Writing the Horror Movie
The truth is that the screenplay is a bastard form of literature. It is not a play nor book nor movie, and not just simply a blueprint for a film. All movies, regardless of genre, depend on the screenplay. However it is the director who makes the movie by realizing the printed words of the script on film. I have seen mediocre screenplays made into very good films. And I have seen excellent screenplays made into bad movies by incompetent directors.  Again, it's important for people to understand that the screenplays essential role in film making is the same regardless of the genre of the film.   --John Landis, 2012 Writing the Horror Movieis written in particular for anyone interested in writing a screenplay for a horror film, and in seeing that screenplay turned into reality. But it's also full of fascinating nuggets of analysis and useful information more generally for scholars, students and fans of the genre - whether this is musing on the aesthetics of disgust, offering nifty psychological profiles of major horror monsters, or advice on how to exploit your film and turn it into a lucrative franchise.  Two dismembered thumbs up for Marc Blake and Sara Bailey!  Darryl Jones, Professor, School of English, Trinity College Dublin, Ireland "A lucid, well-structured and thought-provoking introduction that ranges widely across the genre. Intelligent and perceptive throughout. Recommended for aspiring writers and critics."  – George Green, Senior Lecturer, Department of English and Creative Writing, Lancaster University, UK"There are hundreds of books about screenwriting, but precious few aimed at the would-be horror film author; this volume is a noteworthy addition to the literature. Both Blake and Bailey have written horror films and teach the process at Southampton Solent University, UK. This volume covers horror films from the world over and is packed with examples. The breadth of the films noted makes this book almost a course in horror history. Through each chapter on structuring the screenplay, the reader is led through the succession of tropes: unease, dread, terror, horror, and finally disgust. The style is engaging, but the authors make no bones about the effort involved in all aspects of filmmaking – a fact reiterated in the appendix of interviews with writers, directors, and a producer. There are chapters on the international market; the ins and outs of the prequel, sequel, and franchise; and the trick of blending or crossing genre lines. The writing exercises are comprehensive, but beginners might profit from sharing their attmepts with a trusted reader. The volume includes a 425-item filmography and a tightly focused bibliography. A solid resource for film buffs and budding screenwriters. Summing Up: recommended. Lower- and upper-division undergraduates; two-year program students; general readers." – D.A. Schmitt, St. Louis Community College at Meramec,CHOICE