  Horror/Scary
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| The Occult in Horror/Scary writing. |
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Let’s talk `occult’.
`Occult’ in the ”American Century Dictionary” simply refers to `the supernatural’; but in this day and age it has come to have more specific, often sinister connotations.
The word itself conjures up (pardon the pun) certain stereotypical images in most minds: witches, zombies, spells, potions, cauldrons, dark ceremonies, unnatural acts. These words in turn trigger their own patterns of thought. All of these things work together to put the reader into a certain state of mind with certain expectations attached to it. Once this is in place, the writer has a good portion of his work done for him in his attempt to scare the day lights out of the reader.
The problem with too many writers is their very real ignorance concerning the occult. For a lot of readers this is not a problem. The writer has played into a stereotype the reader agrees to accept and---voila! Instant horror.
Instant horror, like instant dinners, though, often leaves a lot to be desired. Research into the subject would add a richness, a fullness, and a flavor to the work that is difficult to achieve in writing without research.
In addition, even in a fantasy world things must work within the laws and understandings put down about that world. A good `occult piece’, therefore, like a good spell, should have all of the right ingredients set into the right order to make it `work’. With all of those frame works already in place, the writer has a lot of his work done for him if he simply looks into what those frame works are.
Beyond this obvious support for research, someone who is using `the occult’ should know that there is a real gold mine of true horror deeply imbedded in some of the lesser known concepts there. Good research will dig these out and make use of them.
For instance, the law of three (Native Americans use seven, but it is the same concept). “Whatever you put out into the universe will return to you with three times the power it was sent.” Imagine that, because a good imagination will find true horror in such a concept---if it’s twisted a little.
So some advice for writers looking to use `the occult’ within their horror story.
First, know what you’re talking about. There are many forms of practice in this area (such as Wicca, Verdun, Sangria, etc.) and they all have their tools of the trade, so to speak. Most of the central principles are the same, but there are variations. Mixing these things up is as sloppy as killing a vampire with a silver bullet or a werewolf with garlic.
These things can work, but there had better be some very good explanations about why they are acceptable in the particular story presenting them.
Second, once there is at least a preliminary understanding of the basic principles, tools, etc. look beneath the obvious. For instance, an athame, cauldron, staff, etc are rather exotic possessions today. In the days of the witch hunts, however, these were very basic tools of a household----knife, cooking kettle, walking stick. Owning and using such things in those times, therefore, was as natural as using a cell phone today.
In other words, the tools were disguised and would not automatically brand the user as a witch.
Third, get into the rhythm of the practice. The directional correspondences, for instance, are integral to most of the Earth based practices. To have the wind representing the West, therefore, would be as out of synch as having the sun come up in the West. Find the rhythm and flow with it.
There is horror and darkness everywhere we look, especially within our own being. The occult works with this, but a wise writer would find out exactly how it works with this. The assumption is, the occult works with the terror to control or harm. My own experience has been that it works with the terror to enable one to confront it and heal from it.
Wouldn’t that be a turn around in a story?
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Some Reference Picks:
There are hundreds of sites and books written about the various forms of occult practices.
The authors listed below are ones that I have found particularly helpful in understanding some of these.
Ted Andrews---Primarily for his work on spirit animals and their meanings
Raymond Buckland---for his clear, concise walk through Wicca
D.J. Conway---for her eclectic works (from fairies to dragons and more)
Scott Cunningham---for his simple guide/correspondences of the plants and rocks
Edaine McCoy---for her eclectic books and articles
Jamie Sams---for her work on spirit animals and their meanings, as well as strong instruction on the Native American path.
Amber Wolf---for her inclusive knowledge on the Directions and their correspondences in general, and specifically for her work within the Celtic earth based spiritualities
Silver Raven Wolf---for her clearly written works on many subjects, but especially for her courses on Wicca beginning with 101a right through graduate work.
Some links on site, some Horror/Scary stories using the occult.
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Horror/Scary: October 05, 2005 Issue [#644]
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