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Writing in the Dark
In this comprehensive textbook devoted to the craft of writing horror fiction, award-winning author Tim Waggoner draws on thirty years’ experience as a writer and teacher. Writing in the Dark offers advice, guidance, and insights on how to compose horror stories and novels that are original, frightening, entertaining, and well-written. Waggoner covers a wide range of topics, among them why horror matters, building viable monsters, generating ideas and plotlines, how to stylize narratives in compelling ways, the physiology of fear, the art of suspense, avoiding clichés, marketing your horror writing, and much more. Each chapter includes tips from some of the best horror professionals working today, such as Joe Hill, Ellen Datlow, Joe R. Lansdale, Maurice Broaddus, Yvette Tan, Thomas Ligotti, Jonathan Maberry, Edward Lee, and John Shirley. There are also appendices with critical reflections, pointers on the writing process, ideas for characters and story arcs, and material for further research. Writing in the Dark derives from Waggoner’s longtime blog of the same name. Suitable for classroom use, intensive study, and bedside reading, this essential manual will appeal to new authors at the beginning of their career as well as veterans of the horror genre who want to brush up on their technique.
365 pages, Kindle Edition
First published September 16, 2020
209 people are currently reading
781 people want to read
About the author
Tim Waggoner
279 books763 followersTim Waggoner's first novel came out in 2001, and since then, he's published over sixty novels and eight collections of short stories. He writes original dark fantasy and horror, as well as media tie-ins. He's written tie-in fiction based on Supernatural, The X-Files, Alien, Doctor Who, Conan the Barbarian, A Nightmare on Elm Street, Grimm, and Transformers, among others, and he's written novelizations for films such as Ti West’s X-Trilogy, Halloween Kills, Terrifier 2 and 3, and Resident Evil: The Final Chapter. He’s also the author of the award-winning guide to horror Writing in the Dark. He’s a four-time winner of the Bram Stoker Award, a one-time winner of the Scribe Award, and he’s been a two-time finalist for the Shirley Jackson Award and a one-time finalist for the Splatterpunk Award. He’s also a full-time tenured professor who teaches creative writing and composition at Sinclair College in Dayton, Ohio.
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Displaying 1 - 30 of 81 reviews
July 24, 2020
Review to come on my blog, I have a lot to say about how much I loved this book and enjoyed all of the helpful tips from someone who knows what they're talking about. I will be coming back to this book over and over again so I'll be needing a physical copy, ASAP!
Here we go:
https://sadiehartmann.blogspot.com/20...
This book is currently available for Pre-Order and will release in September 2020. I received an early copy from the author in late May and I've been reading it in fits & starts since then, finishing it last night. There is a wealth of information here--way too much to even itemize properly. Tim's writing voice is like that of a teacher who really cares about his students and their writing journey--however far along you may be. It's personal and accessible-which I appreciate. All of my favorite writing books are this way. I don't want to read a book on writing that talks down to people or over the reader's head. A book teaching writing should first and foremost model good writing and this one is a great example. It's clear that Tim Waggoner has taught writing in various different formats before because this is easy to follow and can be used as a textbook after going through it the first time. It's broken down into topics and each chapter has some "homework" challenges and some great tips & tricks from other leaders in the industry. It was great to see a ton of recognizable talents in a variety of roles in the industry, weigh in on the subject Waggoner writes about. Joe Hill, Ellen Datlow, Joe R. Lansdale, Jason Sizemore, Maurice Broaddus, and more! I loved those portions of the book. A stroke of genius on Waggoner's part to include them.
I will be buying a physical copy so that I can refer back to all the important information included in this manual for Horror writers. A must-have!
Here we go:
https://sadiehartmann.blogspot.com/20...
This book is currently available for Pre-Order and will release in September 2020. I received an early copy from the author in late May and I've been reading it in fits & starts since then, finishing it last night. There is a wealth of information here--way too much to even itemize properly. Tim's writing voice is like that of a teacher who really cares about his students and their writing journey--however far along you may be. It's personal and accessible-which I appreciate. All of my favorite writing books are this way. I don't want to read a book on writing that talks down to people or over the reader's head. A book teaching writing should first and foremost model good writing and this one is a great example. It's clear that Tim Waggoner has taught writing in various different formats before because this is easy to follow and can be used as a textbook after going through it the first time. It's broken down into topics and each chapter has some "homework" challenges and some great tips & tricks from other leaders in the industry. It was great to see a ton of recognizable talents in a variety of roles in the industry, weigh in on the subject Waggoner writes about. Joe Hill, Ellen Datlow, Joe R. Lansdale, Jason Sizemore, Maurice Broaddus, and more! I loved those portions of the book. A stroke of genius on Waggoner's part to include them.
I will be buying a physical copy so that I can refer back to all the important information included in this manual for Horror writers. A must-have!
April 27, 2021
Author Tim Waggoner has likely forgotten more about horror and writing than I'll ever know. He is a wealth of knowledge, and in this book he holds nothing back. I read it cover to cover and highlighted parts I know I'll be referencing for years to come. Loved it.
September 7, 2020
I wish this book had existed when I started writing. It would have saved me years of toiling and tears. This is an invaluable resource for any horror writer, the new and the tried and true. This is one that should be on every shelf.
August 25, 2021
Like a master class on writing
I just finished reading Writing in the Dark by Tim Waggoner and it blew me away. It was like taking a Master Class on writing. If you have any interest at all in the art of horror writing or writing in general for that matter, you need to read it. Chapter 4 - Hello Darkness, My Old Friend literally changed the way I looked at my own writing and is worth the price of the book alone. It’s an excellent book and you should definitely make it your next read.
I just finished reading Writing in the Dark by Tim Waggoner and it blew me away. It was like taking a Master Class on writing. If you have any interest at all in the art of horror writing or writing in general for that matter, you need to read it. Chapter 4 - Hello Darkness, My Old Friend literally changed the way I looked at my own writing and is worth the price of the book alone. It’s an excellent book and you should definitely make it your next read.
September 16, 2020
Tim Waggoner's WRITING IN THE DARK is an instant classic in the small canon of "how to books" specifically directed at that special breed of authors known as horror writers, and with it, Waggoner becomes something of a Damon Knight for those working exclusively on the dark side.
WRITING IN THE DARK is, well, ENLIGHTENING. It doesn't just suggest ways to improve the scariness of your fiction, it also offers loads of advice on how to cultivate the horror author's worldview -- our manner of perceiving the darkness of the universe and translating it into entertainment...with a purpose. Waggoner -- who has published dozens and dozens of genre books and stories over the past thirty years, from lauded short fiction and memorable novels to niche media tie-in books -- writes with so much experience that the wisdom comes beaming through. And not only is it filled with smarts, it is delivered in the calm, guiding voice of an experienced writing teacher, as well. Waggoner has won awards for his mentoring and teaching of writers, and so it comes as no surprise to me that the "how-to" advice is crystal clear, backed with plenty of examples to illustrate the lessons he delivers and also laced with plenty of reasons and evidence to support his claims.
Finally, the book celebrates horror as not only a worldview and a craft but as a COMMUNITY and this comes through strongly in the way his book integrates the thoughts of many other writers, with interviews sampling the dark and sometimes twisted thoughts of many peers in the genre (including myself). Given the way that many educational programs (like English majors at colleges) have a history of disparaging popular fiction, genre authors have long had to study as fans and learn from each other as colleagues alone and Waggoner pays this forward with distinction in this book. I will be shelving this book right next to the great On Writing Horror (from Mort Castle and the Horror Writers Association) and the how-to books of JN Williamson I studied when I was getting started. I will certainly be using this guide when I teach Horror Fiction Writing in the future. If you are looking to learn more, whether as a newbie trying to learn how to get started, or a seasoned writer looking to refine and celebrate what you do, I recommend you get it and read it swiftly. Try some of the prompts and exercises, follow his advice, and please publish the results!
WRITING IN THE DARK is, well, ENLIGHTENING. It doesn't just suggest ways to improve the scariness of your fiction, it also offers loads of advice on how to cultivate the horror author's worldview -- our manner of perceiving the darkness of the universe and translating it into entertainment...with a purpose. Waggoner -- who has published dozens and dozens of genre books and stories over the past thirty years, from lauded short fiction and memorable novels to niche media tie-in books -- writes with so much experience that the wisdom comes beaming through. And not only is it filled with smarts, it is delivered in the calm, guiding voice of an experienced writing teacher, as well. Waggoner has won awards for his mentoring and teaching of writers, and so it comes as no surprise to me that the "how-to" advice is crystal clear, backed with plenty of examples to illustrate the lessons he delivers and also laced with plenty of reasons and evidence to support his claims.
Finally, the book celebrates horror as not only a worldview and a craft but as a COMMUNITY and this comes through strongly in the way his book integrates the thoughts of many other writers, with interviews sampling the dark and sometimes twisted thoughts of many peers in the genre (including myself). Given the way that many educational programs (like English majors at colleges) have a history of disparaging popular fiction, genre authors have long had to study as fans and learn from each other as colleagues alone and Waggoner pays this forward with distinction in this book. I will be shelving this book right next to the great On Writing Horror (from Mort Castle and the Horror Writers Association) and the how-to books of JN Williamson I studied when I was getting started. I will certainly be using this guide when I teach Horror Fiction Writing in the future. If you are looking to learn more, whether as a newbie trying to learn how to get started, or a seasoned writer looking to refine and celebrate what you do, I recommend you get it and read it swiftly. Try some of the prompts and exercises, follow his advice, and please publish the results!
January 11, 2021
Back in May 2019 I was fortunate enough to take a few classes while attending StokerCon. One of them was called “The Art of Suspense” taught by Tim Waggoner and it was fantastic. So, when I saw Waggoner had a non-fiction book, dedicated to the craft of writing horror, I had high expectations. Writing in the Dark was all I hoped for and more!
Typically, when reading books on writing I find my eyes glazing over because the content is so dry and stale – it’s like they suck all the fun out of their biggest passion. By contrast, you can feel the joy and excitement Waggoner has for the genre and the craft of writing on every page. The author’s engaging approach hooked me immediately and held my attention throughout.
Some of the chapter contents include breakdowns of how subgenres are used in marketing, finding the emotional core of a story, how to infuse unique aspects into familiar plotlines, a look into the physiology of fear, and what makes the Horror Hero’s Journey different from other genres. Even being familiar with these ideas, I found Writing in the Dark discussed these topics from angles I hadn’t thought of before, creating a refreshing learning experience.
Informative and thought-provoking, this book felt like a complete course study in how to write effective horror. And while there is a lot to get through, Waggoner breaks down complex concepts into easy-to-understand segments.
What really makes this a standout how-to book is the introspection it forces upon the reader, including wonderful exercises at the end of each chapter. While other books ask you to think about why you write the things you do, Waggoner goes a step further, encouraging you to try things you might not normally write and then contemplate the results. He guides you through the exercises with examples most horror fans will be familiar with but using broad enough terms that even if you aren’t familiar with the piece of fiction being dissected, you won’t feel lost.
Chapters also include great mini-interviews, with a vast range of horror authors such as Graham Masterton, Alison Littlewood, Jonathan Maberry, Michael Knost, and Lisa Morton. All these writers have their own approaches to what creates the best dark fiction, which helped drive home Waggoner’s main point that there is no one-size-fits-all way to write. Each creator should collect as many viewpoints as possible, to examine and evaluate them against your own ideas. And I think encouraging this type of critical thinking is what makes Waggoner such an effective teacher.
Having read quite a few titles on the craft of writing, I’d rank Writing in the Dark among the best. I’ll certainly be returning to this resource often. No matter where you are on your writing journey, I highly recommend checking it out.
Review first appeared on Kendall Reviews.
Typically, when reading books on writing I find my eyes glazing over because the content is so dry and stale – it’s like they suck all the fun out of their biggest passion. By contrast, you can feel the joy and excitement Waggoner has for the genre and the craft of writing on every page. The author’s engaging approach hooked me immediately and held my attention throughout.
Some of the chapter contents include breakdowns of how subgenres are used in marketing, finding the emotional core of a story, how to infuse unique aspects into familiar plotlines, a look into the physiology of fear, and what makes the Horror Hero’s Journey different from other genres. Even being familiar with these ideas, I found Writing in the Dark discussed these topics from angles I hadn’t thought of before, creating a refreshing learning experience.
Informative and thought-provoking, this book felt like a complete course study in how to write effective horror. And while there is a lot to get through, Waggoner breaks down complex concepts into easy-to-understand segments.
What really makes this a standout how-to book is the introspection it forces upon the reader, including wonderful exercises at the end of each chapter. While other books ask you to think about why you write the things you do, Waggoner goes a step further, encouraging you to try things you might not normally write and then contemplate the results. He guides you through the exercises with examples most horror fans will be familiar with but using broad enough terms that even if you aren’t familiar with the piece of fiction being dissected, you won’t feel lost.
Chapters also include great mini-interviews, with a vast range of horror authors such as Graham Masterton, Alison Littlewood, Jonathan Maberry, Michael Knost, and Lisa Morton. All these writers have their own approaches to what creates the best dark fiction, which helped drive home Waggoner’s main point that there is no one-size-fits-all way to write. Each creator should collect as many viewpoints as possible, to examine and evaluate them against your own ideas. And I think encouraging this type of critical thinking is what makes Waggoner such an effective teacher.
Having read quite a few titles on the craft of writing, I’d rank Writing in the Dark among the best. I’ll certainly be returning to this resource often. No matter where you are on your writing journey, I highly recommend checking it out.
Review first appeared on Kendall Reviews.
May 12, 2021
Disclaimer: I received a copy of Writing in the Dark from author Tim Waggoner for review purposes. All opinions are my own.
I am a wannabe writer who has not put pen to paper to craft a story in over a decade. When I first learned that Tim Waggoner was about to release a writing textbook, I knew I needed to get my hands on a copy of it.
Reading Writing in the Dark is feels as if I'm getting a self-paced one-on-one horror writing class from Mr. Waggoner. The lessons are concise, to the point, and entertaining. The exercises at the end of the chapters reinforce what was covered in the chapter in ways that make you take a deeper look at your own writing, as well as reading the writing of other authors you may emulate. I also enjoyed the advice of a who's who of modern age horror writing.
Mr. Waggoner was kind enough to give me a copy to review, but I will be buying a physical copy to annotate and keep with my other writing reference books. I have the feeling this book will be used more than most on my shelf.
I am a wannabe writer who has not put pen to paper to craft a story in over a decade. When I first learned that Tim Waggoner was about to release a writing textbook, I knew I needed to get my hands on a copy of it.
Reading Writing in the Dark is feels as if I'm getting a self-paced one-on-one horror writing class from Mr. Waggoner. The lessons are concise, to the point, and entertaining. The exercises at the end of the chapters reinforce what was covered in the chapter in ways that make you take a deeper look at your own writing, as well as reading the writing of other authors you may emulate. I also enjoyed the advice of a who's who of modern age horror writing.
Mr. Waggoner was kind enough to give me a copy to review, but I will be buying a physical copy to annotate and keep with my other writing reference books. I have the feeling this book will be used more than most on my shelf.
March 3, 2021
I don’t write horror stories, but as a reader of them I am always interested in what makes them work or not work for me. The blurb claims it to be a text book devoted to the craft of writing horror fiction, but it’s really a fairly laid back and loose collection of ideas and comments that flows more like a conversation. It also has part interviews with horror fiction writers responding to set questions at the end of each chapter. Not stellar, but an enjoyable bedtime read.
February 12, 2021
WRITING IN THE DARK includes excellent advice from the award-winning author of this book, Tim Waggoner, who has thirty years’ experience as a writer and teacher, and includes tips from some of the best horror professionals working today, presented at the end of each chapter.
If you are new to the genre or are unfamiliar with the different sub-genres of horror, Waggoner takes time to explain each and gives examples of authors to read who excel in that type of writing.
It is often that I feel, after reading a book, including those that center around the art of writing, a compulsive need to highlight every favorable and remarkable detail to include in a review and for future reference.
After reading WRITING IN THE DARK on my Kindle, I found myself highlighting almost the entire book, which was evidence enough for me that I needed to purchase a physical copy for my library on writing, and so I did.
Now, that brings me back to the question of what quotes to include in this review; as I said, there are many excellent tips and advice to choose from as a means to entice you without revealing too much, I hope.
I will start with a couple of my favorites from Waggoner:
‘Horror writers are like dark clowns that caper in front of our readers, making grotesque faces in the hope that the audience won’t look over our shoulder and see the true darkness of existence behind us.’
‘Any type of fiction can teach us more about ourselves and our fellow humans by showing us how particular characters deal with conflict—both external and internal. But horror turns up the conflict all the way to eleven.’ (Exactly!)
One of my favorite horror novels is Stephen King’s NEEDFUL THINGS, a story that taps into human behavior by way of external and internal conflicts that result in ‘What would you be willing to do?’ scenarios to get what said character wants—or rather—Needs. Consequences be damned?
Yep!
‘Kill them all. Let God sort them out.’ –Leland Gaunt, NEEDFUL THINGS
For me, as a writer, reader, and viewer of horror, the following quote sums up my viewpoint and interest in the genre perfectly:
‘Horror stories allow us to confront our deepest fears through the buffer of fiction. Wrestling with the darkest questions of human existence—why is there violence, pain, cruelty, and death?—can be emotionally overwhelming. These questions can be too intense to deal with directly. Like an eclipse, the only way to safely view these aspects of life is indirect. Horror allows us to do this.’
Bryan Smith, the author of MERCILESS, is one of the writers who answered a couple of interview questions for this book regarding writing tips hit home to the point I said aloud, ‘Hey now, I feel attacked!’ ;) But, he’s right.:
‘[D]on’t get hung up on finding the exact right word to perfectly describe a thing in your first draft. Just write and get the story told. If you can do that, you’ll have an easier time finding that perfect word in the revisions phase.’
Have you ever spent an insane amount of time trying to find that perfect word or sentence structure only to go back to the original version…hours later.
*raises hand and sighs*
Craig Spector, the bestselling author of TURNAROUND, said (and I wholeheartedly agree), ‘To me, good horror is something that gets under the skin of the characters: it has an intimacy, regardless of the scope and scale of the ghastly events. Good horror shocks and unsettles and lingers long after. It can be “loud” or “quiet,” but it resonates either way. Good horror rocks.’
And…
‘Write from the inside out. Crawl inside your characters, make us care about them living, then we’ll care about them dying.[…]’
I love the advice Michele Garza, co-author of THOSE WHO FOLLOW, gives beginning writers about adding a build-up of suspense in horror writing while allowing the reader to use their imagination to fill in the blanks.
Here's a snippet of what she said:
‘Though it can be fun to go into every gory detail, and we do quite often, letting your audience’s imagination fill in some blanks can be effective […] It’s not the maggot falling out of an undead attacker’s maw and into a squirming protagonist’s screaming mouth, it’s imagining watching it dangle from his dry lip and knowing where it’s going to end up that will leave someone thinking about your story for a long time.
My apology for barely scratching the surface of WRITING IN THE DARK, as there is so much more to this book for you to discover about writing horror; I want you to experience it on your own.
Whether you’re a newbie to the horror writing genre, a seasoned pro, or somewhere in between, I highly recommend reading this book.
I want to close with my favorite quote from Tim Waggoner, that made me laugh out loud in agreement:
‘So if anyone ever asks you why you’re wasting your time writing horror instead of “real” fiction, tell them, “Horror is as real as it gets, baby.” For good measure, hiss and bare your fangs, then get back to work.’
Thank you so much Erin Sweet Al-Mehairi and Guide Dog Books, for providing me with an eBook of WRITING IN THE DARK in a request for an honest review.
If you are new to the genre or are unfamiliar with the different sub-genres of horror, Waggoner takes time to explain each and gives examples of authors to read who excel in that type of writing.
It is often that I feel, after reading a book, including those that center around the art of writing, a compulsive need to highlight every favorable and remarkable detail to include in a review and for future reference.
After reading WRITING IN THE DARK on my Kindle, I found myself highlighting almost the entire book, which was evidence enough for me that I needed to purchase a physical copy for my library on writing, and so I did.
Now, that brings me back to the question of what quotes to include in this review; as I said, there are many excellent tips and advice to choose from as a means to entice you without revealing too much, I hope.
I will start with a couple of my favorites from Waggoner:
‘Horror writers are like dark clowns that caper in front of our readers, making grotesque faces in the hope that the audience won’t look over our shoulder and see the true darkness of existence behind us.’
‘Any type of fiction can teach us more about ourselves and our fellow humans by showing us how particular characters deal with conflict—both external and internal. But horror turns up the conflict all the way to eleven.’ (Exactly!)
One of my favorite horror novels is Stephen King’s NEEDFUL THINGS, a story that taps into human behavior by way of external and internal conflicts that result in ‘What would you be willing to do?’ scenarios to get what said character wants—or rather—Needs. Consequences be damned?
Yep!
‘Kill them all. Let God sort them out.’ –Leland Gaunt, NEEDFUL THINGS
For me, as a writer, reader, and viewer of horror, the following quote sums up my viewpoint and interest in the genre perfectly:
‘Horror stories allow us to confront our deepest fears through the buffer of fiction. Wrestling with the darkest questions of human existence—why is there violence, pain, cruelty, and death?—can be emotionally overwhelming. These questions can be too intense to deal with directly. Like an eclipse, the only way to safely view these aspects of life is indirect. Horror allows us to do this.’
Bryan Smith, the author of MERCILESS, is one of the writers who answered a couple of interview questions for this book regarding writing tips hit home to the point I said aloud, ‘Hey now, I feel attacked!’ ;) But, he’s right.:
‘[D]on’t get hung up on finding the exact right word to perfectly describe a thing in your first draft. Just write and get the story told. If you can do that, you’ll have an easier time finding that perfect word in the revisions phase.’
Have you ever spent an insane amount of time trying to find that perfect word or sentence structure only to go back to the original version…hours later.
*raises hand and sighs*
Craig Spector, the bestselling author of TURNAROUND, said (and I wholeheartedly agree), ‘To me, good horror is something that gets under the skin of the characters: it has an intimacy, regardless of the scope and scale of the ghastly events. Good horror shocks and unsettles and lingers long after. It can be “loud” or “quiet,” but it resonates either way. Good horror rocks.’
And…
‘Write from the inside out. Crawl inside your characters, make us care about them living, then we’ll care about them dying.[…]’
I love the advice Michele Garza, co-author of THOSE WHO FOLLOW, gives beginning writers about adding a build-up of suspense in horror writing while allowing the reader to use their imagination to fill in the blanks.
Here's a snippet of what she said:
‘Though it can be fun to go into every gory detail, and we do quite often, letting your audience’s imagination fill in some blanks can be effective […] It’s not the maggot falling out of an undead attacker’s maw and into a squirming protagonist’s screaming mouth, it’s imagining watching it dangle from his dry lip and knowing where it’s going to end up that will leave someone thinking about your story for a long time.
My apology for barely scratching the surface of WRITING IN THE DARK, as there is so much more to this book for you to discover about writing horror; I want you to experience it on your own.
Whether you’re a newbie to the horror writing genre, a seasoned pro, or somewhere in between, I highly recommend reading this book.
I want to close with my favorite quote from Tim Waggoner, that made me laugh out loud in agreement:
‘So if anyone ever asks you why you’re wasting your time writing horror instead of “real” fiction, tell them, “Horror is as real as it gets, baby.” For good measure, hiss and bare your fangs, then get back to work.’
Thank you so much Erin Sweet Al-Mehairi and Guide Dog Books, for providing me with an eBook of WRITING IN THE DARK in a request for an honest review.
October 2, 2020
Review in the October 2020 issue of Library Journal
Three Words That Describe This Book: appeal of horror, engaging, participatory
Draft Review:
After years of teaching and publishing, Waggoner was asked, “Why do you write horror?” enough times that he decided to explain it the best way he knew how, by sharing his techniques and thoughts with everyone in an accessible, useful, and engaging textbook. Using both personal experience and drawing on the advice and thoughts of dozens of horror authors and editors from all over the world, Waggoner builds a writing guide that is also a deep dive into the genre itself. He breaks down popular tropes, explains how to draw out visceral responses in readers, and advocates for the importance of horror stories in all of our lives, including lively exercises and discussion questions at the end of each chapter.
Verdict: An excellent writing guide by an accomplished writer and teacher that will not only enhance all public library collections with its instruction, but it is also a fun read that elucidates the appeal of horror. A dual threat, writing guide for your patrons and Readers’ Advisory resource for you.
Three Words That Describe This Book: appeal of horror, engaging, participatory
Draft Review:
After years of teaching and publishing, Waggoner was asked, “Why do you write horror?” enough times that he decided to explain it the best way he knew how, by sharing his techniques and thoughts with everyone in an accessible, useful, and engaging textbook. Using both personal experience and drawing on the advice and thoughts of dozens of horror authors and editors from all over the world, Waggoner builds a writing guide that is also a deep dive into the genre itself. He breaks down popular tropes, explains how to draw out visceral responses in readers, and advocates for the importance of horror stories in all of our lives, including lively exercises and discussion questions at the end of each chapter.
Verdict: An excellent writing guide by an accomplished writer and teacher that will not only enhance all public library collections with its instruction, but it is also a fun read that elucidates the appeal of horror. A dual threat, writing guide for your patrons and Readers’ Advisory resource for you.
June 16, 2021
I read this as another resource for Horror Readers' Advisory and did find it very helpful. A different POV that illuminated some aspects of appeal for the Horror reader and a nice supplement to Spratford and Saricks & Wyatt. I would definitely suggest this book for any neophyte writer, especially for those who aspire to write Horror. Waggoner has the experience and the gravitas and is very accessible, practical, and humorous while providing the writing student with excellent examples, a variety of writing exercises, and a wealth of useful Appendices. Each chapter also contains a variety of insights from other known Horror writers, editors, and publishers on how to define Horror and how to prepare to write Horror. No one in our network owned and I had to request from the MA Commonwealth Catalog. I would urge public and academic libraries to consider adding this title to their resources for writers.
February 25, 2021
Flat out, this is the best and most practical guide for writing horror I've ever come across. There is something new in here to learn for all writers, in and out of the genre, though it is geared toward writing horror, which I appreciate. It's more than a great learning tool, however - it's also been an effective inspiration, and has sparked a lot of problem solving. I'll be keeping it near to hand, to flip through any time I get stuck. Highly recommend.
August 14, 2025
I’m an experienced and published writer and I still learned a lot from this book about horror writing. Highly recommended.
November 14, 2024
The single best horror craft book I've ever read.
One of the things I struggled with when reading craft books, has been the advice within didn't click. "Your hero should be active." "You should have a happy ending. Or at last a not-upsetting one." And a long etc.
And the reason all these things didn't click was that I was a horror writer before I knew it. I liked having passive characters with terrible things happening to them. Tragic endings. Among other things. Soon, a teacher pointed out that what I was crafting was actually horror and things sort of fell into place.
However, there wasn't a book that described plotting out of the "hero's journey" structure (with variations but still.. Save the Cat, for example, is another version of the Hero's Journey."
It turns out horror is like a mirror where everything is the opposite of normal fiction. The journey is a descent into darkness. The ending should either kill or scar your main character (who should definitely not be a hero nor have special powers) forever.
Thank you, Mr. Waggoner for helping a lost writer and pointing the way home and toward writing good fiction.
One of the things I struggled with when reading craft books, has been the advice within didn't click. "Your hero should be active." "You should have a happy ending. Or at last a not-upsetting one." And a long etc.
And the reason all these things didn't click was that I was a horror writer before I knew it. I liked having passive characters with terrible things happening to them. Tragic endings. Among other things. Soon, a teacher pointed out that what I was crafting was actually horror and things sort of fell into place.
However, there wasn't a book that described plotting out of the "hero's journey" structure (with variations but still.. Save the Cat, for example, is another version of the Hero's Journey."
It turns out horror is like a mirror where everything is the opposite of normal fiction. The journey is a descent into darkness. The ending should either kill or scar your main character (who should definitely not be a hero nor have special powers) forever.
Thank you, Mr. Waggoner for helping a lost writer and pointing the way home and toward writing good fiction.
January 9, 2021
There are countless books about the craft of writing. Some good, some not so good - because writing can't be shoe horned into a box labelled You Must Do This, as no one strategy suits all.
A How To textbook can only advise, and Writing in the Dark (which is devoted to writing horror fiction) does this in the best way possible.
Tim's writing is straightforward but in-depth, the teaching always encouraging the reader to take note but to trust their own voice.
With character questionnaires to complete and lists of other valuable resources, this has it all.
Whether you are new to the art of writing or a veteran with books under your belt, this will be one you constantly consult through the years.
A How To textbook can only advise, and Writing in the Dark (which is devoted to writing horror fiction) does this in the best way possible.
Tim's writing is straightforward but in-depth, the teaching always encouraging the reader to take note but to trust their own voice.
With character questionnaires to complete and lists of other valuable resources, this has it all.
Whether you are new to the art of writing or a veteran with books under your belt, this will be one you constantly consult through the years.
June 19, 2021
This was recommended to me and I'm so glad it was. It's one of the best writing books I've ever read (and I've read a whole lot of them). It's strong at some writing basics (e.g., immersive writing, sympathetic characters, putting your characters through pain, emotional connections), but extremely strong for horror specifically.
I read this by going through a few chapters at a time, and then going back through those same chapters with a highlighter, highlighting the most useful and new-to-me info. There's a lot of highlights! I even plan to go through it again to do the exercises that resonated the most with me - it's really like a course of its own.
The chapters with the most yellow highlights or otherwise the most engaging for me were:
Chapter 4, Hello Darkness, My Old Friend about the subgenres of horror. I'm a horror reader (and writer) and I know about subgenres but I don't think I'd ever seen a comprehensive list of what they might be. Very useful!
Chapter 8, The Horror Writer's Palate about the colours of horror: Dread, Terror, Horror, Shock, and Disgust. I've seen Stephen King's quote about the three types of horror (Gross-Out, Horror, Terror) and stacks of literary definitions of horror as a genre/reaction to a genre, but this breaks it down really well to actually use in writing.
Chapter 9, The Horror Hero's Journey. I'd say this is the cream-of-the-crop of the book, breaking down the traditional story telling structure of the hero's journey into bitesize endings that work for the horror genre (as horror protagonists aren't usually out seeking their fame and fortune, they're reacting to something awful). I immediately started applying this to my novels and short stories.
Chapter 17, The Art of Suspense and the end of Chapter 16 which includes pacing. Suspense and pace, presented very well, in a workable manner.
I also liked the diving into writing what you know as far as horror goes - what scares you, what's relevant; the tips for monster writing; the physiology of fear; and how to write fight scenes. The quotes from other authors and editors at the end of chapters also ended up with some highlights - some from authors I hadn't heard of, and now need to check out.
Highly recommended to anyone who writes horror or other dark stuff.
I read this by going through a few chapters at a time, and then going back through those same chapters with a highlighter, highlighting the most useful and new-to-me info. There's a lot of highlights! I even plan to go through it again to do the exercises that resonated the most with me - it's really like a course of its own.
The chapters with the most yellow highlights or otherwise the most engaging for me were:
Chapter 4, Hello Darkness, My Old Friend about the subgenres of horror. I'm a horror reader (and writer) and I know about subgenres but I don't think I'd ever seen a comprehensive list of what they might be. Very useful!
Chapter 8, The Horror Writer's Palate about the colours of horror: Dread, Terror, Horror, Shock, and Disgust. I've seen Stephen King's quote about the three types of horror (Gross-Out, Horror, Terror) and stacks of literary definitions of horror as a genre/reaction to a genre, but this breaks it down really well to actually use in writing.
Chapter 9, The Horror Hero's Journey. I'd say this is the cream-of-the-crop of the book, breaking down the traditional story telling structure of the hero's journey into bitesize endings that work for the horror genre (as horror protagonists aren't usually out seeking their fame and fortune, they're reacting to something awful). I immediately started applying this to my novels and short stories.
Chapter 17, The Art of Suspense and the end of Chapter 16 which includes pacing. Suspense and pace, presented very well, in a workable manner.
I also liked the diving into writing what you know as far as horror goes - what scares you, what's relevant; the tips for monster writing; the physiology of fear; and how to write fight scenes. The quotes from other authors and editors at the end of chapters also ended up with some highlights - some from authors I hadn't heard of, and now need to check out.
Highly recommended to anyone who writes horror or other dark stuff.
December 3, 2020
Of the craft books I've read, this one really stands out. This isn't just because I write horror (though that's partially it) but because Waggoner does an excellent job relaying advice to budding writers thoroughly and with a friendly and unpretentious voice. Each chapter presents ideas that aren't always brand new information, but that made me closely consider the techniques I use in my stories and think about how how they can be improved.
I think it's true that good writing advice transcends genre, but horror does present some unique challenges, and reading this book left me inspired to approach them with a more adept toolbox than I had before. Recommended to anyone who wants to take their horror stories to the next level.
I think it's true that good writing advice transcends genre, but horror does present some unique challenges, and reading this book left me inspired to approach them with a more adept toolbox than I had before. Recommended to anyone who wants to take their horror stories to the next level.
April 15, 2021
An excellent primer for both novice and seasoned writers.
Waggoner has been in the horror business for some time, and it shows. He does an excellent job of focusing on writing techniques that are of specific interest to horror writers, and provides tons of exercises to let you practice what you learn. His knowledge of the genre is deep, and his skill as a professor serves him well here. I've had the opportunity to be in one of Waggoner's writing workshops (and hope to do so again), and I learned a lot. This book is even better.
Waggoner has been in the horror business for some time, and it shows. He does an excellent job of focusing on writing techniques that are of specific interest to horror writers, and provides tons of exercises to let you practice what you learn. His knowledge of the genre is deep, and his skill as a professor serves him well here. I've had the opportunity to be in one of Waggoner's writing workshops (and hope to do so again), and I learned a lot. This book is even better.
June 25, 2024
Described as a “textbook” for writing horror, but not as boring as that term suggests. Waggoner includes personal touches that keep it interesting, and each chapter has additional advice from horror heavyweights. I’m definitely a better writer after reading this.
April 9, 2021
Super helpful
I studied English in college, but my professors always looked down on genre fiction. WRITING IN THE DARK is all the helpful information of a creative writing class specifically designed to help aspiring writers of dark fiction. The author clearly knows what he is talking about. I learned so much reading this book and I am excited to try the techniques and exercises. At the end, he dissects one of his early short stories, and I thought this was especially helpful.
I studied English in college, but my professors always looked down on genre fiction. WRITING IN THE DARK is all the helpful information of a creative writing class specifically designed to help aspiring writers of dark fiction. The author clearly knows what he is talking about. I learned so much reading this book and I am excited to try the techniques and exercises. At the end, he dissects one of his early short stories, and I thought this was especially helpful.
May 28, 2024
If you are someone like me who has, by this point in their life, read tons of how-to-write books, then this book may not be as helpful to you as you would hope. As Waggoner says himself, a lot of what applies to writing good horror applies to writing in any genre, fiction or otherwise, so there is a lot of repetitive information in this book that you can find in other texts in reference to other genres or just writing in general. The parts I found most useful were the breakdown of the sub-genres within horror and the different general plot arcs used. Horror, like romance, being 'genre' (vs literary) seems to have a more cemented structure/certain things expected to be included, and Waggoner does a good job going over these various subjects. I feel like I've come away more with a better understanding about reading horror than writing it, but I'm curious to find some 'good' horror to read because so many of the authors quoted throughout the book say how important characters a reader cares about are, and in all the horror I've ever read, characters made out of cardboard has been the chief problem.
October 24, 2020
If I had the pleasure of teaching a horror-bent creative writing course, then Writing in the Dark would serve as the class text. Despite going into this book as a language arts instructor with a decent grasp of what makes effective fiction work, Tim Waggoner completely took me to school on what makes effective *horror* fiction work. I haven’t made this many underlinings and annotations in a book since college. Writing in the Dark serves as a goldmine for new writers motivated to take their horror fiction to the next level, and perhaps even the most experienced horror authors could learn a few tricks by reading this book. And while soaking up Waggoner’s sage wisdom is worth purchasing this title alone, he does not limit his advice to one perspective—he pulls in suggestions from dozens of accomplished writers in the field, numerous voices that only strengthen his ideas through echoing the themes of his lessons. Writing in the Dark is a must-read for anyone wishing to achieve success in the horror genre.
September 12, 2020
Author Tim Waggoner is a writer whose advice has resonated with me for a long time. I've described it before as the ideal blend for me of realistic enough that it's leading in a helpful direction but not so dismal or downtrodden that you are left thinking about scrapping your entire career. So, to say I was excited when I heard that he was releasing a how-to writing book is an understatement. I was even more thrilled to discover that Raw Dog Screaming Press, one of the best independent presses, was going to release this book through its non-fiction imprint.
I'm always curious to hear about the journeys and evolutions of other writers' careers, and Tim's is no exception. He shares profound hardships he overcame throughout his life, but also what helped him, including a touching story of how he first encountered Writer's Digest. In particular, he cites the columns and books of Lawrence Block as the source that taught him the most about writing.
Horror writers will appreciate the time Tim takes to delve into why he writes horror, and perhaps why some of us do, as well. As an added bonus, he features mini-interviews with other horror writers, which many will find helpful. For those looking for marketing advice and discussions on the business of publishing, this book includes that, as well.
The author has also included helpful writing exercises at the end of each chapter, which strike a good balance between developing a sense of momentum and guided practice while not feeling burdensome or like homework. Additionally, the book serves as a guide to tropes in the horror genre--what has been done, different ways of thinking about well-trodden territory, and each chapter asks questions to inspire critical thinking from the reader. As well, be sure to check out the highly useful appendices and list of books on writing that the author recommends. Both are wonderful resources.
As the author asserts near the beginning of the guide, he became a teacher because he enjoys helping people, and this book is most certainly an extension of this ethos. It will prompt writers to ask themselves useful questions, particularly if they're stuck or feel like they have lost a sense of momentum. He also usefully breaks down the types of sub-genres of horror, for those who have always wondered what separates them, including Cosmic Horror--yes, the Lovecraft parts of it, but also the parts that expand and deviate from that, as well. I think "Folk Horror" is another useful one that often makes people scratch their heads. To add to this more, the author breaks down the difference between emotions, such as shock and terror and why it's important to examine them from distinct lenses.
Overall, if you're looking for a book that answers, from start to finish, the tools you'll need and skills to practice to be a successful working writer today, this book is for you. If you already have "On Writing Horror", "Writers Workshop of Horror," and Stephen King's "On Writing," put this book in front of all of them because it is the single most useful writing guide you will read, hands-down. It is written in a straightforward, accessible, easy-to-follow style. Another nice change is that it mixes forms, going back and forth between biography, questions and answers, and point-form bullet points, which make for a more interesting and nuanced writing how-to guide rather than just the same thing we've seen before countless times (and goodness knows I've read dozens and dozens of prescriptive writing guides).
I'm always curious to hear about the journeys and evolutions of other writers' careers, and Tim's is no exception. He shares profound hardships he overcame throughout his life, but also what helped him, including a touching story of how he first encountered Writer's Digest. In particular, he cites the columns and books of Lawrence Block as the source that taught him the most about writing.
Horror writers will appreciate the time Tim takes to delve into why he writes horror, and perhaps why some of us do, as well. As an added bonus, he features mini-interviews with other horror writers, which many will find helpful. For those looking for marketing advice and discussions on the business of publishing, this book includes that, as well.
The author has also included helpful writing exercises at the end of each chapter, which strike a good balance between developing a sense of momentum and guided practice while not feeling burdensome or like homework. Additionally, the book serves as a guide to tropes in the horror genre--what has been done, different ways of thinking about well-trodden territory, and each chapter asks questions to inspire critical thinking from the reader. As well, be sure to check out the highly useful appendices and list of books on writing that the author recommends. Both are wonderful resources.
As the author asserts near the beginning of the guide, he became a teacher because he enjoys helping people, and this book is most certainly an extension of this ethos. It will prompt writers to ask themselves useful questions, particularly if they're stuck or feel like they have lost a sense of momentum. He also usefully breaks down the types of sub-genres of horror, for those who have always wondered what separates them, including Cosmic Horror--yes, the Lovecraft parts of it, but also the parts that expand and deviate from that, as well. I think "Folk Horror" is another useful one that often makes people scratch their heads. To add to this more, the author breaks down the difference between emotions, such as shock and terror and why it's important to examine them from distinct lenses.
Overall, if you're looking for a book that answers, from start to finish, the tools you'll need and skills to practice to be a successful working writer today, this book is for you. If you already have "On Writing Horror", "Writers Workshop of Horror," and Stephen King's "On Writing," put this book in front of all of them because it is the single most useful writing guide you will read, hands-down. It is written in a straightforward, accessible, easy-to-follow style. Another nice change is that it mixes forms, going back and forth between biography, questions and answers, and point-form bullet points, which make for a more interesting and nuanced writing how-to guide rather than just the same thing we've seen before countless times (and goodness knows I've read dozens and dozens of prescriptive writing guides).
September 24, 2021
I wanted to love Writing in the Dark. I hate giving this a two. That’s one star for each month it took me to read through this.
I see a lot of other folks love this one. After all, it won a Stoker - which is what finally convinced me to have my library order it. This just continues my string of Stoker-winners being massive disappointments. Like, what the fuck? Over.
Right off the bat, I was annoyed by the layout. This book is textbook shaped. And then, inside, it turns out to be a textbook. There are few things I hate more than being reminded of school. I assume since TW is a teacher this was a cutesy design choice as a nod to his profession. Clever - and probably not so triggering for other folks.
The content is dull. There wasn’t much new ground tilled. I should have dnf’d six weeks ago. I never got engaged enough to keep turning pages, opting instead to set the book aside in favor of doomscrolling. Brutal.
Each chapter is capped off with exercises and Q&A with a few authors. Some of the exercises seemed interesting all of them had pretty clear goals/benefits. Again with the textbook layout. Kills me.
The Q&A is the same two questions asked of … i dunno … a hundred? different authors. Get a couple hundred more of those and make a daily tear-off calendar. I kept feeling like the blathers at the end of each chapter were more cotton batting under an already soporific read.
TLDR: you’re probably gonna love it. I’m depressed I didn’t.
I see a lot of other folks love this one. After all, it won a Stoker - which is what finally convinced me to have my library order it. This just continues my string of Stoker-winners being massive disappointments. Like, what the fuck? Over.
Right off the bat, I was annoyed by the layout. This book is textbook shaped. And then, inside, it turns out to be a textbook. There are few things I hate more than being reminded of school. I assume since TW is a teacher this was a cutesy design choice as a nod to his profession. Clever - and probably not so triggering for other folks.
The content is dull. There wasn’t much new ground tilled. I should have dnf’d six weeks ago. I never got engaged enough to keep turning pages, opting instead to set the book aside in favor of doomscrolling. Brutal.
Each chapter is capped off with exercises and Q&A with a few authors. Some of the exercises seemed interesting all of them had pretty clear goals/benefits. Again with the textbook layout. Kills me.
The Q&A is the same two questions asked of … i dunno … a hundred? different authors. Get a couple hundred more of those and make a daily tear-off calendar. I kept feeling like the blathers at the end of each chapter were more cotton batting under an already soporific read.
TLDR: you’re probably gonna love it. I’m depressed I didn’t.
January 1, 2021
This is a really thorough book on writing horror/suspense/thrillers. I got it from the library but will have to purchase a copy to keep as reference. There's a lot of highlighting I'll need to do, and I'll want to go back and review it many times.
There's some really great tips in here (especially on putting random things together to come up with a weird scenario and develop a whole story from there). There's a whole lot to absorb, so it's not a quick read by any means, even though it is broken up into easy to read chunks.
The quotes from authors and editors about what makes good horror fiction and their best suggestions for those just starting out were interesting at first, but by chapter 11 I started ignoring them. After a while it was all the same advice, which I suppose is good because you get a sense that there might be a consensus.
There's a lot of exercises to try, but I really didn't even attempt those because it was a library book and I had to give it back. I imagine I will tackle those once I get my own copy. I did notice a great deal of them started as "go back to something you've already written" and right now, I don't have a lot of that. I'm just starting on this journey. But now I have some direction, so that's good.
Overall, I'd definitely recommend this. But you'll want to get your own copy to reference time and again.
There's some really great tips in here (especially on putting random things together to come up with a weird scenario and develop a whole story from there). There's a whole lot to absorb, so it's not a quick read by any means, even though it is broken up into easy to read chunks.
The quotes from authors and editors about what makes good horror fiction and their best suggestions for those just starting out were interesting at first, but by chapter 11 I started ignoring them. After a while it was all the same advice, which I suppose is good because you get a sense that there might be a consensus.
There's a lot of exercises to try, but I really didn't even attempt those because it was a library book and I had to give it back. I imagine I will tackle those once I get my own copy. I did notice a great deal of them started as "go back to something you've already written" and right now, I don't have a lot of that. I'm just starting on this journey. But now I have some direction, so that's good.
Overall, I'd definitely recommend this. But you'll want to get your own copy to reference time and again.
November 11, 2020
Possibly the most famous book on the craft of writing, at least in our horror circle, is Stephen King’s On Writing: A Memoir of the Craft (Simon & Schuster, 2000). If you are a writer and you haven’t read it, you likely know three other writers who have. What makes King’s book so memorable and different from most of the other so-called “How-to” books (other than that he is Stephen King), is hinted at in the title; it is part memoir. While Waggoner’s book doesn’t veer too far from the path of instruction into the shadowy woods of reminiscence, his advice is delivered with a very personable tone, and a few concise anecdotes to hammer home a point. The product of many years spent teaching and many more writing, it makes the lessons presented that much easier to take.
Aside from the practical advice offered, Waggoner also explores the meaning of the horror genre, the emotions behind it and some of the history. It is never distracting; he always manages to use the exploration to make the reader consider their own approach to the genre, and how this knowledge may help them improve their own fiction. He examines the very nature of horror and the emotion that goes into it. He also considers the seemingly overdone tropes of the genre, whether in books or movies, and effectively explains where creators go wrong when utilising these tropes, and how authors can approach them in their own work.
Among the chapters devoted to the practical side of writing, Waggoner explores and explains many essential topics from structure to characterisation, emotion to style, creating suspense to writing action. Each is given its own chapter, clearly addressing the usual – and sometimes, unusual – questions often posed by creative writing students everywhere. “How do I plot my short story?” “How do I ‘show’ instead of ‘tell’ my character’s emotion?” “How do I write an entertaining story that also evokes an emotional response?” “How do I create a feeling of suspense in my story, and maintain it until the end?” Waggoner doesn’t spoon-feed us the answers to these questions and more like them; through his effective and helpful teaching style he gives us the tools to tackle these things ourselves.
A part of that teaching style are the exercises included at the end of each chapter, providing us with the opportunity to put his lessons to the test. The only thing missing from this experience is the feedback to what we write but, really, that isn’t something we can reasonably expect from a book on the craft of writing. As Waggoner points out throughout the book, the best way to expand our knowledge is to open up to our fellow writers and creators; join writer groups, attend conventions and workshops, form relationships with like-minded authors who can provide feedback for your work, as you can theirs. Time permitting, we could have completed these exercises and provided our work to show the effectiveness of the work set out by Waggoner. But that maybe would have given away too much of the content. There is certainly enough shown within the exercises to give us reason to say that they will prove invaluable to future readers of this book. And they can always share their output with their fellow writers for feedback, and vice versa.
Another insightful resource offered at the end of each chapter are the “Voices From the Shadows”, where some of the biggest names in the horror genre offer their own words of wisdom in response to Waggoner’s two questions relating to what they think makes for good writing and what advice they would offer to new authors. With interesting answers of varying lengths from such recognisable genre names as Ellen Datlow, Joe Lansdale, Stephen Graham Jones, S.P. Miskowski and Joe Hill among many, many others, we are given a great deal to consider. Add to all of this the appendices included at the rear, covering many things from an “autopsy” of one of Waggoner’s own very early short story attempts to story ideas both experimental and straightforward, a comprehensive list of further resources to complex questionnaires designed to better understand the characters in your own stories, we are given a “How-to” book with a difference. Through a combination of many years teaching and many more writing in the genre he loves, Tim Waggoner has created a unique writing manual that stands head and shoulders above other creative reference books. Horror authors at all stages of their development will find something of use within these pages.
Aside from the practical advice offered, Waggoner also explores the meaning of the horror genre, the emotions behind it and some of the history. It is never distracting; he always manages to use the exploration to make the reader consider their own approach to the genre, and how this knowledge may help them improve their own fiction. He examines the very nature of horror and the emotion that goes into it. He also considers the seemingly overdone tropes of the genre, whether in books or movies, and effectively explains where creators go wrong when utilising these tropes, and how authors can approach them in their own work.
Among the chapters devoted to the practical side of writing, Waggoner explores and explains many essential topics from structure to characterisation, emotion to style, creating suspense to writing action. Each is given its own chapter, clearly addressing the usual – and sometimes, unusual – questions often posed by creative writing students everywhere. “How do I plot my short story?” “How do I ‘show’ instead of ‘tell’ my character’s emotion?” “How do I write an entertaining story that also evokes an emotional response?” “How do I create a feeling of suspense in my story, and maintain it until the end?” Waggoner doesn’t spoon-feed us the answers to these questions and more like them; through his effective and helpful teaching style he gives us the tools to tackle these things ourselves.
A part of that teaching style are the exercises included at the end of each chapter, providing us with the opportunity to put his lessons to the test. The only thing missing from this experience is the feedback to what we write but, really, that isn’t something we can reasonably expect from a book on the craft of writing. As Waggoner points out throughout the book, the best way to expand our knowledge is to open up to our fellow writers and creators; join writer groups, attend conventions and workshops, form relationships with like-minded authors who can provide feedback for your work, as you can theirs. Time permitting, we could have completed these exercises and provided our work to show the effectiveness of the work set out by Waggoner. But that maybe would have given away too much of the content. There is certainly enough shown within the exercises to give us reason to say that they will prove invaluable to future readers of this book. And they can always share their output with their fellow writers for feedback, and vice versa.
Another insightful resource offered at the end of each chapter are the “Voices From the Shadows”, where some of the biggest names in the horror genre offer their own words of wisdom in response to Waggoner’s two questions relating to what they think makes for good writing and what advice they would offer to new authors. With interesting answers of varying lengths from such recognisable genre names as Ellen Datlow, Joe Lansdale, Stephen Graham Jones, S.P. Miskowski and Joe Hill among many, many others, we are given a great deal to consider. Add to all of this the appendices included at the rear, covering many things from an “autopsy” of one of Waggoner’s own very early short story attempts to story ideas both experimental and straightforward, a comprehensive list of further resources to complex questionnaires designed to better understand the characters in your own stories, we are given a “How-to” book with a difference. Through a combination of many years teaching and many more writing in the genre he loves, Tim Waggoner has created a unique writing manual that stands head and shoulders above other creative reference books. Horror authors at all stages of their development will find something of use within these pages.
October 25, 2020
Writing in the Dark is the compilation of Tim Waggoner’s experience writing horror and other genre fiction, and it reads like it comes from someone who’s been through it all, and is now itching to help you find helpful avenues and avoid common traps. We begin with a look at Tim’s experiences with horror in his early life, how his writing journey began, and why he’s the guy to lay all this information at your feet. We also lead with a justification of horror writing, and genre fiction in general. Why they matter and are, in fact, a lot more important than most people give them credit for.
Once we’ve established what’s on the table, we dive in headfirst. Chapters are divided into meal size pieces lasting anywhere from four to ten pages on average, focused on topics such as horror subgenres, where to come up with ideas and what to do with them, writing a hero’s journey, how to use fear, immersing yourself in the character, among many others. I highlighted a few chapters that stuck out to me, but there are twenty in all, not counting the introduction and appendices. I read through, and took time to digest, one a day, and would certainly recommend this version of the experience.
Each chapter consists of an essay-like portion, but then moves to examples, usually from Tim’s own writing that showcase how to put the ideas into action, as well as some pitfalls to potentially avoid. Sometimes the most daunting thing about writing advice is finding a way to take a good idea and apply it to your own craft. Waggoner includes exercises at the conclusion to each chapter, handing writers a way to practice the skill in a way that applies to what they’re attempting to achieve. Readers might also enjoy the mini interviews from a great variety of known voices in the horror community addressing what makes a good horror story and advice they would give beginning writers. No matter how experienced you are in the horror community, there will be some names you know here.
Writing in the Dark caters to writers of all experience levels, so when I tell you this is an indispensable addition to books on the craft, know that comes from a fledgling writer. Keeping an eye on the variety of advice offered within, I can see places where Tim put in things that might be useful to a seasoned writer looking to shake things up or break down a barrier, but my experience is that this toolbox is a must-have for newer writers.
One of the most useful things I found, so useful in fact that I’m devoting a whole paragraph to it, is the first appendix - entitled Autopsy. Here, Waggoner takes a story written toward the beginning of his career and performs, well, an autopsy. You can read the story in full, and then hear Tim’s ideas on how different concepts from the book you just read apply or could have been applied. The introspective look at an author finding a clear way to showcase the things they’ve learned through writing is absolutely invaluable.
Writing in the Dark is a book that I will return to time and time again, with highlighter and pencil in hand. Tim approaches it from the perspective of someone who has written a lot and taught a variety of students, very conscious of what works and what doesn’t in both arenas. Condensing it all into 230 pages couldn’t have been easy, but someone looking to write horror couldn’t ask for a better place to begin.
I received a copy from the publisher for review consideration.
Once we’ve established what’s on the table, we dive in headfirst. Chapters are divided into meal size pieces lasting anywhere from four to ten pages on average, focused on topics such as horror subgenres, where to come up with ideas and what to do with them, writing a hero’s journey, how to use fear, immersing yourself in the character, among many others. I highlighted a few chapters that stuck out to me, but there are twenty in all, not counting the introduction and appendices. I read through, and took time to digest, one a day, and would certainly recommend this version of the experience.
Each chapter consists of an essay-like portion, but then moves to examples, usually from Tim’s own writing that showcase how to put the ideas into action, as well as some pitfalls to potentially avoid. Sometimes the most daunting thing about writing advice is finding a way to take a good idea and apply it to your own craft. Waggoner includes exercises at the conclusion to each chapter, handing writers a way to practice the skill in a way that applies to what they’re attempting to achieve. Readers might also enjoy the mini interviews from a great variety of known voices in the horror community addressing what makes a good horror story and advice they would give beginning writers. No matter how experienced you are in the horror community, there will be some names you know here.
Writing in the Dark caters to writers of all experience levels, so when I tell you this is an indispensable addition to books on the craft, know that comes from a fledgling writer. Keeping an eye on the variety of advice offered within, I can see places where Tim put in things that might be useful to a seasoned writer looking to shake things up or break down a barrier, but my experience is that this toolbox is a must-have for newer writers.
One of the most useful things I found, so useful in fact that I’m devoting a whole paragraph to it, is the first appendix - entitled Autopsy. Here, Waggoner takes a story written toward the beginning of his career and performs, well, an autopsy. You can read the story in full, and then hear Tim’s ideas on how different concepts from the book you just read apply or could have been applied. The introspective look at an author finding a clear way to showcase the things they’ve learned through writing is absolutely invaluable.
Writing in the Dark is a book that I will return to time and time again, with highlighter and pencil in hand. Tim approaches it from the perspective of someone who has written a lot and taught a variety of students, very conscious of what works and what doesn’t in both arenas. Condensing it all into 230 pages couldn’t have been easy, but someone looking to write horror couldn’t ask for a better place to begin.
I received a copy from the publisher for review consideration.
February 26, 2022
It would be hard, perhaps impossible, to point to one book in the "How to Write Horror" canon and call it definitive, if only because horror writers have an especially diverse number of opinions on what makes horror work, and what horror's greatest wellspring is. Horror writers aren't quite as contentious as science fiction scribes (maybe it's the catharsis that comes with writing gruesome and visceral scenes?) but they still tend to offer advice that contradicts advice given by other writers in the club.
Tim Waggoner does a hell of a job in "Writing in the Dark" of not only giving his own best advice (based on decades of toiling in the mass market trenches and teaching undergrads), but also soliciting fellow writers for their advice and observations.
A lot of what's here is stuff I've heard before, i.e. the various types of scares, from the most sophisticated (dread) to the crude but effective (disgust). Waggoner's unique contribution is in creating a similar hierarchy for the various types of pain a protagonist can experience (spoiler alert: physical pain isn't the worst). His most surprising insights come in the chapter in which he takes on the classic "Hero's Journey" story arc and shows how it can (and can't) be applied to the horror genre.
Waggoner has his own pet peeves and deeply-held convictions, like every other writer. He's a fan of monsters, both from the id and of the standard cryptid and Kaiju variety. He prefers that the horror's origin remain somewhat mysterious rather than clearly explicated by some scholar ( a la in "Kolchak: The Nightstalker.") He also believes that immersive "close third" narration is better in horror than the alienated godlike view favored by the more Lovecraftian writers. But, unlike a lot of other writers, Waggoner doesn't pressure the reader into viewing his preferences as ironclad maxims to which all other writers must adhere. It's this lack of pretension, and pressure, that makes him such a good guide through the genre for those contemplating a career in horror.
In addition to getting his philosophy of horror, the reader is also treated to a good dose of practical advice. There's a chapter on how to network without pestering the eminence grises of the genre, which is straightforward and direct. The appendices provide a lot of resources within the space of a few pages, and Waggoner's generous (and perhaps bravest) contribution here is to include his earliest attempt at a horror story. His aim is not just to savage this ancient bit of juvenalia rescued from an old cardboard box; he blows the dust off the old electric typewriter-written MS to show the reader how an untrained talent can first be channeled, then cultivated, with lots of hard work, until one is a skilled practitioner of the form, if not a master. Recommended, for beginning and intermediate writers.
Tim Waggoner does a hell of a job in "Writing in the Dark" of not only giving his own best advice (based on decades of toiling in the mass market trenches and teaching undergrads), but also soliciting fellow writers for their advice and observations.
A lot of what's here is stuff I've heard before, i.e. the various types of scares, from the most sophisticated (dread) to the crude but effective (disgust). Waggoner's unique contribution is in creating a similar hierarchy for the various types of pain a protagonist can experience (spoiler alert: physical pain isn't the worst). His most surprising insights come in the chapter in which he takes on the classic "Hero's Journey" story arc and shows how it can (and can't) be applied to the horror genre.
Waggoner has his own pet peeves and deeply-held convictions, like every other writer. He's a fan of monsters, both from the id and of the standard cryptid and Kaiju variety. He prefers that the horror's origin remain somewhat mysterious rather than clearly explicated by some scholar ( a la in "Kolchak: The Nightstalker.") He also believes that immersive "close third" narration is better in horror than the alienated godlike view favored by the more Lovecraftian writers. But, unlike a lot of other writers, Waggoner doesn't pressure the reader into viewing his preferences as ironclad maxims to which all other writers must adhere. It's this lack of pretension, and pressure, that makes him such a good guide through the genre for those contemplating a career in horror.
In addition to getting his philosophy of horror, the reader is also treated to a good dose of practical advice. There's a chapter on how to network without pestering the eminence grises of the genre, which is straightforward and direct. The appendices provide a lot of resources within the space of a few pages, and Waggoner's generous (and perhaps bravest) contribution here is to include his earliest attempt at a horror story. His aim is not just to savage this ancient bit of juvenalia rescued from an old cardboard box; he blows the dust off the old electric typewriter-written MS to show the reader how an untrained talent can first be channeled, then cultivated, with lots of hard work, until one is a skilled practitioner of the form, if not a master. Recommended, for beginning and intermediate writers.
February 10, 2021
I've read a ton of how-to-write-fiction books including a number of texts on writing horror, but Tim Waggoner's WRITING IN THE DARK is the best of them all.
It opens with an intro by Tom Monteleone of Borderlands fame demonstrating why Waggoner is qualified to write the book. He's a prolific writer of both horror and media tie-ins. In the preface, Waggoner reveals why he writes horror. We're of roughly the same age, and his journey in many ways mirrors mine. (It's great to meet a new member of the Horror Family. Weirdos unite!)
He progresses through chapters such as "Why Horror Matters" and "Things Unknown" and turns a corner with "Everything You Know Is Wrong." He covers various subgenres of horror, generating unique ideas for stories, and building one-of-a-kind monsters. I especially enjoyed the chapters "The Horror Hero's Journey" (Poor Bastard's Descent into Hell) and the importance of including an emotional core relayed through immersive POV.
Every chapter is insightful, helpful, and entertaining. Each ends with exercises to enable eager writers to implement what they've just learned as well as three or four "voices from the shadows"--accomplished horror writers--who discuss what makes good horror and best advice for beginning writers.
Waggoner teaches college-level writing, so you're getting a college course in a book. I love to study, so I consider it a textbook that's also a tasty morsel of how-to darkness.
My review is actually 4.6 stars. The book lost a few tenths because the type is so small. As I read through, I was hoping for a workbook that expanded the exercises. Well, Guide Dog Books recently announced a companion workbook IS coming, so I'm excited about that. I'll be buying it, too, when it comes out. But I hope the type is a little bigger for those like me over 50.
I can't recommend this text highly enough. Whether you're a beginning, intermediate, or advanced horror writer, you'll get something useful to take your writing to the next horrific level.
It opens with an intro by Tom Monteleone of Borderlands fame demonstrating why Waggoner is qualified to write the book. He's a prolific writer of both horror and media tie-ins. In the preface, Waggoner reveals why he writes horror. We're of roughly the same age, and his journey in many ways mirrors mine. (It's great to meet a new member of the Horror Family. Weirdos unite!)
He progresses through chapters such as "Why Horror Matters" and "Things Unknown" and turns a corner with "Everything You Know Is Wrong." He covers various subgenres of horror, generating unique ideas for stories, and building one-of-a-kind monsters. I especially enjoyed the chapters "The Horror Hero's Journey" (Poor Bastard's Descent into Hell) and the importance of including an emotional core relayed through immersive POV.
Every chapter is insightful, helpful, and entertaining. Each ends with exercises to enable eager writers to implement what they've just learned as well as three or four "voices from the shadows"--accomplished horror writers--who discuss what makes good horror and best advice for beginning writers.
Waggoner teaches college-level writing, so you're getting a college course in a book. I love to study, so I consider it a textbook that's also a tasty morsel of how-to darkness.
My review is actually 4.6 stars. The book lost a few tenths because the type is so small. As I read through, I was hoping for a workbook that expanded the exercises. Well, Guide Dog Books recently announced a companion workbook IS coming, so I'm excited about that. I'll be buying it, too, when it comes out. But I hope the type is a little bigger for those like me over 50.
I can't recommend this text highly enough. Whether you're a beginning, intermediate, or advanced horror writer, you'll get something useful to take your writing to the next horrific level.
February 17, 2021
As a starting writer working on a monster-horror novel, I’m always looking for books teaching how to improve my craft. And Tim Waggoner’s Writing in the dark didn’t disappoint. In fact, it was the first one I read focused on the Horror genre. When I started reading, I had just finished the first draft of my novel “From the mist”. I feel confident the 2nd draft will be that much better from the tips and tricks I learned from Tim.
I typically read my how-to books with a highlighter. A few chapters in, I stopped underlining anything as the entire book would be purple. There is so much advice in each chapters I was constantly putting it down, taking notes or researching the references he uses to show his point. It literally felt as if I had my own personal teacher educating me on the foundations of great horror, and giving me a map of where to go next to further my education. In fact, this book can easily apply to several genres (Scifi, fantasy and suspense, for example) and guide a writer on his journey.
The book starts with basics on finding your reasons to write horror, how to twist the common into the uncommon or something new, horror subgenres, how to create your monster, the elements and structure of a good horror story, how to work with fear, pain and suspense and much more. Tim approaches every chapter with a story of his or examples to help us visualize the concepts explored, and it helps us assimilate the subject better — which is a pleasure to read about and learn from. To add the cherry on top, every chapter ends with exercises to help us better conceptualize these notions and put them in practice. Throughout the book, I couldn’t stop adding more novels and films recommended by Tim; to my growing list of ‘to-read’. Anything recommended by him — based on the quality of the content in Writing in the Dark — is definitely worth exploring.
There is no doubt in my mind any writer starting out will get amazing value from Tim’s Writing in the Dark, especially if you’re telling stories in the horror/SciFi/Fantasy genre. Do yourself a favor and read it.
I typically read my how-to books with a highlighter. A few chapters in, I stopped underlining anything as the entire book would be purple. There is so much advice in each chapters I was constantly putting it down, taking notes or researching the references he uses to show his point. It literally felt as if I had my own personal teacher educating me on the foundations of great horror, and giving me a map of where to go next to further my education. In fact, this book can easily apply to several genres (Scifi, fantasy and suspense, for example) and guide a writer on his journey.
The book starts with basics on finding your reasons to write horror, how to twist the common into the uncommon or something new, horror subgenres, how to create your monster, the elements and structure of a good horror story, how to work with fear, pain and suspense and much more. Tim approaches every chapter with a story of his or examples to help us visualize the concepts explored, and it helps us assimilate the subject better — which is a pleasure to read about and learn from. To add the cherry on top, every chapter ends with exercises to help us better conceptualize these notions and put them in practice. Throughout the book, I couldn’t stop adding more novels and films recommended by Tim; to my growing list of ‘to-read’. Anything recommended by him — based on the quality of the content in Writing in the Dark — is definitely worth exploring.
There is no doubt in my mind any writer starting out will get amazing value from Tim’s Writing in the Dark, especially if you’re telling stories in the horror/SciFi/Fantasy genre. Do yourself a favor and read it.
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