HOW TO WRITE HORROR #1 – Eight ways you can encourage inspiration

Inspiration: an elusive creature, glimpsed often fleetingly, usually when you least expect it.

Needless to say, inspiration is not something that can be forced. But there are things you can do to increase your chances of seeing this mysterious beast. And they will work for all kinds of fiction, not just horror.

It’s probably quite an individual thing – most writers will have their own methods and habits they use to prompt ideas. Here are some of mine, in no particular order – I hope they prove useful.

1. Go walking

I’m a great believer in walking in the landscape as an essential human function. As hunter gatherers, it’s what we’ve evolved to do. For me, walking puts my brain into a productive mode and creates head-space.

You don’t need to have amazing countryside available – very little horror fiction is set in pleasant surroundings anyway! The places that inspired my latest novel, The Shade Clan, were abandoned industrial sites. And there’s plenty of horror set in very ordinary, suburban locations.

If there are atmospheric places that get your juices flowing, all well and good. If not, just walk anywhere! I think the action of walking is as important as the setting. Eliminate distractions – turn your ‘phone off, leave your tech devices at home and go on your own (but stay safe!).


Take time to walk somewhere away from distractions

2. Be a people watcher

Generally speaking, horror fiction is plot-driven rather than character-driven, but human stories and interactions are still at the heart of what really engages readers (just look at the characters created by greats like Stephen King). It’s vital to observe people at every opportunity if your characters are to have depth and credibility.

So much inspiration can come from an overheard conversation or an incident you witness. Watch, listen, absorb; in cafes, on trains, in the street, everywhere. Become a casual student of human behaviour. And it’s not just about intriguing passers-by – the people in your life will say and do things that spark ideas. Don’t be afraid to take a somewhat detached approach in gathering this material; writers often adopt the role of observers rather than participants.

3. Daydream

It may be easier said than done, but making time to let your mind free-wheel is important. If your head is full of work and other responsibilities during every waking minute, ideas are less likely to surface.

Indeed, the period just after waking, or while lying in bed before sleep, can be excellent times to let your mind wander – use that limbo between sleep and full consciousness, when your brain is in an altered state.

Spend 15 minutes sitting somewhere peaceful, or take the train instead of driving and do some good old-fashioned staring out of the window. Don’t force it – just get into the habit of letting your mind drift. The role of the subconscious is more important in horror writing than perhaps any other genre.

4. Embrace the new

Routine is the enemy of inspiration. New places and experiences, keeping your everyday life as fresh as possible, will help to energise your writer’s mind.

Of course, the reality of most people’s lives necessitates some routine, but you’ll be surprised how much difference something as simple as driving a different route home or visiting somewhere new on your day off can make.

It’s not about expensive trips to exotic locations: I would put money on there being interesting places, parks, historic sites, whole towns, within 30 miles of your house that you’ve never been to. And neither is it about ‘bucket list’ style experiences – just say yes to new people and things, however ordinary. Maybe they will never feature in your writing, but the new input will fuel ideas.

5. Read

It sounds obvious but it’s impossible to overstate the importance of reading. Other writers’ work is one of the most important sources of inspiration there is – it’s the reason most of us started writing in the first place!

And don’t just read within the horror genre, read around it and well outside it. Develop broad tastes. Read the classics – up your game by consuming the best literature mankind has produced! It has so much to teach you about plot development, suspense, character and use of language.

castle of otranto

Read the classics of the genre and of others

6. Consume media and culture

As well as reading fiction, I like to take in other media as I go about my day. Unlike reading, this is not a focused activity – I dip into things, flick through a newspaper, surf TV channels, listen to news radio in the car, look at stuff via links on social media. Often I just make a note of what interests me and forget about it. I can always look into it further later.

When doing this, I think it’s vital to put your prejudices to one side. I often pick up on a degree of intellectual snobbery when I hear writers talking about their inspirations and I despair at it. You can’t afford to dismiss anything as invalid! Low-brow, high-brow – no-one says you have to like it, but it’s all potential material.

7. Explore the edges

This one is sort of an add-on to all of the above, and one of the most important things to consider when writing horror.

It’s about stepping outside the ordinary and the safe, exploring people, places and subjects at the edges of society and what it accepts. Horror, by definition, explores what is uncomfortable, unsettling, what is hidden and denied.

Perhaps the best way to sum it up is with this famous quote – Orson Welles as Harry Lime at the end of The Third Man:

 “…in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love – they had 500 years of democracy and peace, and what did that produce? The cuckoo clock.”

8. Record it

Finally, you need to make sure that not a single idea, no matter how ill-formed and unconnected to anything it may seem, gets away from you. Write it down!! You may think you’ll remember it but, if you’re anything like me, you won’t!

Carry a notebook, and if you don’t have it with you, use any means – a scrap of paper, a text to yourself, whatever – to capture that thought. Make sure you have a pad and pen next to your bed for those dropping-off-to-sleep ideas.

Just the habit of writing things down can spark more ideas and make your brain more fertile. When you’ve half-filled a notebook with scribbled fragments and bits of old envelope, the chances are you will have the seeds of a story in there. Which brings us to the topic we’ll explore next time – story development.


THE SHADE CLAN – available on Amazon Kindle

Buy The Shade Clan for £0.99p now

Buy The Shade Clan for $1.54 now







Man dug the quarry. Nature reclaimed it. Then something else moved in…

Anything could be happening in that place, in that post-industrial wilderness reclaimed by nature; the place they know as The Shade.

When Tom and his friends discover the vast, overgrown quarry, they know it’s the perfect location to learn to survive in the wild. But something else has been drawn there. Something nightmarish, unspeakable.

Through a chance discovery, they step into a world existing alongside the world they know, where great darkness dwells behind the brightest of lights.

What is living in that forgotten hole in the ground, and how is Aleksander, the charismatic stranger who comes into their lives, connected to what they’ve encountered?

Enthralled and afraid, Tom, Katya, Cal and Annabelle are soon asking themselves if anyone can be trusted, if anything is at it seems.

Read a taster

THE SHADE CLAN – coming soon

Anything could be happening in that place. In that post-industrial wilderness reclaimed by nature; the place they know as The Shade.

When Tom and his friends discover the vast, overgrown quarry, they know it’s the perfect location for them to set up their camp and learn to survive in the wild. But something else has been drawn there. Something nightmarish, unspeakable.

culand pit panorama tint 2

Through a chance discovery, they step into a world existing alongside the world they know, where great darkness dwells behind the brightest of lights.

What is living in that forgotten hole in the ground, and how is Aleksander, the charismatic stranger who comes into their lives, connected to what they’ve encountered?

Enthralled and afraid, Tom, Cal, Annabelle and Katya are soon asking themselves if anyone can be trusted, if anything is at it seems.

‘Lost Boy, Lost Girl’ by Peter Straub – REVIEW

Gripped by the intense opening of this novel, I was anticipating something like a reprise of Straub’s uber-eerie classic, ‘Ghost Story’.

‘Lost Boy, Lost Girl’ turned out not to be that – either in theme or in quality. It’s not a great Peter Straub novel, but it is a good one – and, as his fans will know, that’s enough to set it head and shoulders above most novels in this genre.


Long-standing Straub fans will also be intrigued by the appearance in this book of Tom Pasmore, a character from Straub’s ‘Mystery’, and by the author’s wholesale relocation of streets and places from the island of Mill Walk, that is the setting for ‘Mystery’, to the town of Millhaven in this novel. What is he up to? And what is this obsession with place names that start with Mill, anyway?

But to the story…It centres on Tim Underhill, a writer, and his teenage nephew, Mark, who has become obsessed with the house of a serial killer following the mysterious suicide of his mother. Events unfold through parallel narratives (one in the first person, from the point of view of Tim, the other written in the third person, focusing on Mark.) These threads interweave cleverly, although there is a drop in pace whenever the action switches to the misadventures of Mark and his best friend, Jimbo.

These twin points of view reveal the emotional complexities and deeply buried secrets revolving around the abandoned house with great detail and intensity, but one is left feeling that perhaps it has taken a lot of pages to account for relatively few actual events.

However, there is no doubting this Straub fella has a way with words, and there are some very creepy moments – like the reveal of why the rooms in the killer’s house look smaller than they should…

Good work from one of modern horror’s undoubted greats!

‘Sanitarium’ horror magazine giveaway

Win a free hard copy Issue  of ‘Sanitarium’ magazine 

Sanitarium is a monthly magazine that brings its readers the best up and coming horror fiction from new writers and seasoned pros. It features short stories and dark verse of real quality, plus interviews and news about the horror fiction world.

sanitarium 16 cover

To enter the giveaway, just answer this question:
In the first taster of my new novel ‘The Shade Clan’ (download here The Shade Clan – Chapter 1 excerpt), what product features on the T-shirt worn by the BMX rider that Tom and Annabelle see?

Complete the form below, including your answer and click submit. The winner will be drawn at random from those who submit a correct answer.

The giveaway closes at 12 noon GMT (UK time) on Sunday February 16th.

‘The Shade Clan’ – download a taster

“Every time he went there, Tom had the same thought: anything could be happening here and no-one would know.”

Download free tasters of The Shade Clan:

The Shade Clan – Chapter 1 excerpt
The Shade Clan – Chapter 1 excerpt 2
The Shade Clan, excerpt 3

yew woods


Have you ever met someone so beautiful it scared you a little?

This is not the fear of failing to impress, or the nervousness you feel on approaching someone you like. Talking to this person is easy, all too easy.

This person seems perfect for you; and yet, headily mixed with the excitement, is a distant terror. Is it rooted in helplessness, or inner conflict, in knowing self-deception? Haven’t you glimpsed it, this subtle dread walking hand in hand with exceptional beauty?

alma mobley

Alma Mobley as depicted in the film version of Peter Straub’s ‘Ghost Story’

“The first impression I had of Alma Mobley…I felt an odd mixture of attraction and revulsion…The straight blond hair glowed. So did her pale eyes: in them I saw a kaleidoscope of shattered light and colours…She seemed beautiful in a nearly mythic way.” 1

Why are the pages of horror populated not only by monsters but also by gorgeous, perfect, alluring creatures: beauties as well as beasts. And which is more dangerous? With a monster, all you have to do is outrun it.

“Did I say she was beautiful? I was wrong. Beauty is too tame a notion…I cannot do it justice with words. Suffice it to say that it would break your heart to see her, and it would mend what was broken in the same moment…” 2

This is no modern invention. The potency of an Edward Cullen or an Alma Mobley draws on ancient archetypes. The Succubus, the Incubus, the Siren. The notion of frightening, unearthly, predatory beauty is as old as culture.


Edward Cullen as played by Robert Pattinson

But surely the heroes and good guys are the good-looking ones! The terrifying things are those which you cannot bear to look at – the unspeakable face of the demon, the vision of torture and horror, the bogeyman.

Yes, but our relationship with the beast is a simple one, our response unambiguous – psychologists call it fight or flight. What’s far more perilous is standing mesmerised before someone so beautiful it makes you ache inside, wanting more than anything not to leave their presence, while a distant, un-heeded voice in your head is screaming, Run for your life!

You are a sailor, heading inexorably for the rocks, and loving every second of the journey.

1 Peter Straub Ghost Story.
2 Description of Caesaria Barbarossa from Clive Barker’s Galilee.


Where would get your vote for the greatest horror novel setting of all time? Castle Dracula? The Overlook Hotel? There are many possibilities, but there’s a good chance your answer would fall into the category of ‘old, scary building’. Buildings, as containers for fear, are absolutely crucial to the darker side of literature.

Recently, I read the book that started it all. And it’s not Frankenstein or Dracula. It was written more than 80 years before Bram Stoker was born. And its author was, of all people, a Member of Parliament. Horace Walpole’s 1764 novel The Castle of Otranto gave us the prototype for every old, scary building that came after.

From page one, its inhabitants are terrified by surreal goings on in its shadowy chambers. The dark corridors and echoing crypts are full of whispers and shrieks of alarm. The castle is not only a setting for inexplicable and disturbing events but almost seems to be an accomplice to them.

The Castle of Otranto caused a sensation and this one short book launched an entire genre – the gothic novel, the forerunner of all horror and paranormal fiction. The gothic castle would remain the preferred setting for this kind of macabre entertainment well into the 19th century. And it’s still a powerful archetype today, even if sometimes in a tamer, friendlier form; isn’t Hogwarts just the Castle of Otranto echoing to the shouts of a rowdy school party?

Over time, the action moved into more modest, domestic surroundings. Which was lucky for writers in countries like America, where the only castles are the concrete and fibreglass ones belonging to Mr Disney. The vampires, spectres and monsters deigned to slum it in houses – as long as they were large, old and rambling. In Salem’s Lot, Stephen King places the Marsten House at the absolute heart of his narrative. It becomes almost a character in its own right, influencing events. This “beacon of evil” is not just the place where the vampire Barlow happens to end up – he has been drawn there, attracted by this powerful magnet of darkness.

So by the late 20th century horror had largely move out of the castle. Terror had down-sized. That’s perhaps because while the writers (and many of the readers) of 18th and 19th century gothic novels had occupied the upper echelons of society, modern writers tended to be ordinary people, living in ordinary houses, in ordinary towns.

This democratising of dark fiction had one very important and powerful side-effect: it brought it closer to us all; it brought it to streets and houses like our own, to our doorstep. And any psychologist will tell you that fictional narratives have a much greater impact on audiences if they happen against familiar backdrops.

Ancient battlements and secret passageways are all very well but they are not part of everyday experience for most of us. The horror that dwells in that empty house on the edge of your town is much more potent, relevant and harder to forget.