#modern gothic ghost story

[angela-yuriko-smith]

Online Reading & Interview with Ai Jiang

Today, online Reading & Interview with Ai Jiang author of Linghun. Tickets are free, 8 pm CST. Details here. Follow Wenqi, Liam, and Mrs. in this modern gothic ghost story by Chinese-Canadian writer and immigrant, Ai Jiang. LINGHUN is set in the mysterious town of HOME, a place where the dead live again as spirits, conjured by the grief-sick population that refuses to let go. Find Linghun on…

[annbourbon]

This is Lord Byron. And it's all his fault.

He is the reason we have sparkling vampires now:

But also and partially (about 50% lolol) the reason behind Ada Lovelace.

Please feel free to add, correct or reblog if you want♡

Credits to its owners.

[gothtransandroid]

Vic Owed me a Device

I didn't need anything complicated, just a service device around the house.

None of that perverted decoration either, but just a simple humanoid unit with decent balance and enough lifting strength to move furniture and clean underneath.

She was behind on her direct contributions to the co-op and not seeking employment to cover it. 

Instead she was doing thesis work for school over the last three years, and every time I challenged her scrawny ass on it she just referred me to her family, who while wealthy and well known on this side of town, have told me several times now they were not going to fund a line of credit for her into a fourth year post-graduate study if she didn't contribute to society as well.

Who goes to university this long?

Kid could be making millions daily on this stuff if she went out and got a job with it but she just stays in there, working over junk machine parts and talking on the phone with her doctoral buddies until the sun rises.

When I relay to her what his folks told me, the kid freezes and offers a service device to buy her some goodwill and time before Planté becomes involved.

I tell Planté what I telling you now anyways, as its my job, and Planté says it won't be a problem.

“Theory in action” were the exact words.

As long as Planté was considering me part of the co-op here then I wouldnt plan on complaining.

Then came the noises.

The other members paid for the sound proofing.

All of them.

Vic, the little penny pinching silver spooned runt skipped it.

As such, every once in a while I would hear a yelp or a moan from the room.

Young kid, probably finally let loose a bit and got on a porn site or two, I thought, which is why I made it clear I didn't want anything sexual with the bot.

Don't need some repressed introvert letting out their “interests” in what would be my property.

Then the screams. Not screams like sex. And not full screams.

My brain didn't put it together until a few days in, like a sick jigsaw puzzle for my ears.

The screams were getting cut off, like skipping songs on a streaming app.

I give her space because I know the kid is stressed, and I kept telling myself it's just her stifling herself because of the school work and the finance issues.

Last week, early morning, comes a cacophony of male and female sounds, all auto-tuned and filtered through what could only be described as a portion of hell placed in front of a boom mic, and I run upstairs and knock her door down as the screaming stops.

Vic turns to me with a look of not fear or confusion but surprise. “I just finished your machine!” And as I turn from her to it I see… It.

A gold, copper and steel plated thing all welded together at the oddest points across parts and limbs.

That one proper machine eye should have shook me out of my confusion but I brushed it off due to the adrenaline.

The other eye, though, was a human looking eye.

“Is that an implant eye in the bot, Vic?”

She looks at me and smiles that same, simple kid smile she always does, “You said you didn't mind if I used scrap, and the eye was compatible with the head frame I made so I figured you'd be okay with it. Something wrong?”

That's when it clicked. The other eye, the more machine looking one, was also an implant.

Just like my grandma's when her sight turned before she passed.

Doctors told me with the old and new tech that each nerve connection needed a backup for sensations, like a storage drive for pain, sensitivity, pressure and the like.

This meant that all the newly made cybernetics had something like a ghost in them, and that it made them incompatible with being reused unless you rebuilt them from scratch to save parts.

Her doctors had to tell me it was prohibited by law, due to resell risks and untested medical concerns.

“Vic, kid, what was all the screaming these past few days?”

Then the thing, jerking about on the elevated work table looked toward me, squinting it's one human-esqe eyes and said, “What is… what are-wh-what-whatamiweusis-”, then it slapped its face, as if to shock nerves that IT SHOULD NOT OR NEVER HAVE HAD INTO LOGIC AND FOCUS, AND IN MY GRANDMOTHER'S VOICE THAT THING SAID, “What am I?”, then the kid shut it down and looked at me with that horrid smile and said, “Oops, didn't reformat the parts… Come back tomorrow?”

Grandma was a smoker, too.

[rin-may-1103]

The Wrong Robin Au (part four)

Previous | Master Post | Next

Danny slowed his car down, staring at the black iron gate coming into view; Bats and ivy welded on in an elegant pattern, obviously more thought-out than The Drake's ducks had been. He had to give it to Tim, the kid had been right about how stupid the ducks looked.

Glancing around, Danny found he was completely alone on the dirt road. The gray sky slowly brightened as the sun climbed higher in the distance, trees swaying in the gentle breeze, and birds chirped.

If it hadn't been for his experiences at Vlad's place, he would have found the scenery comforting, maybe even inviting. But the knowledge that this was the home of a billionaire, one that went out at night to fight crime like a furry on crack nonetheless, ruined it.

Maybe he should just head back to the motel...

...

Fuck it, when had Phantom ever backed down? That's right! Never! Danny was going to stick to his metaphorical guns and follow through with his admittedly stupid plan.

Taking his foot off the brake; Danny activated his intangibility, shared it with the car, and drove through the gate. (look, what were his powers for if not to make his life convenient? He deserved it after literally dying for them. AND the gate was probably locked. There was no way he could convince someone to let him in at this time in the morning, so...)

Danny kept an eye on his surroundings as he drove, he doubted Bruce Wayne would have ghost vultures working for him, but that doesn't mean Danny wouldn't be prepared if he did.

Eventually, a large building came into view. Its gothic architecture and obvious timely design set it apart from Vlad's modern monstrosity of a castle. Danny could just tell this was a home for a family with old money; the weathered roof and aged water fountain told stories of the people who used to live there. This was a home, not just a house.

Pulling his car over and parking, Danny quickly sent a mental prayer to the home's ancestors. He hoped they could forgive him for what he was about to do.

Grabbing his backup phone and his keys, Danny tossed the car door open and stepped out. Immediately his senses were clouded with grief and anger. It was so strong he almost lost his footing. The house was just drenched in the emotions, tendrils reaching out and wrapping around anything and everything.

Closing his eyes, Danny held his breath so he could focus on blocking the emotions out. (flashes of someone else's memories rushed past his mind; a glimpse of a young boy sitting in a library reading a book. An older man sitting next to him silently. In another flash, the two were now in a dark cave, the light of a computer the only thing illuminating them as the older man draped a blanket across the boy's back. whispered words of sincere promises echoed in his head.)

He had believed Tim, but he hadn't expected it to be this bad. Ancients, this was worse than when he had to deal with Spectra.

Batman definitely needed therapy.

...

Maybe Jazz should be Robin instead, she'd know how to handle this properly. but Jazz wasn't here right now, she was in Sweden learning all about mental health. Which meant Danny would have to do this himself.

yay.

He had two options; One, he sits down with the man and they have a sincere and very emotional conversation. Or two, he beats it into the guy's head that he needs to stop going out and trying to get himself killed. Based on everything he knows about Batman? It was going to be number two that was going to get results... Well, at least Danny had experience punching things until he got what he wanted. (even if it didn't always work.)

Shaking himself out of his mind, Danny started making his way to the front door. It was past five in the morning, Bruce should be home now. Whether he was sleeping like Danny would assume he usually did, was a different question altogether.

Glancing around the door, Danny found there was a large rope hanging to the left. Vlad had the same thing at his place, it was an old-fashioned doorbell.

shrugging, Danny pulled on the rope and waited.

and waited.

and waited.

After a minute or two, Danny pulled the rope again. Suddenly the door swung open to reveal an older man dressed in a nice waistcoat and trousers.

"Can I help you?" the man asked, a British accent completing the look.

Danny blinked for a second before quickly focusing back on his task. "My name's Danny. Bruce is being a dumbass who needs to take a chill pill and take a step back from hospitalizing criminals. Can I come in?"

It was the old man's turn to stare and blink at him. After a minute, the man stepped back and opened the door, his eyebrow raised. "I would like to see how you plan to tell this to Master Bruce. His office is this way, young man."

"May I ask what exactly you're doing here?" the man asked, closing the door behind Danny.

Danny shrugged, "I'm here to beat some sense into him. He's going to get himself killed and no one wants to see what happens when he does."

The butler, because the rich fruitloop would obviously have one, hummed as he nodded his head in agreement. "I see. Maybe this is what he needs then. he won't listen to me, no matter how much I nag him."

Nothing else was said as he guided Danny through the manor, eventually stopping at a fancy dark wooden door. "Master Bruce, you appear to have a visitor." Then He opened the door and gestured for Danny to enter.

He only had a moment to ponder how he should do this before he entered the room. He should keep his powers hidden, for now at least.

He was greeted with the sight of an exhausted man in a bathrobe sitting at his desk and staring out the window. He was clutching a very worn and loved book in his hands, his brows slightly furrowed. (Danny noted that it was the same book the kid had been reading, The Hero and the Crown... or something like that, Danny hadn't really gotten a good look at the title.)

The butler stepped back, closing the door, and stood next to it to maybe await his new orders. Ones he probably wouldn't get any time soon, if the way Bruce hadn't moved or responded meant anything.

Well, if the old man wanted to see this then who was Danny to stop him?

Stepping forward, Danny leaned over the desk and slapped the back of Bruce's head. The man swiftly turned and stared at him, raising one of his hands to touch his head in shock. Danny heard the butler choke in surprise but ignored him. He could only pray to Clockwork that Bruce didn't kill him for this.

"You are being absolutely idiotic, dude." Danny declared. "Do you think Jason would have wanted you to act like this?" Bruce stood up, his chair slamming into the wall, his eyes burning in anger. "No? Then get your shit together and be the man he would be proud of."

Bruce lunged over the desk, his fist pulled back to hit Danny. It was just like Danny expected, just like Tim had told him, the man was letting his emotions control his actions. Dodging to the side, Danny continued talking, "This going out every night, fighting more and more dangerous and outlandish people all by yourself? It's going to get you killed."

Bruce gave up on trying to punch him, instead, he threw himself forward and body-slammed Danny to the floor. Danny coughed, quickly blocking his face as Bruce took a swing at him. Using the man's blind anger to his advantage, Danny kicked Bruce in the chest and sent him flying into his desk. "Jason's dead. It sucks. and it hurts. It's probably the worst pain you've ever experienced, but there's nothing you can do about it."

Danny glared at the man as he scrambled into a crouch, waiting to see what Bruce did next. "Shut up," the man growled, shoving himself up and away from his desk. He picked up his stapler; he was probably either going to use it as a blunt weapon or throw it at Danny. Widening his stance, Danny got ready to dodge or lunge.

He remembered reading about him, online when he first became Phantom. He remembered reading about Robin and Batman and how they worked together to protect Gotham. How they tirelessly worked day and night to put their rogues away every time they got out again.

He remembered seeing pictures of Batman standing next to little Robin, a proud smile on his face as the police took the criminals away. Pictures of the man helping and protecting Robin whenever the boy couldn't handle whatever mess he had gotten into. There was even a memorable one of Batman scolding an obviously sheepish Robin, a knocked-out Riddler slumped behind him.

He had wished so badly for someone to help him back them, for someone to be his Batman when times got hard. He remembered how devastated he was when it turned out the only person like him was Vlad. Vlad, who had wanted to murder his father and marry his mother. Vlad, who had overshadowed people to gain more wealth and power. Vlad, who hadn't seen how wrong it was to try and clone him.

He remembered the comments and videos from the citizens of Gotham, cheering for their heroes when they succeeded in capturing the rogues. How they still supported them when they failed. It was nothing like Amity's reaction to him.

He remembered how Gothom reacted when Robin was pronounced dead. How the city had cried and raged. He felt it all the way over in Amity, the grief and anger. The whole city had come together to mourn the boy who protected them. Even two years later, Danny could still feel the echoes.

"Jason's dead. He's dead and gone and you're letting yourself get consumed with your grief. but you made a promise Bruce."

Danny knew he had, it was the same promise Danny had made just four years ago.

Bruce's eyes widened and the anger that was surging in his eyes froze for just a moment. His hand loosened around the stapler but didn't let it go. The butler looked concerned, unsure if he should interfere or not.

"You made a promise all those years ago when you first dawned that stupid bat suit. You promised to do everything in your power to help your city. To protect it. Robin made the same promise. When he took up his suit. They both did."

Bruce's jaw tensed, his eyes narrowing. Danny lowered his body, still ready to dodge at a moment's notice.

"You made a promise to your son, Bruce. Even if he didn't know it. One that you couldn't keep."

Bruce threw the stapler, making Danny jump to the side to dodge it. His mistake was not keeping an eye on what Bruce did after throwing it. The man quickly rushed up to him, eyes blazing in anger. "You don't know anything!" he cried, his fist slamming into Danny's jaw. Danny staggered back but ducked under the next punch.

"I lost my son! I wasn't there!" Bruce shouted, kicking Danny's legs out from under him. Danny's back hit the floor, knocking the breath out of him. Bruce followed him down, breaking his nose with another punch to the face. "I promised I would protect him and I wasn't there!"

Danny growled, catching Bruce's fist in his hand and sending a punch at the side of Bruce's head. Bruce tried to lean back, Danny's fist clipping his forehead. Bruce grunted, reaching up to grab Danny's fist to keep him from punching him again.

"You couldn't protect him! I get it, it sucks!" Danny shouted back, flashes of Dani's melting form grasping at his shirt in panic pulled to the front of his mind. "It leaves a black hole in the center of your chest! It sucks all the warmth out of you, leaving only the cold bitter knowledge that you couldn't save him!" (that he couldn't save her)

Bruce pulled his fist out of Danny's hand, slamming his elbow down into Danny's chest and twisting Danny's right arm sharply in an attempt to break it. Danny kept talking though, ignoring the pain as he pulled his arm out of Bruce's grasp, "But Jason made a promise! and you're doing nothing to keep it!"

Danny grabbed onto Bruce's bathrobe and flipped them so Bruce was the one on the floor now. Quickly reaching up, Danny grabbed both of Bruce's hands and held them as still as he could. Bruce was strong, but Danny had years of fighting Skulker and the other super-strong ghosts under his belt. "He made that promise knowing that you had made the same one!"

Bruce growled, throwing his head up in an attempt to hit Danny with it. Danny leaned back, accidentally loosening his grip just enough for Bruce to break out of it. Bruce shoved him off of him, making Danny slide back and hit a chair.

Grunting, Danny stood up and lunged at Bruce. Bruce dodged to the side, dropping down to pick the stapler back up. "I can't claim to know what Jason would have wanted," Danny spat, backing up to give himself more space as Bruce stepped toward him. "but I know as someone who made the same promise, I wouldn't have wanted you to change into what you are now!"

Bruce narrowed his eyes at Danny, "Yeah, and what's that?" he growled.

"A careless, suicidal, moron," Danny growled back.

Bruce froze, stopping in place as he stared at Danny.

Danny took his chance to drive his point home; standing up straight, he raised his hands up in surrender. "He was your son. He looked up to you for protection. For guidance. And sure, maybe you weren't the best dad, and maybe you made mistakes. But you were his dad."

Danny stepped forward, watching as the butler stepped forward to reach out to the man. "and what kind of son would want his dad to kill himself?"

Bruce dropped his stapler, his eyes falling to the ground and catching onto the book he had dropped earlier. It was opened to the front page, written words in messy writing covering it.

"You need to stop, Bruce," Danny said, slowly crouching down and reaching out for the book. Bruce watched him as he stood up, the book still open to the front page in his hands. Jason's writing visible to all of them.

"you couldn't keep your promise to protect him. It sucks and it hurts. but you can keep his promise. The same promise you made all those years ago."

Bruce looked up at him, his blue eyes filling with tears, the butler's hand resting on his shoulder. Danny stepped forward again, holding the book out for Bruce to take.

"You can't protect Gotham if you're dead."

Jason's handwritten note stared up at them, the ink messy and smudged.

'to the best dad in the world and the many adventures we'll go on!'

and Bruce? Bruce crumbled to the floor with a sob, leaving Danny to stand in front of him. Blood running down his face, staining his hoodie and pink Hello Kitty pants, the book still held out with steady hands.

Next

[theholmwoodfoundation]

Welcome to the Holmwood Foundation

Sanguis Vita Est

The Holmwood Foundation is a Found Footage Horror-Fiction Podcast created by Fio Trethewey @fiotrethewey (Big Finish: Gallifrey War Room, 18th Wall Productions) and Georgia Cook @georgiacooked (Big Finish: The Eleventh Doctor Chronicles, Gallifrey War Room, BBC Books, The Dracula Daily Sketch Collection). It is a modern day sequel to the gothic novel Dracula. 

What is the Holmwood Foundation about?

Our story follows Jeremy Larkin (Played by Sean Carlsen) and Maddie Townsend (Played by Rebecca Root), two co-workers at the mysterious Holmwood Foundation, as they are possessed by the ghosts of Jonathan and Mina Harker, and embark on a road trip across the country in an effort to achieve their ghost's wishes: to stop Dracula once and for all. This is a story about identity and self discovery, family loyalty and devotion, all wrapped around a nightmare of a road trip with a rejuvenating severed head, incredibly sincere Victorian ghosts, and an analogue recorder. (Content Warnings for blood, horror themes and possession)

Where can we listen to The Holmwood Foundation?

Find our pilot episode on Acast, here:

Following a successful Kickstarter campaign, we are currently working hard on season one, which we hope to drop bi-weekly in Spring/early Summer 2025. Follow along for further updates as production progresses!

We currently have late pledges open from our Kickstarter, if you would like to join our private Discord, or access ad-free episodes once season one drops!

Who are the Cast and Crew?

In our pilot episode: Across the Moors, we have:

Rebecca Root as Maddie Townsend and Mina Harker, and Sean Carlsen as Jeremy Larkin and Jonathan Harker.

Other voice talents include:

Samuel Clemens as Arthur Jones Becky Wright as Thrall & Phone Voice Jessica Carroll as Newsreader Luke Kondor as Robert Swales and featuring Attila Puskas as Dracula

Joining our crew we have Samuel Clemens as Director, Katharine Armitage as our Script Editor and Benji Clifford as our Sound Engineer and Designer

In Season one, we will also be joined by:

Basil Waite as Tom Van Helsing Michelle Kelly as Henri Martin Andrew Biss as Jonathan Harker 3rd Jackie Calistaah as Elena David Ault as Dr Timothy Lake Candace Marie as Magdalena Swift Robyn Holdaway as Cam Karim Kronfli as Dave

Extra Content:

Between now and season one's release, we will slowly be sharing small pieces of related content related to the Holmwood Foundation. These might be emails, or obituaries, maybe even interviews. Follow the links below to find all of that content together:

Extract List - Updated as of 15/11/24

Tags: Frequently Asked Questions Production Updates OOC Answered Asks Extracts Foundation Emails Holmwood Foundation Art

Social Media Links here: https://linktr.ee/theholmwoodfoundation

[writers-potion]

Dark/Horror Genres List

Horror = The fiction of fear

Splatterpunk = Horror that relies on extreme violence and graphic gore

Extreme Horror = Seeks to create utmost terror in the reader.

Psychological Horror = The danger that comes from the human mind - sanity, guilt, boundaries between right and wrong, etc.

Dystopian = Fiction set in a stark, nightmarish kind of world, often in the near future.

Lovecraftian = Based on the concept that our world was once ruled by alien creatures who still exist out there.

Thriller = high suspense and anticipation.

Mystery

Dark Diction = Stories that disturb the reader by probing the boundaries between good and evil

Supernatural = People face manifestations outside of the normal human experience.

Paranormal = features characters who are "nearly" or "formally" human, like zombies, vampires, and weres.

Paranormal Romance

Dark Fantasy

Urban Fantasy = typically set in a run-down part of a modern city, these stories involve human characters with psychic/magical abilities.

Gothic

Erotic Horro

Horror Comedy

Romantic Suspense

Steampunk = a blend of sci-fi, fantasy and historical, often with elements of horror.

Ghost stories

Slipstream

Speculative Fiction = broad term encompassing the fantasy and sci-fi genres, as well as horror fiction with supernatural or paranormal elements.

Slice of Life = no obvious plot, but shows a snapshot from people's ordinary lives.

─── ･ ｡ﾟ☆: *.☽ .* . ───

💎If you like my blog, buy me a coffee☕ and find me on instagram! 

💎Before you ask, check out my masterpost part 1 and part 2 

💎For early access to my content,  become a Writing Wizard 

[literaryvein-reblogs]

Writing Notes: Horror

Horror is a genre within creative writing that relies on one thing: instilling a sense of fear in the reader.

The horror genre is multifaceted—there is a kind of horror for every kind of person.

For some, the most effective scare is the idea of being trapped in a haunted house. For others, it’s being chased by a serial killer on Halloween.

Some of the best horror comes from scary things that can manipulate an audience’s feelings, creating a sensation of uneasiness and fear that stretches beyond consciousness and permeates deep within the psyche.

Horror writing is sometimes categorized within the broader category of thrillers, but not all horror follows the thriller structure.

Classic horror fiction—whether expressed as a novel, novella, short story, or film—will tap into topics that reliably frighten most humans.

Common topics include ghosts, werewolves, vampires, zombies, serial killers, murderers, and the fear of the unknown.

These horror tropes can often devolve into clichés.

A downside of horror’s popularity is that many horror books and movies recycle old content in non-creative ways, but when properly executed, horror stories can thrill audiences and even provide commentary on the human condition.

Horror Subgenres

1. Apocalyptic - In this subgenre, the world is ending or society is collapsing. When this happens, it’s usually because of some creature, demon, or religious event (while climate-oriented apocalypses are more sci-fi).

2. Body Horror - Involves the mutilation, experimentation, or violation of the human body. It can focus on disease, dismemberment, infestation, sexual acts, or a complete transformation of the physical form.

3. Comedy - Horror and comedy seem so at odds with each other, but they work so well together (kind of like spice and chocolate). A trademark of comedy horror is how the protagonist somewhat stumbles through the story, arriving at the end through luck and ridiculous happenstance rather than skill or growth.

4. Cosmic/Lovecraftian - With its origins largely attributed to H.P. Lovecraft, cosmic horror makes us feel small against a threat that is ancient, massive, and incomprehensible. Cosmic horror looks at intergalactic entities, ancient gods, the machinations of the universe, and how helpless we are against it all.

5. Dark Fantasy - Another crossover, this time with the fantasy genre. In dark fantasy, you have elements of magic, fictional creatures or worlds, and everything else that makes fantasy great, plus you add in a good dose of scares. This can also involve other subgenres, like body horror.

6. Dark Romance - Another crossover genre, dark romance takes the feel-good romance genre and makes it horrific. While this subgenre can simply include morally questionable characters and a grittier tone than most romance, it can also include kidnapping, forced confinement, BDSM, psychological and physical abuse, and sexual violence or sex where there is no consent. Bear in mind that it still needs to include the tenants of romance stories, though.

7. Extreme Gore - Not for the faint of heart, this subgenre includes books that have detailed torture scenes or otherwise disturbing and depraved acts. This genre is all about shocking your audience with how awful your characters act or are treated.

8. Folk Horror - Embraces urban legends and folktales. These range from old pagan gods in the woods to weird rituals performed by isolated groups or villages. Sometimes there is a supernatural element to them, even if the “supernatural” is simply perceived or believed by some characters (e.g., Midsommar).

9. Found Footage/Documentaries - Though this subgenre is more common in films than books, found footage and documentary horror stories are about a crew of people recording their experiences, usually unaware of the true danger they are about to face.

10. Gothic - The great-grandparent of modern horror, gothic horror is the brooding, atmospheric genre containing what most of us would consider classics (e.g., Dracula and Frankenstein). Sometimes you throw in a dash of romance, but these tales tackle topics like death and mortality.

11. Post-Apocalyptic - After some world-ending disaster, how horrifying have things become? Post-apocalyptic horror shows us a world without rules or structure. It can contain unrealistic elements (zombies, demons, etc.) or realistic possibilities (cannibals, gangs, and so on).

12. Psychological - Places the spotlight on trauma, mental health, manipulation, phobias, and everything else that causes you to become stressed and anxious. Home invasion stories (i.e., The Strangers) fall under this subgenre.

13. Slasher - Involves violent horror that is more about a single killer stalking and eventually killing a group of people (traditionally targeting teens and using a blade). This subgenre isn’t necessarily as violent or gory as others, but uses suspense to make the reader hold their breath.

14. Splatterpunk - Is known for its disregard of limits when it comes to violence—both physical and sexual. Gore and depravity are grossly abundant.

15. Supernatural/Paranormal - Some folks separate these two subgenres into different categories, but there is so much overlap that they’re basically the same. If you have to, think of supernatural horror as stories that involve werewolves, witches, vampires, and other monsters. Paranormal horror, on the other hand, involves ghosts, demons, and haunted houses.

Tips for Writing Horror

1. Read more horror. There’s no better way to understand what a good story looks like than to read one for yourself. Read as much as you can so you are aware of what other horror writers are doing.

2. Focus on your own fears. Much like comedy, horror benefits from authenticity. So get personal: If you can scare yourself, you can probably scare an audience.

3. Create three-dimensional characters. Write characters whose character flaws feed the action of the story. All good literature and film contains well-wrought characters with desires, emotions, and a backstory. The more human you make the characters of your story or screenplay, the more their missteps and bad choices will resonate with an audience.

4. Recognize that the real can be scarier than the surreal. Sure, you can make up an army of googly-eyed bad guys or plant a severed head in your main character’s bed, but will you really scare your reader? Not necessarily. In most cases, psychological horror sticks with audiences far longer than a jump scare or gross-out moment in a slasher film. Toying with people’s real-life fears tends to scare them much more than just grossing them out.

5. Use the environment. Scary movies and television shows can use jump-scares as an easy way to frighten an audience, but writing scary literature requires its own method of manifesting fear. Setup your environment in a vivid way to fully immerse your readers into your setting. Vividly describing an enclosed space can elicit feelings of claustrophobia. A dark and quiet house becomes more frightening when a character suddenly hears the creak of an upstairs floorboard. Being an outsider in an unfamiliar place, like a small town with no cell phone service and where everyone knows each other, is already unsettling—and if you add a malicious paranormal force to such a setting, you can enhance the feeling of isolation and ramp up the anxiety of the scenario.

6. Write longer sentences. You can heighten your readers’ fear by writing paragraphs with longer sentences. Periods provide natural pauses for readers to take a breath, but if you stretch out your sentences, you build anticipation for the reader—which they might not even realize until they reach the end of the sentence. By using tactics like this, you immerse the reader into your horror story, making them feel what the main character feels and creating a heart-pounding connection.

7. Make your readers breathe faster. Whereas long sentences can amplify the intensity of a story, short one-sentence paragraphs can force your readers to take more frequent breaths while following your narrative. Crafting abrupt lines builds tension in your scary story writing, making the readers’ eyes move more quickly down the page searching for the relief that the protagonist is safe. This can make your audience breathe faster, contributing to the feeling of panic and anxiety.

8. Leverage fear of the unknown. Fear of the unknown is a common theme that can be tracked throughout many of the best stories in horror fiction and horror movies. When there is something that negatively affects us that we cannot control or properly identify, it creates a feeling of panic and dread. Teasing your readers with something not quite definable or a bad guy no one knows how to stop can increase the level of tension and fear when writing horror stories.

9. Lean into dark imagery and your readers’ collective imagination. Consider what images might be frightening to a reader (and yourself). How much of a description of a clown do you need in order to make a reader feel uneasy? How large and grotesque does a rat need to be? Leaving some of these images more general than specific will allow a reader to fill in the blanks with what is most horrifying to them. Example: If you read the word beast, what do you see in your imagination? Most words carry connotations and personal connections. Allow your words to work for you to create the maximum scare.

10. Want tension? Sprinkle in some foreshadowing. Foreshadowing is a powerful tool in your writing arsenal, but it is particularly effective in horror, especially when writing in third person. Foreshadowing is when an author alludes to a future event by showing us something now. The key to foreshadowing is to use it sparingly. We want to up the tension and the fear our readers are experiencing while they yell at the oblivious protagonist not to open the door. We don’t want the reader to know every single thing that’s going to happen. 

11. Focus on the moment where things shift. You should consider a pivotal scene in your story idea and try to build around that scene or that moment where the plot actually “shifts.” Sometimes that could be reflected in a realization by the protagonist. Other times it can be represented in some type of ironic twist at the end. By looking at that singular element of your story idea, you cut away the fat so that the reader is left only with the most resonant part of the story.

12. Establish the mundane. Mundane is just a fancy way of saying normal, but the message still rings true. Most story structures tell you to start by establishing the Ordinary World: what our protagonist’s normal life is like. This is important for showing us how important the larger conflict is, because it threatens the protagonist’s normal. In horror, establishing the mundane is arguably more important. In a story where connecting with the character and empathizing with them over the godawful stuff you, the author, put them through, the reader needs to understand just how bad life has gotten. Then you can take both your characters and your reader from a place of comfort and familiarity and plunge them into whatever shadowy hell you’ve concocted.

13. Choosing your POV. By choosing to write your story from a first-person perspective, you are putting the reader exactly where your character is. There are 2 types of third-person POV—limited and omniscient. It is advisable to stay away from omniscient. Part of writing a good horror story is withholding information from the reader, which third-person omniscient doesn’t really allow for. Considering the pros and cons of the different points of view, choose the right one for your story.

14. Avoid clichés. Clichés are boring and predictable, and a horror scene that is predictable is likely to not be scary. A good horror story can still use familiar horror tropes, but a great horror story makes them its own. Look beyond the obvious when trying to write a scary scene—what is something readers wouldn’t expect? How can you surprise them with fear? Use enough of the existing tropes to be identifiable as horror, but make sure you insert your own originality into the mix. One of the reasons people gravitate to genres in general is because they have certain expectations for what should happen in the story. Look for ways to flip archetypes on their heads.

15. Practice. If you’re struggling to get a handle on writing a good story that’s scary, practice with story prompts (see some sample prompts below). Writing prompts can expand your range of thinking and open up new avenues of imagination that you hadn’t thought of before.

Horror Writing Prompts

A scary doll comes to life.

A scene from a nightmare comes true the next day.

Days go by, and your parents don’t come home.

You feel yourself slowly becoming a monster.

Your friends start to disappear, and no one else notices.

You’re lost in the woods, and you don’t know how you got there.

You’re inhabited by a ghost that controls you and makes you do crazy things.

You have no reflection in the mirror.

The teacher is a monster, but no one will believe you.

You hypnotize your brother, and you can’t snap him out of it.

A fortune teller reveals that you are evil.

Someone follows you home, and it’s your exact double.

You find a diary that tells the future.

Every time you wake up, you’re a different person.

Your parents explain that you are actually an alien from another planet.

You know someone is watching you day and night from the house across the street.

You realize you are shrinking.

While reading a scary book, you realize that you’re a character in it.

Someone is living in your mirror.

Everyone knows the new neighbors are vampires, and the kids invite you over for a sleepover.

All the cats in a small town vanish in the middle of the night….and all that remains is a set of big, scary teeth smashed into a car door.

A group of friends takes on the zombie apocalypse.

Strange things start happening after the grandfather clock starts to speak.

You finally meet your child’s imaginary friend. Who turns out to be a serial killer.

When a local police officer goes to investigate the haunted house down the street, he finds a young girl who died decades ago.

Sources: 1 2 3 4 5 6 ⚜ Writing Notes & References

[sensitivehandsomeactionman]

While I've revisited eps to make gifs, I haven't done an attentive rewatch in many years. So, I rewatched the pilot. The boys look so young 👶😄. There's a ghost story, or maybe there are two ghost stories. One is the obvious, the woman in white. The other is Sam being haunted by his past, with Dean like a link to an older era. He pulls back the curtain to an American Gothic horror tale, with his vintage car, and vintage cassette tapes, and vintage persona. Sam is the modern young man, about to head to the future, but just when he thought he was out...

I wouldn't say Dean pulled him back in. That gentle tug wasn't enough to do it, in fact. Dean has bravado, but is surprisingly soft-spoken and tentative in the way he watches for Sam's reactions like a hawk. Even when he pushes Sam on the bridge, his eyes are wide and hurt, and his hushed, "Don't talk about her like that" is not so much angry as it is a plea.

Sam seems completely self assured. He's worldly, smart, decisive. I feel as viewers we're following him from the respectable suburban world to the bad place. With John leaving a vacuum behind him, literally the empty motel room, both boys seem to fill that space -- Sam immediately connecting with John's research, while Dean dons the mantle of John's protective coat. Pleasing metaphors of inheritance.

Speaking of inheritance, Jessica's death in the same manner that killed his mother is what pulls Sam back in. He's now on the same path as John. He's the one who commands the "we" in "We got work to do." Another pleasing story parallel.

Dean is the older brother, but I'm always struck that at this stage he's almost delicate. The eyelashes, the bracelets, the too big jacket. He's positioned in this trope as the bad boy, yet Jensen always has an inherent good guy quality. He's so funny, but it's like a vaudeville act. He's insanely charming and devil-may-care, but you get the sense he's also down on his luck. He's odd and fun and intriguing.

The desaturation and shadows of the cinematography never get old. J2 are beautiful and immediately as watchable as Mulder and Scully. There are some stunning women and recognizable character actors. Of course some of it seems dated, now even more retro than intended lol, yet the Americana parts are mythic and hold up as a motif. Bonus points for including a public library for research. They're searching for a shade of a father; they can't go home, there be ghosts; home is an empty husk of trauma. Still love this pilot.

[a-collection-of-cool-ideas]

Thank you wonderful fanfiction authors! You do a great part to make life wonderful. Recs below the cut (I CANNOT believe I haven't rec'ed some of these before!) Previous recs: 2018, 2020, 2022. Looks like I only do these every two years lol.

Gravity Falls

Feels Like We Only Go Backwards, by @dubsdeedubs / WDW; complete multichapter. A heartbreaking concept with a happy ending. Sad but wonderful and a really fun idea. Working out just what is happening is a great challenge, and watching the pieces fall into place with mounting consternation is awesome.

In Search of Antidotes, by @astriiformes / azhdarchidaen; complete multichapter. An awesome Historical AU, and neither Ford nor Stan go through the portal (there’s still suffering though). Bit of freakiness, bit of funniness, bit of stubbornness, bit of coolness. A very cool read! A much more classic demon-possession story than canon with its modern sci-fi overtones. The gothic sci-fi horror takes the floor here. Jekyll and Hyde, Frankenstein, Dracula, it takes inspiration from all the best roots!

Just a Game, by @nikxation / nikxation; one-shot. Intense! High stakes! Well-written! Doesn’t mess around getting to the point, and hammers its beats into you! LOVE it! Bill holds a gun on Ford, while in Ford's own body. The tension in this is unbelievable!

An Outreached Hand, by @dubsdeedubs / WDW; incomplete multichapter. Something freakishly supernatural happened to Stan during his homeless days. It’s called Ghost Trick AU, and it’s super interesting and utterly engaging! It’ll have you tearing through it wanting to know what the heck is going on! The characters are all so intense in their own ways, and the plot is drip fed to you piece by delicious piece.

Snapshots from an Alternate Reality, by Rethira; one-shot. PORTAL STAN!! Just a short little one-shot about this alternate version of events, but incredibly cool to read. Love the writing style: it takes you through the scenes like a skipping stone, its wake mesmerising.

All Things Go, by @cantica10 / Cantica10; incomplete multichapter. A weird (in the best way) idea of a crossover between Timestuck AU (where Mabel is trapped in the past) and a Wings AU (where, you guessed it, everyone has wings). Adorable Stan and Mabel bonding, but is SO not afraid to get really dark. That being said, it’s also so sweet and fluffy, and explores the effortless love that Mabel feels for Stan, and that (broken, scared, young, sad) Stan feels for her. This is one of those fics I am compelled to keep coming back to. It’s such a full experience to read.

Snow and Pine, by @ancientstone / TheArchaeologist; incomplete series. A great concept!! Loved the idea of these two brothers being forced together by circumstances instead of intention. Some great selective description here, and the plot itself is a very fun ride. WERE. WOLF. STAN. Need I say more?

Lighthouse Keeper, by @impishnature / impish_nature; incomplete series. There’s a lot to this story; the main work is mostly a series of one-shots, with other works sprinkled between. The idea is so eerie and haunting, and the vibes are pretty different to most other things I’ve read. The instigating artwork by @sightkeeper is magnificent and Imp has managed to capture the images very well!

Triptych, by @scribefindegil / scribefindegil; one-shot. A very cool character study on Stan. Great for informing his central motivations. It's kept short and sweet, but the analysis is no less thorough for it. I loved the insight into my favourite character's life and mind. Scribe writes him so well.

Blind Faith, by pinesinthewoods; complete multichapter. Come on, how could I NOT mention this one? It's one of the many here I'm astonished not to have rec'ed earlier. Super dark, super scary, an AU where both Stan and Ford fall into the portal. Ouch, but cool. Really good, but be prepared to yell out loud in horror. This is a doozy, don’t expect a lot of happy feels going into it. That being said, it is INCREDIBLE. The structure of the story is fantastic, perfectly encapsulating the reliance each of the brothers’ needs to have on the other and how one has to step up when the other can’t. Stan and Ford are forcibly tied together in this, and they find they each mean more to the other than expected after ten years of bitterness and radio silence. A STAPLE of Gravity Falls fics.

Like They Were a Perfect Fit, by @sensitiveowl / hapful; one-shot. Aw, ow, cries. Love! Lots of tangled-up emotions and scenes that will tug at your heartstrings thinking about Ford’s life journey. Speculations on the importance of the photo that Ford is implied to have carried around with him for 30 damn years.

30 Seconds Later, by @invisibletinkerer / shayera; incomplete multichapter. Loved this to death! A really great concept executed fantastically. An AU where while it took Stan thirty years to rebuild the portal, Ford was only gone for thirty seconds. The characterisation of paranoid Ford and his interactions with the rest of his family are perfect, as is his reaction to finding himself in the future and his relationship to Stan. And Stan is wonderful in this too! A very good examination of age, aging, and the associated changes in perspective.

1 Step Forward, 20 Years Back, by @infriga / Ppleater; complete multichapter. An AU where Stan is turned into a kid in the midst of Ford’s pre-portal paranoia over Bill. It adopts the wonder and innocence that comes with youth, but still retains the darkness of Stan’s adulthood - wait, actually, his entire life has been kinda dark in this fic. This is one of those fics you can tell the author had a lot of fun with. It’s palpable in the chapter titles and the art :) The illustrations are beautiful, the story is heartfelt, and it is not at all afraid to go into some dark places. A very enjoyable, loveable, read!

The Road in Front of You, by @nicnacsnonsense / Nicnac; complete multichapter. Ford falls through a portal potty and gets dumped in Stan's path. MAN!!! This fic has a really great concept, and Nicnac’s writing is impeccable as always. A great look at Ford and Stan’s relationship post-high school, how their personalities have developed and changed, and most importantly how they reconcile the changes in each other.

Nothing a Little Sleep Can’t Fix, by AkitaFallow; one-shot. Oh MAN. WOW. Okay. A heavier look on the mark Sock Opera leaves on Dipper, featuring repercussions throughout the rest of Dipper’s summer. Absolutely, heartbreakingly, entrancing. The slow build up of the plot perfectly mimics the rising emotions that poor Dipper is struggling to keep a lid on until they inevitably explode, and watching the people who love him pick up his pieces afterwards is just golden.

Ad Infinitum, by @nicnacsnonsense / Nicnac; one-shot. My first read of the Same Coin Theory and it was awesooooooooome!!! There are so many repetitions of phrases that spark in my mind because of how great they were, and the aspects of Stan contrasted with Bill that thread through it are incredible. Kind of an unsettling concept. I couldn’t get enough. For a fic that’s all about cycling around, you'd think it'd get repetitive, but every paragraph is rich with novelty. A FEAST.

Some Sunny Day, by @anistarrose / anistarrose; complete multichapter. Another Same Coin Theory fic. The beats of the plot in this are stunning, with some truly awesome lines that left me reeling and thinking Oh SHIT that did NOT just happen!!! In the best way possible. A highly interesting story and some excellent takes on the Pines family and the world of Gravity Falls.

Towards the Sun, by @notthistimespock and pinesinthewoods; complete multichapter. EXTREME BROTHERLY FEELS. Incredible! Love the in-depth examination and speculation on Ford and Stan prefinale. A different ending for Weirdmageddon, following Ford’s journey through Stan’s mind. It gets sad, it gets scary, it gets freaky, you shed tears. Another one of those staple fics for the fandom. The story is a wild and heartrending adventure, full of imagery that stuck in my brain for years after the first time I read it.

Fisherman’s Knot, by @scribefindegil / scribefindegil; complete multichapter. MORE EXTREME BROTHERLY FEELS. Deals with postcanon adventures on the Stan’O’War II, including some reeeaaaally bad mental states/situations. Have tissues handy. I think this is generally regarded as the be-all-and-end-all of Stan twin angst. It is long, it is HEAVY, but it is also heartwarming and hopeful, and full of adventure and magic, and the kind of love it's made with really comes through.

Mob Boss Stan Pines, by Capricious_Passions; complete multichapter. A fic that you HAVE to read over again to get the complete picture. Complex and well-thought out, incredible attention to detail, but the first read will baffle you! A lot of fun trying to figure out what’s happening, and even more fun on the re-read picking up all the details you missed the first time!

Scrapbook, by Shyeye; complete multichapter. The complicated weight of grief hangs heavy over everyone in the story, and the difficulties in dealing with it are at the forefront of everyone’s minds. The depth each of these characters are written with is very much appreciated, not-so-pretty parts and all. This was a wonderful, touching, read.

Rescind, Reset, by @endae / endae; one-shot. Canon divergence where Mabel temporarily lost her life during Weirdmageddon, and the aftereffects on her and the rest of the family. It is one of the most beautiful things I’ve read, very emotionally raw. I cry every time. This incredible story is wrought with a filter of broken hearts being pieced back together as the characters live through the aftermath of their happy ending. It’s a shining, nuanced take on Mabel and how someone with her personality deals with the plot premise. I love the complexity of the emotions in this, not only from Mabel but also from the rest of the Pines as they work through their own traumas.

Safe as Houses, by @beastenraged / Beastrage; complete multichapter. If I could whistle I would! An entrancing read about the Pines family’s adventures from the perspective of their home. Some great and not too far-fetched ideas about how the Shack may have come across to its inhabitants over the years.

Greyscale, by @impishnature / impish_nature; one-shot. OH MY LORD. Incredibly touching and heartbreaking, I can’t look at this directly for fear of being emotionally blinded. Loss, and gain, and loss. Striking, powerful, so, so beautiful and painful. The aftermath of Weirdmageddon: another canon divergence where Stan lost his life. Except... Reverse Portal AU Stan stumbles across this sad dimension soon after. I swear, no fic has made me cry so hard and left me so much in shock of what the heck just happened to me. I love the look at how loss has affected the characters, and I especially love the path to recovery that is laid out for them.

Buying Gold, by @dubsdeedubs / WDW; incomplete series. Veeeery intriguing. It’s not really Same Coin Theory, but it’s a great read about the similarities between Stan and Bill and some cool speculation on Stan post-defeating Bill.

Any Family You Choose, by @nicnacsnonsense / Nicnac; incomplete multichapter. So sweet! Portal Dipper finds a young Stan Pines and decides to help him out. This concept is so wonderful, and the characterisation is blindingly clear. Keeps you guessing at the backstory!

Across the Universe, by Queen_Mab; one-shot. SUCH a great set of adventures. The multiverse really tries to hammer in its lessons sometimes, whether they stand a chance of sticking or not. Extremely well-written and fun, I devoured every word ravenously. Some scenes of Ford's portal time, with some VERY interesting encounters.

Star Wars

Anything Brighter than Even the Sun, by @hamliet / Hamliet; complete multichapter. The Rogue One crew survives and continues rebelling, as does Galen! The main focus is on Jyn and Cassian's characters and relationship, and how they navigate growing into a family. I love Jyn's character especially in this, with all those hard edges guarding a deep, deep well of passion.

Chirality, by @niobiumao3 / Niobium; complete multichapter. A Tech was CX-2 fic! It's great to see this fan theory explored, and Niobium writes so well! The plot is entrancing and has you hooked on the edge of your seat waiting for all the pieces to fall into place for our poor brainwashed guy. The way CX-2 thinks and melds with the personality of who Tech once was is beautiful and his interactions with his family and Phee are a sight to behold.

Crash Landing by @returnofahsoka / delightwrites; complete multichapter. Another Tech is CX-2 fic, can you tell this idea has a hold of me. The characters' voices in this come through SO clearly, it's insane, and the writing style is perfection. Jumbled and pained and confused and grieving, all threaded through with that little bit of hope. Wonderful.

I'll Keep You Safe (You Keep Me Strong), by @miadeardn / sheikahs; oneshot. An AU where Crosshair's chip never activates and he is as embroiled in adjusting to being on the run with a new little sister as the rest of the Batch. Just a sweet little moment between the two. Both of them are written very in-character, and it's great seeing a side of Crosshair that never came to regard his brothers as his enemies.

Talking in Defence, by @buskuta / buskuta; oneshot. An awesome look at all of Hunter's complicated feelings regarding Omega and Crosshair's relationship post-Tantiss. He's not a paragon of perfection, he's human. I can't emphasise enough how much I love this and how well he's written here.

Unyielding, by Face_of_Poe; complete multichapter. The scene immediately post-reunion between Omega, Hunter, and Wrecker, with some speculation on Crosshair's internal strife at that moment. There's a chapter for each of the remaining Batch and Wrecker's is EXCEEDINGLY well-written in my opinion. We don't get nearly enough exploration in canon or fanon about the depth of his thoughts and feelings.

Plan 100, by Face_of_Poe; complete multichapter. An awesome canon-divergence speculating on Omega and Crosshair's escape from Tantiss. The action is great, the strategy and coded communication is so sharp, and the feeling of desperation as Omega and Crosshair fight to evade recapture is fantastically taut. I especially love the small moments in this showing just how close these two have grown, and, in Crosshair's case, how little he's realised it happening. It feels very true to their characters.

Through Darkness Unknown, by @stardustandash / StardustAndAsh; complete multichapter. Holy shit the stakes are so high in this. A Tech Lives canon divergence of Omega and Crosshair's stay in Tantiss, and you can really FEEL just how helpless they all are to Hemlock's control. I absolutely love how this fic does not pull its punches, really forcing Crosshair and Omega into relying heavily on each other. There's so many great scenes in this that are seared into my brain!!

Ask Yourself, by StoneSage; complete multichapter. Omega is captured by the Empire while Crosshair's still working for them. I freaking love the complicated messiness of Crosshair's response to this- he's constantly challenged to act on the callous persona he projects, and constantly comes up short realising what he's actually willing to do to his family when it comes down to it. Very true to his character, and the quandaries Rampart presents him with a subtly terrifying. A fantastic examination of character and a great plot to go with it.

The Space in Between, by Misvet; incomplete multichapter. A series of stories focusing on the complications and dangers involved with Omega joining the Bad Batch. The writing style is great, the plots are great, the characters are great! It's all great! Just read it!

Maybe Fate Has Different Plans, by hanged_albatross; complete series. God I love this so much. Some incredibly touching and well-written moments of the Bad Batch protecting each other in a dangerous galaxy, with Omega, of course, at the centre. She is characterised so well in this, and constantly written with the idea of despite being so young, she is also no less protective of her brothers than they are of her.

Modern Batch, by kaydear; incomplete series. DUUUUDES just read this. It's such a sweet collection of stories about an alternate universe of the Bad Batch in a contemporary setting. Life is tough and complicated and full of pain, but also there are others right beside you to lean on when you need it, and so life is also full of love. I have cried multiple times while reading and re-reading this.

Skulduggery Pleasant

I Will Lay Me Down, by mcginnis; oneshot. This is perfection. A rewrite of the aftermath of the Lord Vile reveal in Death Bringer. I wish this was canon. Valkyrie and Skulduggery are PERFECTLY characterised in this scene, and the nitty-gritty of how they're both feeling is thoroughly explored and explained, and the tone of the story never once diverges from canon's- it is complicated, dark, and interspersed with ridiculous levity.

Pride and Prejudice

A New Addition, by @ralkana / Ralkana; oneshot. A great fic about Elizabeth and Darcy and childbirth, various moments in this are imprinted in my mind permanently. High emotions all over the place, incredible tension and wonderful dynamics between the two main characters and the rest of the family.

Mr Bennet Travels Through Time, by AMarguerite; oneshot. A truly great fic with a wild concept that totally works. Mr Bennet is actually from the 1990s. Weird and funny, but also touching and sad, and goes leagues towards explaining a lot of this man's quirks and contradictions. I was fully invested in this all the way through reading, and it did not disappoint. Utterly satisfying.

Once Upon a Time

The Worst, by @alchemistc / alchemistique; oneshot. The real-life dynamics of these ridiculous fairytale people had me grinning ear to ear. The mortifying ordeal of your family of fictitious characters helping you move into your college dorm as told from Henry's perspective. Love it to death.

[au-roulette]

Happy June!

To celebrate the fact that we are now officially one month away from the start of AU Roulette, have a post detailing the 36 AUs included in this year's challenge -- or don't, if you'd rather be surprised.

This year's AUs have been curated to be intentionally broad, in the hopes that they will encourage unique takes on each prompt and the creativity of the authors participating. You are welcome to write anything that falls under the umbrella of your assigned AUs, whether it's an original universe, a fusion inspired by another fandom, or something else entirely.

(What's AU Roulette, some of you might be asking? An explanation can be found here, along with the link to sign-up!)

Without further ado -- the AU list, under a cut:

Roleswap - Maybe you want to switch two characters' places, do a class-swap for a D&D fandom, try your hand at an age-swap fic, or you have another idea.

Superhero -- Invent an original universe or do a fusion with one of the many popular big-screen superhero stories. Play it straight and give your favorite characters cool powers, or try a deconstruction of the genre. With great AUs comes great responsibility

Gothic Horror -- Castles. Ghosts. Vampires. Drama. Love that conquers Death. Take your inspiration from classic literature or a newer entry in the genre, like The Locked Tomb books. But be sure to make things spooky.

Post-Apocalypse -- Will the world end in fire or in ice? Or maybe economic collapse, war, zombies, or one of many other options? You write what happens next!

Fairy-Tale -- Pick a classic tale from the Grimms, Hans Christian Andersen, Asbjørnsen & Moe, Charles Perrault, or another favorite author to inspire your AU, try out a more modern re-telling, or use fairy-tale elements to craft your own story.

High Seas -- Including but not limited to Pirate AUs and other Age of Sail adventures. Try out something more historical, or throw in as many fantasy elements as you'd like -- or a bit of both.

Time Travel -- For fixing mistakes, making things worse, or time loops. Or maybe you want to write a fusion inspired by a piece of popular time travel media, like Doctor Who.

Western -- Another AU where writers are free to do their history research or to lean into more outlandish genre conventions. Cowboys, cowgirls, and cowpokes all welcome, of course.

Mythology -- Write a story inspired by your favorite myths and legends, from a whole host of different cultures. Or maybe you'd like to try your hand at writing some epic poetry?

Coffee Shop -- A classic everyone knows and has strong feelings about. Play it straight or add a twist, whichever suits your fancy! After all, no one said where the coffee shop has to be...

College/Academia -- Are the characters in your AU students? Professors? Weary adjuncts? Throwing hands at a conference? Some mix of the above?

Theater -- Put those characters on Broadway or cast them in a disaster of a community theater production. Or a school play! All that really matters is the show must go on.

Ghost/Cryptid Hunters -- Maybe you want to write a story starring the next Scooby-Doo crew, or maybe there really is something strange in the neighborhood. Or maybe it'll never be clear what really happened -- it's your choice!

Secret Agent -- Code words, code names, you name it. Write a story about spies, cryptographers, or any other clandestine operators. Take inspiration from history or from James Bond. Just don't spill your secrets too soon.

Detective -- Whether you're writing the world's greatest detective or someone who just can't get a clue, play up the mystery! Use a classic locale like 221B Baker Street or invent your own.

Cyberpunk -- Time to write cyborg identity crises and fight the machine (literally)! Take inspiration from classic media like Neuromancer or Blade Runner or make a totally new cyberpunk universe of your own creation.

High Fantasy -- Elves and dwarves and gnomes, oh my! This AU could encompass everything from Middle Earth to D&D AUs to your favorite high fantasy books you read over and over as a kid. Or maybe you have your own spell to weave.

Band/Musicians -- Whether you decide to make the characters in your AU famous pop stars, part of an orchestra, students at a conservatory, jamming together in their garage, or otherwise musically-inclined, have fun with it!

Reporter/Journalist -- For everything from local anchors and newspaper staff to big-league investigative reporters. Write characters who'll do anything to get a scoop or with a strong sense of justice -- it's your call!

Cosmic Horror -- You don't have to love Lovecraft to get creative with this AU. Make characters comprehend the incomprehensible, send them messages from beyond the stars, and get a little creepy.

Heist -- Will you write a story about master thieves? Vigilantes righting some wrong? What's being stolen and why? Try a Leverage AU or a caper of your own making.

Space Opera -- The genre encompassing works like The Expanse, Imperial Radch, Mass Effect, and Star Wars, brimming with galactic empires, alien species, and chivalric adventures. Write a fusion set in the universe of your favorite work in the genre, or invent a new one!

Sports/Athletics -- Pick a sport, any sport -- whether a team game like hockey, an individual one like archery, a paired one like figure skating, or something a little unconventional, like roller derby or HEMA. Then it's ready, set, write!

Historical Era -- An AU type absolutely bursting with potential, from medieval romances to 1920s Prohibition AUs, to ones inspired by historical fiction like Les Miserables. Whatever era of history strikes your fancy, you can write it.

Road Trip -- Pack your favorite characters in a car and don't forget the snacks. Or maybe the spaceship, or something else if you're feeling adventurous. Where are they headed and why? Only you know the answer!

Space Exploration -- Whether you want to write modern-day astronauts, a futuristic Star Trek AU, or something inspired by the space race, the sky isn't even the limit with this AU.

Urban Fantasy -- For all your modern-with-magic settings. Write an AU inspired by something like Teen Wolf, Artemis Fowl, Buffy the Vampire Slayer, or much of Neil Gaiman's oeuvre, or invent your own world where witches and websites coexist.

Museum/Archives -- Have the characters in your AU working in the exhibits or behind the scenes, down in the collections or even as archaeologists or paleontologists. What secrets are waiting to be unearthed there?

Hospital -- A surprisingly flexible AU option -- are the characters working there, or the victims of some unfortunate accident? Or maybe it's a bit of both. Take it wherever you feel like.

Camping/Wilderness Survival -- Could be anything from a fun summer camp or camping trip to a nightmare survival scenario. Write everyone having s'mores around the campfire or something inspired by media like Yellowjackets, where they might be having... something else.

Steampunk -- A fantastic opportunity to get creative with your worldbuilding. Try your hand at some alternate history, or invent a world of airships and other flying machines of your very own.

Shapeshifter -- Can the characters in this AU turn into anything they want? Or maybe they're more limited, like selkies -- even unable to control their shapeshifting at all (can I get an "awoo" from the werewolf fans?)

Classic Literature -- An AU somewhat more dependent on fusion ideas, but still very flexible! Pick a favorite classic book or play and let it inspire your writing!

Dystopian -- Create your own awful society or let a favorite piece of media guide you, like writing a Hunger Games AU. Will the characters break the cycle, or end up trapped in it?

Renaissance Faire -- A recipe for chaos. Write a bunch or faire-goers or have the characters in your AU working at the faire! Adventures await.

Scientist/Mad Science -- Write characters as normal biologists, physicists, and chemists, the next Frankenstein, or as hapless experiments themselves!

[belle-keys]

Saltburn: The Reign of British Bourgeois (Meta)

I recently had an interesting conversation with a close friend of mine who said, "I don't think Saltburn is really about class." She said she thought it was mainly about obsession, in the most individualist and interpersonal way possible. I naturally disagreed, and we argued about it for an hour. But I think the reason she didn't think it was really about class was because the film had a categorically anti-Marxist conclusion. That is, a very British conclusion. In many ways, Saltburn is a Thatcherite's wet dream. Let's discuss.

Saltburn isn’t an “Eat The Rich” narrative. It’s an “Absorb The Rich” narrative. I disagree that Saltburn is merely about an individual’s obsession with a particular guy or family. Saltburn is about the bourgeoisie’s obsession with the old English aristocracy.

Let’s establish the establishment: the modern English aristocracy whose family seats litter the shires. Saltburn aims to satirize the English Country House family drama, and then some. This is made evident when Felix informs Ollie that, whoa, the Evelyn Waugh himself based Brideshead Revisited and other works on Saltburn, on Felix’s family. The film, in my opinion, was kinda ballsy to go there and to do it so bluntly. So yeah, Saltburn wants to poke fun at the long-established English tradition of aristocratic family dramas such as Downton Abbey, Brideshead Revisited, Bridgerton, Poldark, Rebecca, etc. It’s no coincidence that the movie begins with an egregiously stereotypical sketch of Ollie struggling to fit in at Oxford, à la Charles Ryder. Felix Catton is Sebastian Flyte, and then some. And Ollie is obsessed with him, because look at him. Except… I believe Ollie’s obsession with Felix is less of an interpersonal homoerotic deranged clusterfuck than it is the bourgeois boy’s perennial fixation with the unreachable closed-door English aristocracy, the national pinnacle of inherited class and status in a nation founded on inherited class and status.

Saltburn, butler and all, is a perfect symbol of English aristocratic privilege (seconded by none other than Oxford, but the film didn’t care to explore the hierarchies present in British education and instead chose to focus on family in lieu of academia). Saltburn is grand, medieval, kitchy, isolated in the middle of whereverthefuckshire. One would think that Ollie was intending to infiltrate Saltburn to possess Felix, but I rather think he was intending to infiltrate Felix in order to possess Saltburn. To possess Saltburn is to possess the rank and place of the Catton’s in the world, to be the world. And Ollie doesn’t want to destroy the Cattons nearly as much as he wants to embody them.

I suppose Ollie’s need to absorb, to consume, to possess and to incarnate is obvious through his actions—drinking Felix’s semen in the bathtub, the period blood bit, the grave-fucking debacle. He worms his way through every aspect of the family members’ lives with the intent to become them, to suck them dry (see: “I’m a vampire”, how gothic). By the end when the Cattons are all dead, Ollie celebrates the privilege he has grasped, and in turn, the film applauds his feat rather than condemns him. Saltburn is a film that congratulates Ollie’s usurping of wealth and privilege, rooting for him from beginning to end. And the film never tries to interrogate itself and ask why Ollie is our hero. Ollie, who does not want to break the wheel as much as he wants to be in the room where it happens, even if that means destroying everyone else in his path. Ollie’s obsession, generally speaking, arises from the desire for status and rank rather than an inoccuous maniacal insanity. This is symbolized by his possession and control of Saltburn. If Saltburn were a gothic ghost story, then Ollie is our specter. And Saltburn is definitely rooting for the specter, full stop.

Britain is a nation of ranks and hierarchies, naturally averse to watering down pristine intergenerational blue blood with filthy postmodern capitalist dollars. “Stay in your place”, that is the Tory way. Even in a “modern, democratic” nation nonetheless governed by an antiquated Tory hegemony and quite opposed to both radicalism and revolution. Ollie, however, wants to be in the room where it happens in a world where only those who are born in that room ever get to enter it. It is why he faces this overwhelming yearning for Felix’s world and Saltburn’s beauty – it is, by default, off-limits to him no matter how hard he tries to reach it. In my opinion, Ollie’s fascination with Saltburn isn’t due to a homoerotic fixation on Felix. It’s due to an outsider’s bourgeois fixation on the romantic world of inherited English rank, status, and wealth. The romance of Saltburn, our need to romanticize the privileged upper class, is evident in the stunning cinematography and costuming. Farleigh is the first person in the family to notice Ollie’s insecurities and see it for what it is – he’s begging to be let in. Farleigh likewise takes the opportunity to constantly, antagonistically remind Ollie that Saltburn isn’t his world, that he will never fit in and will never be accepted as one of them: the tux will never perfectly fit. It is the tragedy of the almost-theres. So Ollie decides to just get rid of everyone in his way and prance about naked since the tux refuses to bloody fit.

It’s just so English, culturally speaking. To claw your way to the top to sit with the big boys rather than to criticize the system that bred the arduous, back-breaking, fatal climb in the first place. This is Tory meritocracy, founded on decades of policies to reduce taxes on properties such as Saltburn in Britain, to keep old peers in the Lords. Felix Catton is Sebastian Flyte is Margaret Thatcher. Thatcher who, despite brandishing her “common” background as a selling point during her political career, painstakingly perfected the Received Pronunciation of her Eton parliamentary peers and successfully died with the coveted title of Baroness added to her name. Thatcher, an Oxford scholarship kid like Ollie, who wormed her way into a title and country house and was yet forever plagued by her average, middle-class upbringing.

Ollie is obsessed with much more than a mere man. If Saltburn were a Marxist class story, truly dedicated to class critcism or subverting the English Country House drama, Ollie would have burned the whole damn place down. But Saltburn is rather a Tory class story about the insane lengths the British bouregoisie, obsessed with ascending class hierarchies and disillusioned by the lies of meritocracy, will go to possess the near-unpossessable ranks at the peak of English-textured privilege. The film is a performance in English upper-class tomfoolery and a celebration of its infiltration by the almost-theres.

And yet, the cycle perpetuates itself. Saltburn is ruled by a new lord. Nothing, really, has changed.

[victorsandvanquishers]

The Red House (and all who live in its walls) - Chapter 21

Fandom: DC Comics

Ships: Bart Allen/Kon El; one-sided Lex Luthor/Clark Kent mention

Ratings: M+

Warnings: Alternate Universe - Modern: No Powers; Southern Gothic Horror; Mentions of self-harm, underage sex, and substance abuse; Ghosts; Exes; Lex Being Lex

Story Synopsis: When former child star and Metropolis sweetheart Kon 'Superboy' El loses the last vestiges of his career to rampant partying and a budding alcohol addiction, he's forced to move into an old house in the Georgian woods because he can't afford his apartment or his bills anymore. Never the quitter, Kon embraces the crumbling antebellum house and all of its possibilities.

[Bart Allen/Kon El, No Powers AU, gothic horror romance]

Chapter Summary: When an old friend visits Kon in the Red House, scars are laid bare and some truths are told.

~~~

We're at the homestretch! Thank you for reading, and hope you enjoy the penultimate chapter of the Red House and its insane denizens. I had no choice but to circle back to the basics and make this ending the most dramatic, soap operatic shit possible. Enjoy the tomfoolery, and don't forget to leave comint! ( •̀ .̫ •́ )✧

[luxmoogle]

I've just seen the post about being visceral horror fan and need to ask: what are your favourite horror titles? 💜 Do you have any recommendations? 💜

Beware, long post below..

This is honestly quite a hard question, and recommendations hinge on what kind of horror one would prefer, and in what medium..! Books, movies, manga, audio tales even! A lot of my personal horror tastes weigh on the side of psychological horror or ones with supernatural or mystic features, less of slashers and violence, though I do enjoy quite a few of such titles as well.. I'll try not to mention all of the most obvious stuff everyone's already seen.

When it comes to games, I always say that if Kingdom Hearts didn't exist my favorite game of all time would be Bloodborne. The gothic style, vague storytelling and existential horror really speak to me. The Project Zero (Fatal Frame in the US) -series is dear to my heart, specifically the third one. The Forbidden Siren -series was also quite a treat in it's time. Honorary meantion to ObsCure, a great game to play with multiple people at a time, but unfortunately I think it's one of the rarest games ever now, so finding a copy/playing it might be quite the challenge..

In literature, I'd recommend getting into classic horror short stories, especially from the eighteen-hundreds! The setting and time they were written in often give them an automatic edge for a spooky tone.. They're fun stuff to read on a moody afternoon, and don't require the bandwidth that a full book might, if you're not such an avid reader. Some suggestions:

The Vampyre, John William Polidori (1819) The Monkey's Paw, W. W. Jacobs (1902) The Room in the Tower, E. F. Benson (1912) Kerfol, Edith Wharton (1912) Afterward, Edith Wharton (1910) The Empty House, Algernon Blackwood (1906) Sir Edmund Orme, Henry James (1891) The Body-Snatcher, Robert Louis Stevenson (1881) The Yellow Wallpaper, Charlotte Perkins Gilman (1892)

With horror movies, I think anyone with an interest in horror already know all the typical classics and modern favorites, so I'd recommend something a tad more obscure.. The asian horror scene, especially in the late 90's and early 2000s was littered with great techno ghost punk flicks. Many of these are favorites from one of my best friends, who really has a taste for this type of movie, but I'll highlight the one's I'm also very into and would especially recommend.

Kaïro / Pulse (2001), Whispering corridors -series, Dark Water (2002), Saiko! The Large Family (2009), A Tale of Two Sisters (2009), Bunshinsaba, The Wailing, The Complex, One Missed Call (2003), Shutter (2004)

This one's probably a very tired answer but with manga I just have to say the obvious, which is Junji Ito. His body of work just really scratches the itch I have for a nice tight scary story and gives a vague uneasy vibe.. Both his storytelling and art is something I love.

One of the main features of horror is suspense, so I would recommend always going in blind, stop with trailers, synopsis etc. and really sit in a dim room on a calm day or evening and get into it! You can only be horrified if you let yourself be.

[forthegothicheroine]

Do you have any gothic novels that you can recommend off the top of your head? Especially to people who want to try their hand at the genre? I've hit a wall in my project and I need to get some fresh inspiration, but I don't know where to start and the book side of tumblr failed me the last time I tried asking them for recs

Hell yeah! I made some old posts for this a while back, but it's good to look at it again with my more recent taste! Let's see...

Classic Gothics

Dracula: The one, the only. Often imitated, never equalled.

Frankenstein: Short, sad and world changing! Can get a little slow at parts, but definitely worth it. (True story, my parents read this to me as a fetus to calm my kicking, so it's part of my personal mythology!)

The Case of Charles Dexter Ward: The most gothic of Lovecraft's work, and possibly my favorite. Novella length, usually found in collections.

The Picture of Dorian Gray: Sinister, sexy, philosophical, with a main character I want to punch in the face!

Carmilla: Another novella, about as lush and swooning as vampire stories get.

The Hound of the Baskervilles: A very readable gothic mystery.

Confessions of a Justified Sinner: This one isn't as action packed, but if you have big religious issues like me, it's incredibly haunting.

The Monk: Like the above, but sleazier and crazier!

Northanger Abbey: A gentle parody of early gothics, starring an adorable proto-goth girl.

The Italian: I'll be honest, I find Anne Radcliffe kind of a slog, but if you liked Northanger Abbey and want to read what Catherine Morland reads, this is probably the most accessible.

A Long Fatal Love Chase: This starts as campy and then takes a plunge into gut-wrenchingly intense. The book Jo March was always trying to write!

The Strange Case of Doctor Jekyll and Mr. Hyde: Another novella, and Stevenson is one of the best writers out there for excitement!

The Werewolf of Paris: Gothic monster as serial killer, still scary today.

Rebecca: The foundation of all gothic romance to come afterwards. A ghost story without a ghost, with an ending that's still debated as happy or sad!

Jane Eyre: The other foundation of all gothic romance to come afterwards. I bounced off the child abuse-heavy beginning a few times, but I'm very glad I finally read to the good stuff!

The Castle of Otranto: Considered the first gothic novel, a goofy b-movie in written form.

Modern-ish Gothics (post-1950 or so)

The Dark Descent of Elizabeth Frankenstein: Fuck the haters, I love this book.

Mexican Gothic: Genuinely scary, genuinely romantic, genuinely creative. A favorite.

Blackwater: A southern gothic saga of a family in a flooded town, whose scion marries a woman who isn't quite human. A whirlwind ride!

A Bloodsmoor Romance: Another family saga, this one northern gothic, with sisters whose lives all go off the rails in different supernatural ways. Give this a try before writing Joyce Carol Oates off entirely!

The Silver Devil: A nasty, problematic bodice ripper where you'll cheer for the heroine to bring the hero down low!

Interview with the Vampire: To be honest again, I'm not super into Anne Rice, but this is a page-turner, and every vampire book that has come after it has had to respond to it in one way or another. Read the next two Vampire Chronicles books if you like it!

A Taste of Blood Wine: My own preferred sexy vampire romance!

The Bloody Chamber: The ultimate dark sexy fairy tale work, accept no substitutes.

Haunted Castles: Contains the brilliant novella Sardonicus, as well as some other campy gothic stories!

A Great and Terrible Beauty: Many millennials were introduced to the gothic genre via this, Fear Street Sagas, or A Series of Unfortunate Events. This is my favorite of the three, though the sequels are a bit of a letdown.

Gormenghast: This series is a throwback to the pseudo-medieval, Otranto-style gothic, but much better. Don't read Titus Alone.

[magical-grrrl-mavis]

Games you can play instead of D&D

Pathfinder/Pathfinder 2e: Same concept as D&D but by a better company. You are an adventurer in a high fantasy setting. Character creation combines a race and class.

Mutants and Masterminds 3e: Action-focused superhero RPG, uses starting points to buy equipment and skills and build powers by combining effects. Character creation can take a bit to get used to but there are many sourcebooks with helpful examples to use, there are countless pre-built characters online, and a slew of official books containing just about every DC Comics character you can think of to play and interact with.

Vampire: the Masquerade: You are a vampire in the shadowy gothic underbelly of modern society, struggling against any number of threats, kindred or otherwise, while trying to keep the existence of vampires a secret and struggle against your own bestial nature. Will you retain your humanity? Or give in to the beast. High focus on roleplay and social intrigue.

Monster of the Week: A rules-light game based on the Powered By the Apocalypse system that recreates the experience of shows like Buffy, Supernatural, X-Files and Warehouse 13. You play as a Hunter investigationg supernatural mysteries and fighting monsters. Player characters are based on archetypes from this genre (Professional, Monstrous, Spell-Slinger etc) (this one's my favorite! :D)

Masks: A New Generation: Play as a young superhero finding their place in the world. The game creates a coming-of-age story as you grow and change in response to your actions and the people and events around you. Character creation reflects this by focusing on your characters personality, struggles and strengths while being more loose about your actual powers.

Girl by Moonlight: Magical Girls (boys, enbies etc) through a queer lense. You play a magical guardian grappling with destiny, love and the heartbreaking duality between who you are and who the world says you are. Split between four genres you can choose from-classic magical girls, dark magical girls, psychological conspiracy and... mecha. I guess. (I'm gonna be honest I haven't looked super deep into those last two yet). Characters are based on archetypes from magical girl stories, some with very obvious inspirations.

Scum and Villainy: Play as a roguish outlaw in a galactic society run by an oppressive force. You are the Han Solo of this story, smuggling and doing crimes and mercenary work aboard your own starship.

Killer Ratings: You and the other players are the insufferable cast of a cheap ghost-hunting show and have found yourselves in over your heads as you've wandered into an actual haunted location. Play as you explore the site and are most likely taken out one-by-one, returning as vengeful spirits to further terrorize your former cast-mates.