Tips to writing psychological horror?

[Lishy]

Hey guys. I wish to write psychological horror.

Unfortunately, I don't know if i am the guy for the job or not, because I get VERY queasy from anything surgical, which is unfortunately what my VN deals with (As there is a large amount of explicit brain surgery especially...)

But any tips for writing overall psychological horror? Not necessarily "slasher" horror, but psychological horror in a realistic, down-to-earth setting? From the perspective of 17 year olds in their final year of high school, and a story dealing with conspiracy and paranoia?

[Gambit74]

I currently don't have many good tips to offer since I'm practicing writing this genre myself (Thus I would have no idea if I'm successful or not since my work has yet to be shown to anyone), but I guess one of the most important things to do (IMO) is avoid adding anything supernatural.

Psychological horrors are scary because the nature of the horror in this genre not only makes the audience feel uncomfortable, but they seem like things that can actually happen in real life. Unless you're a talented writer who can convince the audience otherwise (Like Satoshi Kon), supernatural and psychological horror just don't mix well. When you throw in ghosts and super powers, it really lessens the impact of how believable the overall story can be. At most, they should only be hallucinations and whatnot, but then you would have to give a reasonable explanation as to why people were seeing them.

How you write a psychological horror is really up to you since the genre comes in three different forms (That I know of). There's Mind torture, Fridge Horror, and Mind tripping.

Mind torture, as its name implies, is when the protagonist is being mentally tortured. It can be anything like reliving the biggest mistake of their life in their head, or having the villain prey on their minds by making them recall a traumatic memory. This is sometimes categorized as psychological thriller as well depending on how it's used. Death Note is an example of the thriller aspect.

Fridge Horror, from what I can understand, is when the horror behind a certain situation doesn't occur to the audience until much later when they actually think about it. I will provide a good example from The Legend of Zelda: Majora's Mask since it contains so many of these.

Throughout the whole game, you get three masks that help you transform into these: A Deku Scrub, a Goron, and a Zora. However, to obtain such masks, the people whom you get them from must die so that their spirit can inhabit the mask and allow you to transform into them. Although the game shows how Link obtains the Goron mask and the Zora's mask, it never revealed where Link's Deku Mask came from. We are just lead to believe that Skull Kid transformed him into a Deku Scrub and he got a mask out of it by playing the Song of Healing.

Later on when you race the Deku Butler to obtain the Pig Mask, he tells you that you remind him of his son whom left somewhere. Once you complete the game and view the ending, you see the Deku Butler bowing down in front of the dead Deku Scrub whom you see at the very beginning of the game when you first enter Termina. Although you probably didn't really think much about the Deku Scrub and its significance upon your encounter with it back then, the Fridge Horror comes in when seeing the Deku Butler there hits you with the sudden realization that the Deku Scrub is his son, and also that the Deku Mask you hold contains his spirit.

And finally, Mind tripping is when you mess with the minds of the audience, whether it be for horror or just for the sake of weirdness.

The film "The Uninvited"

is a good example for horror usage, while Paranoia Agent is a great example of "for the sake of weirdness".

I recommend watching several animes and movies that fall under these categories. They can provide a couple of neat concept and ideas that you can use, as well as showing how they're executed.

[Lishy]

I am a big fan of Higurashi When They Cry, and that is fairly typical of me! :laugh:

Though, I haven't played the VN in a loooong time because I am trying to not let it influence my own work too much...

Isn't there any other input you could possibly give how to improve, or establish more depth to the psychological horror? I do have a few ideas, and I wish to experiment with dissonance... But any advice is appreciated!

[AnthonyHJ]

This is just my opinion, but...

The number one rule of psychological horror, as opposed to standard horror, and the one that Lovecraft excelled at is this; an enemy you can fight is never as scary as one you can't. This is especially effective if the audience never sees the killer; which is more scary: an axe-wielding maniac standing in the middle of the road or something which grabs your character's friends one by one without anyone even seeing it? There are many other reasons why your protagonist might not be able to fight it, but not seeing it... that makes it impossible to defend yourself from it and the audience will imagine things more scary than any artist could draw or writer could describe.

What Gambit74 said has some merit for me, but I think the supernatural has a place. The trick for me would be to make sure it is still relevant to a person's daily life. The more familiar something is, the more it could be lurking in our own lives without our realising, the more scary it becomes. We fear vampires more than many other monsters (or did, before they started to sparkle) because they look like us and can walk among us. You can be oblivious to their true nature right up until their fangs are in your throat. Of course, a serial killer fits the same profile; they usually look and act so normal that you don't realise who and what they are until the last moment...

The last trick I'd suggest is that we respond more viscerally to a hammer as a murder-weapon than a sword, a knitting needle rather than a dagger. We know that swords and daggers are weapons, so killing someone with one is consistent with their purpose. On the other hand, a hammer or a knitting needle is a tool and probably one we see quite often in a peaceful context.
Worse then this, we have all held a hammer; we know the feel of it in our hands as we tap a nail in, in some cases we have swung a mallet at a tent peg or driven a stake into the ground with a sledgehammer. Your audience, with little or no prompting, can call to mind the feel of the hammer, the momentum as it swings. Right up until it hits the back of your victim's head, most people know what the killer is feeling in their hands. That is scary because it forces us to inhabit the killer's head just for a moment...

[pucedragonlord]

Oh boy, writing advice! This is what I live for.

The secret to all kinds of horror, be it psychological or not, is the Alfred Hitchcock formula: the scariest monster is the one you never see. The difference between "jump horror" and psychological horror is that in one the monster picks off one at a time and pops out and surprises you, ideally never giving a clear view, and in the latter the monster doesn't exist.

But you want your story grounded--you don't want a monster, do you? The other secret to horror is knowing your audience. The thing that scares everyone is the unknown. That's why we're afraid of the dark as kids and we get uncomfortable when we're lost. It's why we think there are terrible monsters in deep space and darkest depths of the ocean (and in the latter's case probably because there are terrible monsters there. Look up "the bloop," it's my favorite). But the dark is only scary to kids, and The Bloop is only scary to deep-ocean marine biologists. What you need is to find out which unknown is scary to high schoolers on the verge of graduation.

As I was once a high schooler on the verge of graduation, I can say the scariest thing was college. It was an unknown--I didn't know where I'd be, if I'd be able to make friends, how hard the classes would be, how much I could talk with my friends back home, if I would even keep my friends back home (I did. It's great). What the geography would be like?, Would I be able to eat well? Keep my hobbies or grow out of them? There was a lot to worry about, especially since I had never been away from home for more than a couple weeks before.

You also said conspiracy. What kind of conspiracy/paranoia? Does it involve the main characters, or is it something external they get themselves involved in? If it involves the characters, perhaps a sickness or the reason there needs to be brain surgery is the paranoia agent (which, by the way, you should watch if you want to write a psychological horror), if it's something external, why do they need to be afraid of it?

I hope that helps a little, even if it is a little long.

Also, that part in Majora's Mask still gets to me. After all these years and playthroughs...

[Sharm]

If you want to write in a genre, it's very important to have read in that genre. There are lots of little things that can trip you up and make your story sound weak or pretentious that have already been solved by someone else. If you're familiar with other works like yours, you'll know what to watch out for and what some possible solutions are.

[Gambit74]

Ah yes, I also gotta agree with the unseen enemy thing. I have also seen an interesting work where the villain is revealed early on to be just an ordinary human, but he was very manipulative due to his way with words and how he was prying into people's lives.

Isn't there any other input you could possibly give how to improve, or establish more depth to the psychological horror? I do have a few ideas, and I wish to experiment with dissonance... But any advice is appreciated!

Anthony said it best with the whole Hammer thing. One of the things I consider that works effectively is when you turn something that people use or do all the time into a tool of horror. It's scary to them because it's something that they are familiar with, and the fact that what they do everyday can be used to break or kill someone so easily makes them feel uncomfortable. Even weapons can instill mind disturbing imagery in the audience if done right, despite knowing that people often use them to harm others.

In my project for example, one of my characters is very afraid of kitchen knives. Whenever they hold a knife and begin cutting meat, they feel like they're becoming someone else. They notice how red, bloody and veiny the lump of meat is, the strange smell that comes from it, how it feels when they grab it, and how squishy it is as they slide the knife down. They then begin to imagine the meat as human flesh, and become nauseated at the thought before finally collapsing. In extreme cases, they become excited from the thought instead of collapsing, and will feel the sudden urge to plunge the knife into someone.

[pucedragonlord]

If you want to write in a genre, it's very important to have read in that genre.

Right, reading too, not just anime:
HP Lovecraft is the default answer for psychological horror, though a few Stephen King novels do a good job of being psychological as well, namely It.

If you're more for movies, of course Alfred Hitchcock is a must, and something I saw relatively recently that would be relevant is The Orphanage, which has elements of traditional horror, but try to watch it through the eyes of a parent and the psychological horror aspect becomes much stronger.

[LateWhiteRabbit]

....but try to watch it through the eyes of a parent and the psychological horror aspect becomes much stronger.

Yes, just as with the hammer example, the main thing with psychological horror is that the audience can RELATE to it. That it is something that could conceivably happen in real life. Take for example the Silent Hill games - bloody hand-prints and creeping monsters or loud noises are scary at that MOMENT, or instant, but other things, like a child being missing, can sit in the back of the head and terrify a parent. I've found a lot of the difference in whether someone finds Shattered Memories terrifying is whether or not the player is a parent.

As a former Marine, monsters, seen or unseen, don't really scare me. They might startle me, but I'm never scared because I know I could kill them, or the worst they could do to me is kill me. But I find sequences like the lost child scene in Heavy Rain or the scenario in Shattered Memories genuinely freak me out. They take up root in the back of your head. You think about them afterward. And you can't dismiss them like you can with monsters by saying "it isn't real". Because your child COULD be lost.

Psychological horror is of a deeply personal nature. It is something that worms its way into the mind and shows the audience the horror of everyday life and existence. It shows us how vulnerable we are to being center stage in our own horror story. It shines light on the shadows we avoid and ignore in real life. It shows us how close WE are to being the monster. Psychological horror is really about demonstrating the consequences of failure or sin on a personal level. The child is vulnerable and lost because YOU made a mistake. The horror is happening because of something YOU did. It is personal.

(It has been brought up that the prevalence in rescuing children instead of girlfriends in recent video games is a consequence of a maturing and aging gaming group and developers. Rescuing a girlfriend is a powerful enough motivator for a teenager, but nothing quite motivates an adult parent like a child in danger. A girlfriend is a mature, independent person capable of making her own decisions and taking responsibility for her own actions. A child is a vulnerable innocent with little world experience that is YOUR responsibility to protect - and your entire future legacy all rolled into one. )

And I would argue that HP Lovecraft isn't psychological horror. His stories always deal with external evil and horrors that have always existed - monsters beyond mortal ken that cannot be understood. Maybe the protagonist dug too deep or shouldn't have gone looking, but the evil usually doesn't exist BECAUSE of the actions or in-actions of the protagonist, and they threaten the world, not just the main character. He wrote existential horror.

That is another feature of psychological horror - the horror is often literally personal. The rest of the world isn't affected. No one else can see the horror or experience it, and the evil will usually never hurt anyone BUT the protagonist. If the protagonist fails (and in psychological horror, like most horror, they should fail) the world is not at risk. No one else dies but them - because the horror is uniquely tailored as a punishment for their sins and failures.

[Vegeluxia]

Lot’s of what I wanted to say has already been very well said, so I’ll keep it short..ish. :’D

1) IMO, there is a thick, mustachioed, neon-red line between scary and disgusting. The best example I can think of is Escape From Raven Hearse. Most everything is supposed to be tormenting the main character, and while the imagery is very disturbing, it’s more disgusting than anything. So much so it just ruins the game. It doesn’t have any scare factor, just ew factor.

2) The thought that the constant mind screws and torture you’re going through aren’t going to be over until you get rid of the source of it, but you have no idea what the problem is or if you even can get rid of it. That can be used to your (the writer's) advantage.

3) The realism of the events that happen can be very important. A friend once told me her brother had to go to the hospital to have a broken leg fixed up or something. They gave him the anesthesia, but it didn’t work right and temporarily killed his ability to speak and move rather than pain sensitivity. He felt everything that was going on, but he couldn’t speak up about it or signal anything was wrong. I saw that as something that could very realistically happen to me, so it freaked me out. It doesn’t matter how strong you are if you can’t do anything about what’s happening to you.

[C204]

Do you know what scares humans the most?
The unknown.

There is nothing a person fears more in terms of horror than what's around the next corner.
Especially if you hear something from that direction.

Puce put it best.
The unknown simply causes worry and if molded into proper shape into mindbreaking fear.

Now mix that ingredient with reality because it gives off the feeling it can happen to them as well.
Best example would be to use close ones of the main character cause that is more real than a serial killer randomly chosing them.

And watch this:
http://www.youtube.com/watch?v=HFMz9KI3OX4
Entire game is mental torture.
Let me tell you why:
Because the main character is absolutely defenseless.
Constantly running low on Oil for his torch when the near entire castle is darkened.
His sanity meddling with his senses.
Or if you're close to a monster: All you can do is hide but if you look them in the face they literally smell your fear.
Thus the only effective way is to go fetus position in a corner looking away from.Thus leaving no way to determine if they're behind you unless they growl.
Saw how a player couldn't tell if the monster is gone and daringly turned around.Surprise surprise then.
Constant noises such as laughs and painful moans in the distance.
Now play this in the night on full volume.

So basically:
Fear of the unknown.
Defenseless.
Realism.
And what I think is most important:
Manipulate their imagination.

[dramspringfeald]

When in doubt Google

TV Tropes is a good place for ideas and tools for writing. If Jon Favreau uses them then why cant we? (He made "Ironman" and "cowboys and aliens" by the way. Also he uses 'tropes' in the C&A Movie Commentary) Many of these are Exactly what is says on the Tin so I'm not going to explain them.

help with what to do
psychological horror What you are looking for.
And I Must Scream = like being a zombie AND aware but you cant tell anyone.
Rule of Scary = What is Scary varies from person to person but these may help.
Nightmare Fuel = from your Nightmares to theirs
Primal Fear = EVERYONE is afraid of the dark.
Paranoia Fuel = Maybe they really ARE out to get you.
Fridge Horror < I love this one. like a good roast it gets better the longer it rests.
Accidental Nightmare Fuel
Truth in Television = Nothing is as scary as knowing it could happen or has.
Horror tropes A collection of these
Fear Tropes A DIFFERENT collection of these
Through the Eyes of Madness = Crazy people are kind of scary, watching them get there FAR worse.
The Fourth Wall Will Not Protect You Freddy WILL get you in YOUR dreams.

what not to do
Nightmare Retardent = Alien Scary > Godzilla not so much
Narm Women Voting is Scary right?

[RVB]

When in doubt Google

TV Tropes is a good place for ideas and tools for writing.

I agree whole-heartedly on this one.I've actually learned a lot of things about writing and even the things I watch due to TV Tropes. Even when I wrote something or design a character, after they're completed I go to see if they fit the tropes I put into their design or not... especially when it comes to certain horror elements.

The thought of being alone has always been a stickler for me, or even worse, the feeling of knowing you know SOMETHING IMPORTANT but can't remember it. Also, in nightmares, things like not being able to speak are big. Have you ever played a video game where, you got so caught up in the moment you started screaming at the TV ("RUN YOU STUPID GIRL, WHY DO YOU RUN LIKE A PANSY") or ("OH SHI- OH SHI- OH SHI-- GRAB THE GOLF CLUB, GRAB THE GOLF CLUB!") as if the character can hear you. Words have such a strong power, maybe even putting the player into a situation where they're helpless and have to rely on physical aspects on the game would be interesting. I think a good example is the Crimson Room. Nothing scary appears or happens, but CRAP I WAS SO SCARED THE WHOLE TIME FROM SUSPENSE. Also, the game Bars of Black and White is a good example of it. There is something about being trapped, helpless, with limited resources (like your own wit and puzzle-solving skills) that can put someone on edge; perhaps because they are not sure of their own abilities.