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gothradiohour's review against another edition
5.0
Holy Shit what an amazing writing 'how-to' book!
Waggoner's advice is not only great for would be horror writers, but all fiction writers. WitD covers Emotional Cores, character development as well as more practical monster-story advice. Any writer can learn a thing or two from this book.
Waggoner includes in-depth writing exercises at the end of each chapter which would be perfect for a classroom setting. I hope to one day get to take a class with Waggoner in person.
You will be seeing me working through the companion workbook in the near future.
Waggoner's advice is not only great for would be horror writers, but all fiction writers. WitD covers Emotional Cores, character development as well as more practical monster-story advice. Any writer can learn a thing or two from this book.
Waggoner includes in-depth writing exercises at the end of each chapter which would be perfect for a classroom setting. I hope to one day get to take a class with Waggoner in person.
You will be seeing me working through the companion workbook in the near future.
darkcornerofthelibrary's review against another edition
dark
informative
inspiring
medium-paced
3.75
paulataua's review against another edition
4.0
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.
raforall's review against another edition
5.0
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.
lx2's review against another edition
informative
medium-paced
5.0
If you want to write horror or if you are already writing horror and need tips, this is the book for you. I initially bought it when I was working a YA horror story. I’ve moved on from wanting to write horror, but this book is a great resource to writing dark and gritty narratives as well, narratives that aren’t necessarily pure horror. It’s one of the best “how to” books I’ve read on craft and a great exploration of the horror genre.
Plus, Tim Waggoner takes times to mention important things to consider such a writing 3-dimensional female characters and not being a transphobic asshole.
Plus, Tim Waggoner takes times to mention important things to consider such a writing 3-dimensional female characters and not being a transphobic asshole.
readthesparrow's review
My kindle finally kicked the bucket lmao and I’m not bothering with Amazon any more
thomaswjoyce's review against another edition
5.0
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.
lucdiamant's review
5.0
Everyone who says to buy this book is right. It answered every question I had about writing horror and more. I'm specifically really glad that it addressed the question of how the hero's journey relates to horror (spoiler alert: it doesn't really work the way it does in most genres). Waggoner offers not one but eight basic plot structures that make more sense for horror. And that's just one of the many chapters - plus then there's the appendices and the exercises and the advice he gathered from whoever was willing to respond to his two simple questions. If you want to write horror and you don't get something out of this book, I don't know what resource you will get something out of.