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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.
recycledstardust's review against another edition
5.0
This book was an amazing how-to book that explored the principles behind horror. Throughout the book, I was inspired and enlightened on several different levels. This definitely made me want to read and write more horror. I would recommend it to non-horror writers, even - it explores a lot of what goes into crafting a good story with a strong emotional core.
jessareader's review against another edition
informative
inspiring
fast-paced
- Plot- or character-driven? N/A
- Strong character development? N/A
- Loveable characters? N/A
- Diverse cast of characters? N/A
- Flaws of characters a main focus? N/A
5.0
arnzen's review against another edition
5.0
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!
nicktionary19's review against another edition
2.0
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.
evavroslin's review against another edition
5.0
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).