. Tiny flames spurt out of the creature's head. Its eyes spin. It wobbles towards the children, but they're not scared any more. They think it's a game. They're laughing and squealing and trying to touch the creature."
Excerpt from “Freak Out! “ by Bill Condon and Robert Hood
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This editorial is the second and concluding part covering “Horror Writing for Children”. Part one can be found in "Horror/Scary Newsletter (January 23, 2008)" .
In the first part of this editorial, I referred to traditional children’s horror stories such as Hans Christian Andersen’s “The Little Match Girl” and “The Red Shoes”. The feelings of horror these stories elicit are still as powerful today as they were when the first appeared in print in 1835. There are no real demons and vampires in these stories; instead they use our own morals and principles to great and horrific effect, in an attempt to get readers to take a moralistic lesson/idea to heart. “The Red Shoes” tells of how vanity and a love for material possessions can destroy a life. “The Little Match Girl” is abandoned, unwanted and unloved, left to die alone in an icy cold street while New Year revellers selfishly celebrate in the warmth of a sumptuous home, surrounded by meaningless symbols of the commercialism of a religious celebration. In 170 years our opinions about what is horrific have not changed much. Today children are regularly “scared” by the most responsible parents and guardians in order to instil basic moral principles and ensure the survival of the species: it is wrong to steal, to lie, to talk to strangers, to disobey a parent’s instructions.
The whole purpose of horror fiction is to scare readers. The thought that deliberately setting out to scare children is immoral and reprehensible is deeply ingrained in our society. It’s probably as deep as the belief that children’s literature should be useful and valuable, conveying good and useful things upon young and impressionable minds. The notion that children might actually enjoy being scared is an unpleasant one, because we are all aware that nobody reacts to fear in quite the same way as a child. Children suffer inexplicable and unreasonable phobias and nightmares. Children can become obsessed with a single glimpse of an image, which can cause terror for months. Yet this same little person will actively seek out a copy of Lee Striker’s “Revenge of the Vampire Librarian”. It doesn’t make sense!
Or does it?
Horror is synonymous with “scaring”, and not necessarily with an educational or moralistic purpose. One problem is the actual word Horror; it’s often referred to dismissively and without positive comment. It seems difficult to say horror fiction can be a good thing and that it’s acceptable, even advisable, for children to read this genre. These are points all the most successful writers in the children’s horror genre acknowledge, and all approach the sensitive subject with consideration and respect. And when one considers the phenomenal growth of this genre it would seem these writers know what they’re doing.
So, what happens in children's horror writing?
Most books in this genre share a similar structure or formula – a familiar situation becomes unfamiliar. Cliff-hangers are very effective, because they lead the reader along from chapter to chapter. Frequently the victim never quite escapes, and there’s often a slight chill included in the ending. Warning: the following example contains spoilers:
In Lee Striker’s “Night of the Living Dead” Becky, finding it difficult to make friends in a new town, invites her class to a Halloween party at her home. She learns she is the last descendant of a family of gothic archetypes, and they have selected this Halloween as the night for their resurrection. To the children’s horror they find nobody believes them, and they need to make it through the situation all on their own. The next morning she goes to school, believing she had a nightmare. She soon realises her classmates have been taken over by The Dead, who are eagerly waiting next Halloween.
Here are a few points I’ve picked up during my research into this topic:
 Know Your Audience.
Your target audience is generally aged between eight and 12 years, sometimes even 14 years. Both sexes are included, and it’s worth noting this genre is encouraging boys who 'don't like reading' to change their negative attitudes towards books and reading. Margaret Clark claims that while some of her younger readers might not understand every word in the book they are able to grasp the general storyline. She also feels reading this genre has become “cultish, so it’s important to be seen reading one of these books.”
Clark wrote a thesis on television and violence for her honours degree, and has an understanding of her target audience: ”I watched kindergarten children playing with bits of bark trying to shoot each other, and I would say that you cannot have guns at kindergarten, and not allow violent games, but you're still going to get them jumping off the top of the climbing frame screaming 'Heroes of the Universe!' So, if you can't beat them you join them.”
Empowerment is the Key.
Human beings love to be scared, and children are no exception. One of the most important points to remember when writing children’s horror is to keep the victims in the story in charge of the situation. Make them take control of the story; Clark refers to this as ”the safety net”. So while they are frantically trying to escape from a wicked witch, dispatch a possessed toy or perhaps free a friend or family member from a nasty curse there is always hope, and always a solution. Granted, the solution may require a bit of effort and thought and application of knowledge learned, but there’s always a way to deal with a horrific situation.
Be Naughty.
It’s natural for children to be naughty, so applying this aspect of childhood to this genre offers a very obvious appeal to young readers. Children love to push the boundaries, to test the limits and offer a bit of resistance to authority. In children’s horror literature there’s an excellent chance for a writer to allow young readers a degree of freedom to indulge their “naughtiness”. For children part of the lure of reading a horror story is that some adults might not approve of the genre, but reading an exciting horror story is a pretty safe way to indulge in a bit of “naughtiness”. Children’s horror fiction is a way of coming to understand the ethical chaos that we all encounter in our lives, so it makes sense that a good horror story could become a benefit to many young readers.
Know the Limits.
Do not let detailed descriptions of monsters/witches/vampires and their dastardly deeds get in the way of the storyline. Do not focus on gore. Irresponsible writing can have a negative effective upon a young, growing mind. The last thing any children’s horror writers wants is to be told his or her work has corrupted a young mind. Also remember that the mind and imagination of an eight year old is very different to that of a ten, 12 or even 14 year old.
Robert Hood of the “Creepers” team of writers has untaken many promotional book tours, and tells of meeting children who have read three of the books in the series in quick succession. When he asks them what their favourite bits are most of them enthused about the gory parts: “’Like where the guy pulls his face off and all the maggots fall out!’ The adult were absolutely horrified, but the kids absolutely loved it.” This kind of description is known as silly horror – because indeed it is silly, and in the hands of a skilled writer will not affect any impressionable mind.
Do not use horror simply for the sake of horror. Use your discretion to decide what will and will not enhance your tale. Some children’s horror stories can develop from everyday fears, like relationships with siblings and loneliness. Slithering worms, oozing slime, pus and mucus are common features, but blood is used with caution. In “Revenge of the Vampire Librarian” a rust-coloured carpet stain is believed by the parents to be a water mark. According to the book’s author Margaret Clark: “Often the adults are idiots who can’t see what’s going on under their noses.”
Do Not Go Too Far
It’s not easy to justify murder and gore for children’s writing. Do not turn parents or siblings into monsters, and do not inflict unnecessary and irreparable bodily damage on anybody close to the hero/s or heroine/s – including beloved pets. The villain or chief monster should symbolise a threat, but that threat should always be able to be defeated, overcome or temporarily halted. There should always be a solution. You can also emphasise good social qualities such as friendship, faith, loyalty, trust and responsibility in the story.
Control and Comedy
Writing children’s horror gives you the opportunity to help your young readers realise that it’s possible to confront the more scary things in life. Fear, bereavement, loss, the monster under the bed… your words can help them examine these issues, and gain some sense of power and control over them. Horror fiction offers a safe place to examine and perhaps take control over the scarier aspects of life. Horror fiction can proved a playground for children to safely explore everyday fears.
The more ghastly the horror story becomes, so the element of humour becomes an important consideration. A zombie chasing a person – adult or child – doesn’t seem so malevolent if it starts decaying and losing body parts during the chase. Use humour as a buffer, counteracting any possible psychological trauma with literary fear.
Horror writers must not and cannot depict genuine horror so realistically that young and impressionable readers develop fears they take with them into everyday life. Neither must you mock your monsters so much they fail to evoke the appropriate terror. When they open your book you readers need to believe in the horror you create, or they gain no emotional pay-off. Horror writing for children is a difficult and delicate balancing act, and if you get it right your audience will love you for it!
Today, Mr Melvin was telling us how people had always believed in monsters, since very early times. "People have a need to create monsters," he said, "It helps us believe that the real world isn't quite as scary. The real world isn't as scary as the monsters we can dream up."
- excerpt from “You Can't Scare Me” - Goosebumps' Number 15 by R.L. Stine
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larryp
Hi Sarah
This is a very interesting newsletter and you researched well. I am not a horror writer or reader. I get 'scared' just reading the newsletter, but you handled this sensitive issue well. Though their grandfather is a bit of a 'coward,' my grandchildren do enjoy what I would label 'horror' stories. Thanks for sharing these tips on a sensitive issue.
Larry
Thanks, Larry! It amazes me that I grew up reading some of these traditional children’s horror stories, and I am quite saddened to see just how much they’ve changed. I’d forgotten about “The Little Match Girl”, and when I found it during my research I felt very tearful indeed! It’s still one of the saddest stories I’ve ever read.
lannaa
I absolutely loved how you researched the Grimm's stories, and how you've shown that the way stories are normally viewed isn't necessarily the way they were written.
They really are classic stories, and when you watch “The Brothers’ Grimm” with Matt Damon and Heath Ledger you realise the original stories were absolutely terrifying!
Kate - Writing & Reading 
I recall 'The Little Mermaid' and 'The Red Shoes' from childhood; and had no idea the form had grown so versatile ~ thank you for a real 'keeper' issue to incite the muse creative.  Keep Writing! Kate
Both very sad stories, and proof that real life horror is far more effective than any vampire or werewolf story. I know - I keep saying this… so maybe it’s time their myths got updated!
lulubelle
Thank you for the great newsletter. It was awesome and I enjoyed reading it. I want to write horror to fascinate and impress my readers. Sometimes I like scaring myself too, and I occasionally surprise myself. I love ghost stories the most out of the horror genre.
Great newsletter! Thanks!
Ashton Rose
Ghost stories offer so many opportunities for any horror writer. Have you ever read Peter Straub’s “Ghost Story”? That book terrified me.
Mavis Moog
I think all horror stories are for children. I know the subject matter of some horror stories is too graphic for carefully raised children to cope with, but the idea of getting pleasure from being scared out of ones wits, is predominantly child-like. Children are better than adults at suspending their disbelief, too.
As usual, you wrote a fascinating newsletter. Thank you.
Thank you, Mavis Moog ! Traditional horror stories are certainly read and enjoyed by children, but I’m don’t believe they should be exposed to real life contemporary horror fiction. Bret Easton Ellis’s “American Psycho” focuses on a psychopathic serial killer named Patrick Bateman, and was made into a terrifying film with Christian Bale, one of my favourite actors. I read the book after seeing the film, and I can honestly say it is the most frightening and disturbing book I have ever read! But then – and I am sure you’ll agree with me – man is capable of far worse horror than any vampire, werewolf or witch.
billwilcox
Sarah,
Ah yes, children and horror stories. I think that children have enjoyed a good scare since way, way, WAY back to the time of the cavemen. Of course, writing a horror story for the little ankle-biters way back then was a bit more difficult what with cave walls being the only form of expression. But you gotta really appreciate some of the stories found on cave walls: a herd of man-eating dinos attacking a lone hunter. Yes, these are but a few of the first great horror writers of our time.
Great newsletter! I can't wait to see part two,
-Bill
I don’t think we’ve done our children any favours by watering down so many of these old horror stories. I mean you and I grew up with these tales, and we’re normal – right? RIGHT???  And as you point out our ancestors were chased by dinosaurs… not to mention Greek children who grew up with stories of Prometheus. Chained to a rock, his liver being eaten during the day and growing back at night so it can be eaten again at daylight … now that’s pretty scary, even for an adult!
Acme
Oh, I loved this children's horror writing edition - and I can't wait for part II  My kids adore the Grimms’ version of events to other, better known, animated versions. "Chop off the heel of the bad step-sister!" my 5 year-old bounces with glee during Cinderella... I have to say, they make reading to them wickedly good fun! Now they ask me to write them horror stories because of WDC, but it's harder than it looks. Your advice and the information in these newsletters is invaluable - thanks 
Well, let’s hope this newsletter helps. That Acme Junior is already showing signs of being a great horror writer – I wonder where she got the idea about chopping off heels?  Methinks it’s time to host a children’s horror story writing contest… what do you think?
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Horror/Scary: February 20, 2008 Issue [#2227]
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