All Quotes By Tag: Horror

“Which is the true nightmare, the horrific dream that you have in your sleep or the dissatisfied reality that awaits you when you awake?”

“It took time before we even realized what was going on. When we did, no one could believe it was actually happening.”

“To the non-combatants and those on the periphery of action, the war meant only boredom or occasional excitement, but to those who entered the meat grinder itself the war was a netherworld of horror from which escape seemed less and less likely as casualties mounted and the fighting dragged on and on. Time had no meaning, life had no meaning. The fierce struggle for survival in the abyss of Peleliu had eroded the veneer of civilization and made savages of us all.”

“We both wondered whether these contradictions that one can’t avoid if one begins to think of time and space may not really be proofs that the whole of life is a dream, and the moon and stars bits of nightmare.”

“I think horror, when done well, is one of the most direct and honest ways to get to the core of the human experience because terror reduces all of us to our most authentic forms.”

“Best-selling horror fiction is indeed necessarily conservative because it must entertain a large number of readers. It’s like network television. I’m your local cable access station.”

“Make (the reader) think the evil, make him think it for himself, and you are released from weak specifications. My values are positively all blanks, save so far as an excited horror, a promoted pity, a created expertness… proceed to read into them more or less fantastic figures.”

“Horror fiction seems to spawn more dumbass ‘rules’ than any other kind of writing, and one of the dumbest is the assumed ‘requirement’ of a twist ending, going all the way back to H.H. Munro. This story is also the result of a long rumination on how stories are sometimes scuttled or diminished by succumbing to such ‘rules’.”

“Human beings across every culture I know about require such stories, stories with cool winds and wood smoke. They speak to something deep within us, the capacity to conceptualize, objectify and find patterns, thereby to create the flow of events and perceptions that find perfect expression in fiction. We are built this way, we create stories by reflex, unstoppably. But this elegant system really works best when the elements of the emerging story, whether is is being written or being read, are taken as literal fact. Almost always, to respond to the particulars of the fantastic as if they were metaphorical or allegorical is to drain them of vitality.”

“If you focus on the humanity of your stories, your characters, then the horror will be stronger, scarier. Without the humanity, the horror becomes nothing more than a tawdry parlor trick. All flash and no magic, and worst of all, no heart.”

“But if what interests you are stories of the fantastic, I must warn you that this kind of story demands more art and judgment than is ordinarily imagined.”

“From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. … A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.”

“The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him”

“The one test of the really weird (story) is simply this–whether or not there be excited in the reader a profound sense of dread, and of contact with unknown spheres and powers; a subtle attitude of awed listening, as if for the beating of black wings or the scratching of outside shapes and entities on the known universe’s utmost rim.”

“In the morning sow thy seed, and in the evening withhold not thine hand: for thou know not whether shall prosper, either this or that, or whether they both shall be alike good.”