A group of strangers banding together to fight a relentless evil is nothing new in the horror genre.  There have been many great movies made in that vein (i.e. From Dusk Till Dawn, Demon Knight, etc.) so I thought it was pretty difficult to inject fresh blood into a worn out story.  That’s where a little film called Feast proved me wrong.

Directed by John Gulager and written by Marcus Dunstan and Patrick Melton, Feast was a Project Greenlight winner.  Not exactly the pedigree you’d expect for a gore splattered horror film.  Somehow the creators of Feast were able to pull off an original film by taking all the assumptions an audience typically makes with horror films and turning them on their head.

For those of us writing horror stories or even horror films *raises hand*, Feast is a solid example of how knowing the rules allows you build an engaging film and then lets you screw with the audience in all the right places.

Exposition Sucks

This is an unavoidable fact of movie making.  It’s a constant struggle between keeping the momentum going and divulging the story to the audience.  Blake Snyder, of Save the Cat fame, recommended using the “Pope in the Pool” technique which was to provide something visually intriguing to the audience while also slipping the exposition into the scene.  Feast nailed this perfectly by providing quick title cards which added a touch of style, a touch of humor and some fantastic misdirection.  The writers definitely thought “outside the box” (Rollins would approve) when dealing with backstory.

If you’re struggling with lengthy plot explanations try to fold them into action scenes or have them interrupted by something else once enough detail has been given to provide a hook.  You could even leave certain threads hanging (i.e. where the Feast monsters came from) to give viewers a reason to tune into the sequel.  Also think about mocking convention to give the story a unique feel.  Austin Powers parodied exposition by creating a character who’s sole point was exposition.  It was even his last name.

Use the Audience’s Expectations Against Them

Trope: a convention or device used in a creative work.  The horror genre is busting at the seams with tropes, from the ever popular Kill It with Fire to the painfully predictable Virgin Power.  Most people can watch the first 15 minutes of any horror film and determine who lives and who dies.  Feast used these expectations to make plot twists that not only shocked the viewer into paying closer attention, but also had great comedic effect.  The heroes in Feast especially suffered at the hands of these twists.

You can interchange the word trope with cliché.  Don’t let the usual trappings of your genre lull you into using well worn characters or plot devices.  Throwing a monkey wrench into the viewer’s expectations lets them immediately know your story is something different and can help make your plot richer by venturing into new territory, but don’t twist for the sake of a twist.  Being clever is not the same thing as having a good story.  Think The Sixth Sense vs. M. Night’s later efforts.

Delay the Reveal

Anticipation and imagination are powerful things.  When you get someone’s wheels turning they’ll work themselves into a lather better than anything you can throw on the screen.  People were shocked by the ultra violence of Quentin Tarantino’s Reservoir Dogs especially the scene where Michael Madsen cuts off a cop’s ear, but if you really think about the scene nothing happened at all.  You never saw anything occur and yet that one scene worked people into a frenzy.  Same goes for Scarface’s chainsaw scene in the beginning of the film.  Cuban exiles picketed the film and forced the production to move to LA based on that scene yet it was also never shown on screen.  Both of these intense moments were fabricated using sounds and the audience’s imagination against themselves.  No amount of CGI or special effects could ever replicate that intensity.

Feast builds anticipation like nobody’s business.  From the moment the hero bursts into the bar you know shit is going to hit the fan.  The creatures attack, kill and terrorize, but you barely see them.  The fear of the unknown works well against the characters and the audience.  Misdirection is even used by the creatures wearing pelts or by having smaller sized versions infiltrate first.  When the monsters are fully exposed there’s so much going on in the scene that you don’t have time to process it, you just hold onto your seat as the characters fight for their lives.

Feast wasn’t a overnight blockbuster, but it has garnered a strong cult following.  It showed us how a typical horror film was elevated to the next level by knowing your genre well enough to be able to pervert its conventions.  This made for a much more enjoyable movie than compared to other flicks with similar budgets.  When you think there’s nothing new under the sun, seek out hidden gems like Feast and draw inspiration from them.  It may give your next project the push it needs to distinguish itself from the rest of the pack.

What films have surprised you with their unexpected twists? Let me know in the comments or shoot me a tweet @gabrielnovo. If you enjoy these articles then have them delivered to your inbox.

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Ever since I went to my first Stokers Award weekend  (2009, Burbank, CA) I’ve been interested in the Horror Writers Association.  I’ve loved horror for as long as I can remember and when I write fiction it likes to veer into the dark and horrific (the first stories I ever wrote were horror), so the HWA was right up my alley.  That alone was enough to make me a fan, but it was my time at their writers convention which made me want to become a member

Artistic industries tend to be tricky to maneuver.  With certain branches of the industry the competition is extremely fierce and typically devoid of morals (Acting, Theatre, Modeling, Dance).  In other branches the work can be lonely and very isolated.  Writing, by virtue of its process, is a solitary endeavor.  The successful writers tend to keep to themselves while the aspiring writers usually only gather to commiserate over their lack of publication. 

When I was at the Stokers I saw an amazing mix of writers from all points of the spectrum getting along and actually supporting each other.  The entire weekend was a constant mélange of writers, editors, publishers, agents, directors and actors; all having a good time and sharing their love of the genre.  For someone used to the backstabbing shenanigans of the theatre world this was a breath of fresh air (and unheard of).

With A Little Help From My Friends

I met some fantastic people during the course of those panels and workshops.  Folks who’s love of horror, in all its different flavors, was felt in the excitement in their voices and the energy they exuded.   They included me in their conversations, with no judgment on my opinion, even though I was not a published author.  The sense of togetherness was completely new to me.

I remember having in depth conversations with Hal Bodner (author of Bite Club) about character development and Mary Sues.  Vince Liaguno and Chad Helder (editors of the award winning Unspeakable Horror anthology) had one of the smartest panels at the convention as they discussed LGBT roles in horror.  I also met Maria Alexander at that panel and fell in love with her Where the Wild Things Are book bag and sharp opinions on the interpretation of horror.  My kaffeeklatsch with Stephen Jones was a fantastic and informal discussion about what was currently getting published in horror.  All these people are published and accomplished writers and never once did it feel like there was a separation between myself and them.  Every moment was inclusive and supportive.

Now It’s My Turn

The older I get the more I realize you must support the things you believe in or else they can go away.  Independent artists need you to buy their albums so they can continue making amazing music (Hi Zoe Keating!) and organizations need members to continue doing their good work.  I’m not yet a published author, but I understand the importance of the Horror Writers Association and what it does to foster the love of the genre. 

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I’m not one to normally post videos, but I couldn’t help sharing this.

For more delicious re-enactments I recommend the following:

• The Exorcist
• The Rocky Horror Picture Show
• Reservoir Dogs *Bleeped Version*
• Star Wars
• National Lampoon’s: Christmas Vacation

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I have a very good list of excuses for not having posted anything in a while.  Here they are (in no particular order):

• Blood Lite: An Anthology of Humorous Horror Stories by HWA
• Unspeakable Horror: From the Shadows of the Closet by Vince Liaguno & Chad Helder
•   Bite Club by Hal Bodner
• Horror Library, Volume 1 by Cutting Block Press
• Horror Library, Volume 2 by Cutting Block Press
• Horror Library, Volume 3 by Cutting Block Press
• Like A Chinese Tattoo by Dark Art Books
• Waiting For October by Dark Art Books
• Mighty Unclean by Dark Art Books
• Thirteen Specimens by Jeffrey Thomas

This doesn’t include several magazines, chapbooks, and other assorted goods I got at the convention.  I have definitely met my horror quota for the year.

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I had an terrific time at this convention, constantly being surrounded by authors, editors, screenwriters, and directors.  The place was buzzing from the collective energy of so many storytellers discovering, debating, honoring and creating stories.  I could not have picked a better writer’s conference to be my first.  So much happened and I met so many people, that I hope I can capture it all in this post. 

• John R. Little and Lisa Morton did a fantastic job putting the convention together.  Managing chaos is always a difficult task, but things went smoothly, panels were well organized, the kaffeeklatsches were great and the overall experience was wonderful. 
• The Panels:
  • A Chat with Mick Garris and John Farris (moderated by Del Howison):  Hearing about their experiences with adapting work for film (The Fury) or creating a whole new anthology show (Masters of Horror), gave you a taste of the BS behind the magic.  Finding out what happened to the third season of Masters of Horror, straight from the horse’s mouth, was the highlight for me.
  • Editing an Anthology with Bill Breedlove, RJ Cavender, Chad Helder, Stephen Jones, and Vince A. Liaguno (moderated by Ellen Datlow):  The conversations were quite heated in this panel with the old masters on one side of the table and the (relatively) new kids on the block at the other.  The strong opinions and unique personalities made me look forward to my kaffeeklatsch and also made me check out another panel I hadn’t planned on attending.
  • GLBT in Horror with Hal Bodner, Chad Helder and Vince A. Liaguno (moderated by Maria Alexander):  Having seen Chad and Vince at the Anthology panel, I was interested in hearing more from these guys.  This panel ended up being more of a conversation between the audience and the authors.  Several good points were debated, such as whether or not the gay community should take ownership of their stereotypes (a la Bamboozled).  I was impressed by the well thought out point and counter points from all participants which surprisingly, didn’t devolve into a shouting match.
  • Some of the other panels I enjoyed in smaller bite sized amounts as opposed to sticking around for the entire thing.  There was so much happening at the same time, that I wished I could have split myself in two to enjoy it all.
• Writing Workshop by Mort Castle:  This was the main draw for my attending the conference.  Everything I had heard about his workshop was great and he did not disappoint.  He wasn’t a touchy feeling kumbaya kinda guy trying to get you in touch with your “inner writer” and neither was he a caustic venomous bastard shredding people apart just because he could.  He was fair and truthful in his assessments with the overriding focus being about the joy we tap into when writing.  He was definitely a throwback from the early Jazz days, chatting about the “cats” he’d come across in his career and some of the cooler “gigs” he’d been on.  He was really easy going and truly in love with the craft. I had an amazing time at this workshop, writing about things I normally wouldn’t have and boiling it all down to the essence of what a story should convey.
• Dealer Room:  A lot of cool stuff for sale from some interesting smaller presses.  I picked up books from Cutting Block Press, Dark Arts Books, Dark Scribe Press and HWA’s recent anthology, Blood Lite.  There were also many limited edition, rare and upscale items (i.e. hardcover omnibus edition of HP Lovecraft).  With so many temptations, I decided to stick with anthologies which would expose me to the widest range of newer authors per book. 
• Kaffeeklatsch with Stephen Jones:  I had no idea what to expect with this, never having been to one of these before.  Seeing Stephen in action at the Anthology panel let me know it would be an interesting experience to say the least.  He discussed how he got started in the business by networking at conventions (which made me glad I was on the right track), his first forays into publishing, recent books and the upcoming World Horror Convention in Brighton, England.  We also discussed what the best markets for horror in the UK were and at the end he gave us all limited edition books as a parting gift.  It was a nice intimate experience with only 6 of us total.
• Stokers Banquet:  Since I didn’t know any of the people on the ballot (at the time) and I wasn’t sure how the convention experience would be in general, I didn’t snag a ticket for this.  From what I heard it was a great time.
• Stokers Banquet After Party:  This I did attend and had an incredible time.  Writing is a solitary endeavor, so when writers get mixed together in the same space it’s a sight to behold.  Also, whenever you add authors and alcohol, you have a guaranteed good time.  Phenomenal conversations, fans rubbing elbows with their idols, and everyone being very cool in general.  I stumbled out of there around 2:30am with an ear to ear grin.  There was no better way to end my convention experience.

Everyone was extremely supportive of each o
ther, which was the one thing that caught me by surprise.  Of course you have your disagreements and egos, but all in all the atmosphere was positive and encouraging with everyone concentrating on the elevation of horror as a genre.  I truly felt like I finally found my tribe and can’t wait to go to the next conference.

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Vampires always come and go in vogue, but recently they have become an especially hot property.  From movies to television to books, bloodsuckers are saturating our entertainment in record numbers.  What’s makes this wave of Nosferatu different from previous incarnations is the role that they are playing.  Dracula isn’t the foul creature from the grave, or the evil that must be destroyed; suddenly, he’s the boyfriend.  Vampirism, like motorcycles and leather jackets, has turned into a bad boy trapping. The eternal thirst for human blood is now more an afterthought than a deterrent, their proclivity for biting a kinky plus.  The boy you won’t bring home to mother has just grown fangs.

A mortal woman plus a supernatural lover always sells like hotcakes.  Just look at what’s out there: True Blood, Twilight, Moonlight, Forever Knight (I’m noticing a pattern) and of course Buffy, the epitome of vampire boyfriend storylines.  That demographic’s buttons are being hit hard, attracting a loyal female fanbase which will out-spend and out-watch their male counterparts.  If you don’t believe me, then let me ask you: do you think it was teenage boys that made Titanic the uber success it was? 

You would think that the reverse, a vampire girlfriend, would bring the guys in droves, salivating over their flawless beauty and perpetually hot bodies.  Sadly, that is not the case. It seems undead vixens don’t have the same allure as their male counterparts.  Mulling over this lack of symmetry in vamp sex appeal got me thinking: why is that?  Vamp chicks never get old, so their looks don’t fade.  They drink blood, so they’re uninhibited.  You’ll never have to meet their parents because they died 300 years ago.  I was putting a lot of checks in the pro column, but I still couldn’t think of any cons.  Then it hit me: the stereotypical male is intimidated by strong women, and these vamps are as strong as they get.  They don’t need to be saved, they will drink you under the table, they party harder than you ever could, and they’d kick your ass if it came down to it.  For women, the danger of a paranormal paramour drips sex, but for men it only reminds them of their mortality.

The few times we’ve ever seen vampire girlfriends attempted, it’s ended badly.  In Kindred: The Embraced, C. Thomas Howell’s vamp girl ends up a human torch after being pushed into a sunrise.  Jim Carrey in Once Bitten, turns his vampy cougar into a withered old lady.  Innocent Blood is the only film that tried to get it right, though it fails miserably.  Anne Parillaud is a smoking hot French vamp who loves parading around her candlelit apartment naked; this should be a win-win situation.  Yet when Anthony LePaglia finally gets to do the deed, the undercurrent of fear is painfully obvious.  He handcuffs her not out of some forbidden desire, but for fear of having his head ripped off mid-coitus. 

It kills me that male insecurities keep us from having a stunning Valkyrie as a sex symbol.  The closest we have is Milla Jovovich, and even her characters tend to be hobbled in some way.  I’m supposed to believe that the one thing keeping the Fifth Element –who beat to death countless aliens with her bare hands, learned the English language in mere hours and is ridiculously sexy wearing just bandages– from saving the world was Bruce Willis’ kiss?  That’s laughable.  Men’s fear of strong women is not only diluting the quality of our female characters, but pigeonholing what is considered sexy.

I for one, have no problem with a wild-eyed Amazon kicking ass, taking names and using me for a celebratory romp back at her place.

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Writing is, by its nature, a solitary endeavor.  There’s no office to go to, populated with other writers.  Hanging around the water cooler talking shop isn’t an activity you’ll engage in, unless you consider mumbling to yourself in front of an open refrigerator the same thing.  We hole away in our little caves, hammering out prose, narrative and poetry, none the wiser until we emerge from the dank, bearing our gifts for the world.  For some, this is a little slice of heaven.  Not that they’re anti-social, but spending all day in their own heads is how they prefer to operate.  For others, like myself, the social element is just as important as the time alone. 

That’s where things get a little difficult for me.  Going out and socializing with other individuals is easy enough to do, but finding like minded writer types is a bitch and a half.  There are plenty of folks who are aspiring authors, fighting the good fight along with us all.  The issue I encounter is separating the wheat from the chaff.  Like I’ve said before, I’m not a published author (yet), but I want to be able to discuss subjects such as theme, motivation, tone and pacing, not hear a rambling diatribe on how wonderful someone’s “Mary Sue” character is in their latest fanfic.  The concept is similar to playing billiards.  When you play with people that are at your level or better, that brings your game up.  When you play with people below your skill set, it drags you down.

Forums, blogs and other such venues are useful in their own right, but there will come a time when you want to interact with others on a professional level.  After researching on the ‘Net I was able to find one such organization, the Horror Writers Association.  Formed back in the 80’s, its goal was to provide support for fellow authors and encourage public interest in the then fledgling genre.  They also present the Bram Stoker Awards to recognize superior achievements in Horror and Dark Fantasy.  Here’s a great post about the HWA from one of it’s previous Presidents (http://www.genreality.net/writing-organizations-the-horror-writers-association).

I don’t currently meet the criteria to become an Affiliate member (one published story at qualifying rates), but they still have helpful resources for those interested in the genre.  Becoming of member of this group is now one of my professional goals.  In the meantime, I’ll garner any information I can from them.  Speaking of which, I will be attending their 2009 Stoker Awards Weekend, giving me the opportunity to mingle with authors, editors, producers and agents in the field of horror.  It’s being held in beautiful downtown Burbank (Gary Owens anyone?) which is a stone’s throw from where I live.

Two features of this convention I’m looking forward to are it’s workshops (fiction, screen writing or marketing) and Kaffeeklatsches (with professionals in the field).  I’ll be attending Mort Castle’s Fiction Writing Workshop (four hours of nonstop fiction fun) and drinking coffee with Stephen Jones.  To say I’m excited about this is an understatement.  Giddy as a catholic school girl is probably more appropriate.

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When it comes to watching/enjoying a film, I love a good slasher or monster movie as much as the next person (and probably a little bit more).  When it comes to absorbing the material and being stimulated intellectually by its themes, nothing beats personal horror.  My definition of personal horror is when the protagonist’s journey is one of self doubt, internal terror and an uncertain grip on reality.  Creatures, supernatural forces and other things may play a part, but the core of the narrative is tied to the characters.  Finding a good “personal horror” film isn’t always the easiest and there might be some disagreement as to whether or not a film falls into this definition, but here are a few that always come to mind.

Jacob’s Ladder

This has been one of my favorite films for as long as I can remember.  No matter how many times I see it, there’s always something new to discover.  On the surface you have Jacob Singer, a NYC postal worker whose life is slowly unraveling.  Plagued by flashbacks from his tour of duty in Vietnam, demonic visions and transitioning between periods of his life, his grip on sanity is tenuous at best.  Digging a little deeper you find yourself pondering how we construct our own reality, the symbolic nature of the people in our lives and whether or not we’d recognize our descent into madness.

The layered nature of our existence is masterfully handled.  Subtlety (in story and camerawork) combined with jarring imagery keeps you riveted as the narrative flows between themes.  The ending to this movie will lead to many a heated debate, I can damn near guarantee.  And that’s one of its best qualities.  The entire experience can be interpreted in such varied fashions that it never ceases to be new or provocative. 

The protagonist being the only one seeing multiple realities is one of my favorite themes.  I strive to be able to write a narrative that encompasses the uncertainty, self doubt and madness prevalent in this film.

John Carpenter’s The Thing

American scientists in Antarctica are surprised by a group of seemingly mad Norwegians chasing a dog while trying desperately to kill it.  Their helicopter crashes, killing all inside, leaving no explanation for the pursuit.  The Americans decide to bring the dog into their base and that’s when the fun starts.  Easily dismissed as another creature feature, its the intensity of the characters and their situation that make this film a classic. 

Isolation can do funny things to the human psyche which is why solitary confinement so effectively crushes an inmate’s willpower.  Combine that with a violent unknown threat, add a dash of relentless paranoia and you have a pressure cooker just waiting to boil over.  Imagine you can no longer trust your colleagues, hell you don’t even know if they’re human anymore.  Being in a position where every action is second guessed, including your own, yet you could be the only thing preventing the annihilation of the human species. 

Even the conclusion of the film leaves things uncertain further fueling the lingering sense of unease.

Memento

A home burglary gone wrong results in Leonard Shelby suffering a severe head trauma while his wife is raped then murdered.  If that wasn’t bad enough, the injury prevents him from forming any new memories.  Handicap notwithstanding, he attempts to track down his wife’s killer.  Not what you would normally consider horror, but when you look closer, how can the protagonist’s situation be anything other than horrific?

You can no longer rely on the integrity of your own mind instead fabricating an elaborate system that is constantly on the verge of collapse.  Always unsure of where you are and what you’re doing with a single fading goal propelling you forward.  How he didn’t completely lose his sanity is remarkable.  Even so, his downward spiral is inevitable.  His cracks show throughout the film and you know it’s only a matter of time.

Losing your mind is one of my greatest fears. Being lost in one’s own mind would be a circle of hell for me.

Event Horizon

A rescue crew investigates a spaceship that disappeared into a black hole 7 years ago and has now returned.  Standard Sci-Fi fare at first glance, but in reality a vastly under rated horror.  Dr. William Weir in particular (played by Sam Neill) has such an unnerving descent into madness.  Plagued by the death of his wife, you can see him unraveling even before things get dicey.

Once the good doctor loses the plot, its great watching the Captain try to keep it together in the face of sheer insanity.  What I love is that the encroaching madness is not a shared experience (at least not initially) instead creeping up on the characters as they explore the derelict ship.  Little hints or flashes, unsettling them until the entire piece reaches it’s crescendo and all hell breaks loose.  Sam Neill is especially good in these roles, having lots of experience with personal horror (In the Mouth of Madness, Possession [1981]). 

The movie as a whole has a “gothic horror” feel, updated for modern audiences and catapulted into a futuristic setting. The beauty of these themes is that no matter what the time period, they’re universally felt.  Being able to effectively use them without being heavy handed or over the top is a fine line few can navigate.

Honorable Mentions:

• 1408 – Theatrical Release NOT the Director’s Cut.  The alternate ending is so bad it ruins an otherwise fantastic film.  Its a testament to John Cusack’s acting ability that we can spend 100+ minutes basically wat
  ching him lose his shit.
• Lost Highway – Lynch’s films are saturated in personal horror, but his narratives can sometimes be a little difficult minimizing the audience for them.
• Mulholland Dr – See above.
• Eraserhead – Ditto.

In my next post on personal horror I will delve into the literary side of the coin.  For something that’s difficult to pull off with 90 minutes of film, it’s even harder to do with the written word.

————————

Images courtesy of Wikipedia

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