Out of curiosity, how is everybody who's doing a horror script handling the mechanical stuff? You know--jump moments, gross-outs and cringes, building tension, creep moments, showing-the-monster, stuff like that? I've written horror in short stories and novels, so I'm not new to it or anything and I'm not begging for help. It's just that I was writing something a moment ago and realized, "Oh, hey, perfect place to put a jump moment in here" so I did. And that got me curious as to how others are making those decisions.

So, how are you doing them? What are you using? What's your favorite type? What's your favorite moment so far, the one you're most proud of?

I was wondering how I was going to do this... I think sound effects work best for me... you know, like BAM! or CRASH! Kinda makes it sound like Batman, but it works.

Might need to check and see how other scripts are written that have those elements in them. In my writing I've written less about the shock, gore and scary moments with the intent to leave that to the director, production design, costumers, etc.
Of course, maybe that's why I haven't sold anything either... :-)

There are a few places that have movie scripts online, such as Drew's Script-o-rama:
http://www.script-o-rama.com/
Just remember to look at the first draft, not the shooting script (where all the scenes are numbered) because they have all the camera directions and things in them - but I've heard when you write this way your script gets tossed aside. It seems that the directors don't want anyone telling them how to do their jobs. Go figure?

Peanutgnome

I don't think I have ever once thought of this at the start of a script. I worry more with telling the story in the beginning.

When writing with the "jumps" in mind, you end up with an audience that is waiting for the next jump instead of being absorbed in a story.

That being said, it can still be pretty damn cool. But I find when these things appear sort of "organically" they end up being brilliant. When they are heavily pre-planned, everyone knows it is coming. And when everyone knows it is coming, they are waiting for it and not involved in a story.

Just my few cents.

Good luck.

Takuin

Okay, hmm, I don't think I explained myself too well (it was late; I was tired).

I've written and sold horror in the past, though it's been fiction, not a script. So I'm not sweating whether I'll be able to write a decent horror story. And even if I did, the time to sweat that is in your rewrite, not your rough draft. To be honest, I just try to write something along the lines of "Hehehe, *this*'ll scare 'em", and just use whatever would scare *me*. If the story scares me while I'm writing it, I've found it's a pretty sure bet that it will scare someone else. Though often, what I think is pretty mild scares the everlovin' crap out of others. Still figuring that one out.

Anyhoo, I was thinking more along the lines of *how* everyone does this. What scares you? What scary (or horror) stuff do you like to write about most? Do you go for setting, atmosphere, plot build-up, cheap stuff like jump moments and gross-outs, strange characters, what? Do you just write a scene and leave it as is, or do you write something and think, "Oh, you know, but it would be even *more* fun if I added in *this*"?

What inspired me to start the thread was that I'd just written a scene where a guy drives into a parking lot for his first day on the job. I had him parking, etc. and then grabbing his stuff, kicking the door open and getting out, end of scene. But then I wrote (out of sequence) the scene where his new partner has driven in a half hour before and has a phone conversation where you get there's something not quite right with him. So then I thought, "Why write another scene introducing them to each other when I can do it here?" So, I had the guy who'd driven in first slap the roof of the car to get the new guy's attention, then lean in the window and talk to him. But the window's a bit fogged up, so the new guy can't really see him at first. And that's their introduction to each other.

I figured it served multiple purposes of establishing a little tension into the atmosphere with a jump moment, and getting across that the new guy is nervous as a cat (for reasons to be found out later) and that the other guy is a little "off". It also foreshadows conflict and lack of trust between them because hey, nobody likes getting startled like that.

I don't bother with any insertion of camera angles or things like that and I certainly don't insert directions like "put jump moment here", though if there are people who do, I'd be curious to hear how they do it. But I am aware of the various fiction tricks of the trade and I have no compunction about using them to tell the story I want to tell. BTW, Stephen King's Danse Macabre is a very good overview of horror in film and fiction and all the tropes and techniques that show up.

2008: (ScriptFrenzy) Off Season

2007: Confederation (*so* won)

2007: (ScriptFrenzy) Serpentine (won)

2006: The Definition of a Madman (won)

2005: The Mighty Quinn (won)

I'm keeping it simple. A brief description of the "jump" moment in the direction and that's all. Certainly from what I have learnt, putting in camera shots is a sure-fire way to have your script thrown in the round filing cabinet on the floor. I have put in short descriptions of character's reactions, but again, trying to keep it as simple as possible. After a lengthy discussion with a pro script writer, and to quote him, it's "All about the dialogue, kiddo," that's what I'm trying to concentrate on.

Kes

I'd like to complain about my toilet. It's taller than I am.

Yeah, I've heard that about all the fancy stuff, too. Truth be told, I wouldn't even know what angles to put in. I think I have one pan shot in the entire thing (only because it absolutely needs to be in there for the scene to make any sense). I don't mention closeups at all. I just write what's happening and where it would be happening in the scene (i.e. this thing is happening over here while the characters are over there). I mean, it's a horror script. If I actually sell the thing, it's bound to get butchered, anyway, so there's no point getting all auteur about camera angles. I'll be lucky to keep the characters and general action, even setting, intact.

2008: (ScriptFrenzy) Off Season

2007: Confederation (*so* won)

2007: (ScriptFrenzy) Serpentine (won)

2006: The Definition of a Madman (won)

2005: The Mighty Quinn (won)

I'm definitely focusing on the "suspense" aspect, when the characters are frozen in place by locking eyes with my Creature. The actual creature isn't all that scary, but rather the suspense that leads up to it, which is what I'm working on: and the fact that the creature has blood that burns the skin.

Actually, what really helped me was watching "I Am Legend", even though I didn't like the movie that much, it's definitely the one I re-play in my mind when I'm focusing on how the creatures are about to attack. Suspense is my friend and my worst enemy--despite the fact that I don't like suspense/horror movies I still find myself writing one. The story of my life. XD Plus it has some good humor bits in it, which I really like/enjoy. *gasp* Btw, I only watched the movie once -- I just happen to have a photographic memory... *facepalm*

Best of luck on your own horror script.

-------------------
"Either a writer doesn't want to talk about his work, or he talks about it more than you want."
- Anatole Broyard
"Get it down. Take chances. It may be bad, but it's the only way you can do anything really good."
- William Faulkner

It's interesting that you should mention watching a movie that you didn't find very good overall, but had something that you liked in it. I watched a similar flick recently called "DeVour". Not a particularly good film, absolutely terrible script. But it had some good acting, some good ideas (probably too many thrown together at once), an intriguing ending (very much saved by the lead's acting ability) and one very disturbing scene involving a sliced tongue.

Something I realized from watching it is that special effects come very far down the list in what makes good horror. I think first, and foremost, you need good writing. A tight script might be derailed by a lousy director, but even a mediocre director can be saved by a good script. A good script and good direction can save even lousy acting; ditto a good script and good (or at least fun) acting, if the poor direction is not *too* intrusive. Good direction and good acting can salvage a lousy script, though some actors can shine even in lousy material (Bruce Campbell fairly leaps to mind, here). A good script, good acting and good direction will make a fine film, even if the special effects really suck.

Notice that I'm not mentioning FX much here. While I think they certainly can help with lacks in any of the above categories, I just don't think that they can save a film, not even in conjunction with just one other element. Yet, look at all the movie makers and viewers today who think that FX are (most) important, even considering that so much of American indie cinema is horror.

I just find that odd. And maybe a bit sad. But also optimistic, because it means that you can really do a great horror film on very little budget if you can just write a good story that scares the crap out of people.

2008: (ScriptFrenzy) Off Season

2007: Confederation (*so* won)

2007: (ScriptFrenzy) Serpentine (won)

2006: The Definition of a Madman (won)

2005: The Mighty Quinn (won)

What I finally did was write the action as if it were present tense omniscient POV. I think it works. Hope it works. I don't like the idea of talking about angles and shots and the like. I kinda see the whole scene entire when I write it, anyway, not in arty shots.

2008: (ScriptFrenzy) Off Season (won!)

2007: Confederation (*so* won)

2007: (ScriptFrenzy) Serpentine (won)

2006: The Definition of a Madman (won)

2005: The Mighty Quinn (won)

I didn't really have any of those jump with fright moments intentionally. I had a whole series of twists and turns in the story that pushed the characters to adapt (or die!).
I really liked using the words to drive the reader along as they read it. You can steer the dialogue as you go like directing the conversation. It's prety easy because you don't have any competition as the author. See as you're the Author, you get to the computer with your brilliant ideas you thought up earlier and before you start you wander off to check those emails first. (I know, it's what most of us do) Then you reply to the few you didn't delete from marketers such as ebay. Then you get side tracked on there too.
What!?
You just remembered your script has been sitting there waiting to be filled with those amazing ideas you invented or developed while talking to some friends about your story line.
Better go to Script Frenzy . Org - you think.
So in here you come and low and behold your last question has been answered, just what you're looking for! Only now you're over that hill and have a new problem. Do you go back and rewrite the 10 pages you got through before the perfect solution presented itself or do you press on with the new obstacle?
I just kept pressing on. Since I more or less just wrote my script as I went I didn't concern myself with the past issues.
I think I could've made the script (The Estranged Neighbour) more frightening if I made my characters easier to relate to. So the reader could experience what the character did.
It is written in a script format by the way, I just wanted it to be readable - like Shakespeare, only more horrific and less believable; Zombies don't make good reality reading.

The mood is what you're talking about in the question, I think. If you build an atmosphere of calm and relaxation or tension/ whatever, You can add something unholy like- Walking down the corridor Aidan passes a solid door and decides to relax against the heavily boarded up window. He takes the flask from his belt and removes the lid. Two hands clawing his face, another sinks sharp nails into his neck as the full arm lengths of Zombies bust through the boarded up window he's leaning against. Being torn up by the sharp nails in his neck Aidan pauses for the best opportunity to pull away without losing his Jugular, The vital artery in his neck. Wide eyed he looks to his right and sees two protruding arms fishing blindly for something to grab onto, preferably alive. A hand finds Aidan's head and grabs fist fulls of hair....