History SoYouWantTo / WriteASlasherHorrorStory

* When a killer has the theme of [[RubeGoldbergHatesYourGuts Rube Goldberg deathtraps]], or generally killing each victim in a unique way, they run the risk of breaking the audience's WillingSuspensionOfDisbelief if it gets too cartoony or ridiculous. At least, this should be avoided if you want realism[[hottip:*:in the "this could potentially happen to you" sense]], though a few films knowingly turn the above UpToEleven and draw audiences by promising creative kill showcases.

* Is your killer human, like ''Film/{{Scream}}'''s killers, or is he or she something more supernatural, such as [[Franchise/ANightmareOnElmStreet Freddy Krueger]], [[Franchise/FridayThe13th Jason Voorhees]] or [[Franchise/{{Halloween}} The Shape]]? In the case of the more famous slasher horror franchises, it is not uncommon for a killer to start off more or less human, but to become supernatural as the series goes on, if only to explain how he or she [[JokerImmunity keeps coming back]] [[NotQuiteDead for the sequels]].

* ''Film/{{Scream}}'', made by ''Nightmare'' director Creator/WesCraven, takes the GenreSavvy approach to slasher horror, with plenty of LampshadeHanging, and turns several of the more common tropes on their heads, as well as featuring ''two'' killers rather than just one. It is actually quite genuinely scary at times, particularly in the opening scene. Its success wound up [[PopularityPolynomial reviving the slasher genre]] after years of being viewed as [[DeaderThanDisco trite and cliche]], as well as starting a [[PostModernism Post Modernist]] wave in horror. For tropers, the sheer quantity of horror tropes that get lampshaded, subverted and otherwise played with is by itself reason to see this film. It has had three sequels.

* While prior films (such as ''Film/{{Psycho}}'' and the works of DarioArgento) laid the groundwork for the genre, ''TheTexasChainSawMassacre1974'' is often credited as being the first "real" slasher flick. While it holds up surprisingly well, nearly all of the actual violence is [[GoryDiscretionShot implied or offscreen]], which may disappoint modern audiences. Its sequels all [[BloodierAndGorier amped up the gore factor]], although some would argue that this came [[{{Sequelitis}} at the expense of quality]]. Its 2003 [[TheRemake remake]] is often held up as one of the few horror remakes that managed to live up to the original.

* As a genre, {{slasher movies}} are heavily susceptible to falling on the wrong end of SturgeonsLaw. They are a popular choice of film for aspiring student or indie filmmakers, thanks to the fact that a cheap-'n'-dirty slasher flick can easily be made on practically {{no budget}} -- all you need is [[KensingtonGore fake blood and gore]] (which can easily be made with common household and cooking materials), cast and crew (recruit from your friends and family), and an assortment of killing implements (hello, Walmart). Unfortunately, in the cluttered world of the slasher genre, it takes a lot to stand out, and most of these amateur efforts wind up paling in comparison.

You love to watch SlasherMovies, so you've decided to take the audience's PrimalFear of being hunted and twist it into NightmareFuel. Specifically, you want to follow the tried and true method that has haunted audiences for generations: a single murderer is picking off his victims one... by... one. Until the bloody end.

* There are two common and popular alternatives for slasher movie settings; either an isolated, creepy out-of-the-way place (often some kind of shack or collection of shacks; see the {{summer camp|y}} setting of ''Franchise/FridayThe13th'', or the out-of-the-way hovel in ''Franchise/TheTexasChainsawMassacre'') surrounded by forests and scrub land, or an urban location that the audience would be expected to be familiar with presented in a creepy, sinister fashion ({{suburbia}} in ''Franchise/{{Halloween}}''; the high school prom in ''Film/PromNight''). The former generally allows you to stress the isolation of the characters -- if anyone is coming to the rescue, it's going to be a while before they get there, meaning the characters have to survive as long as possible before help arrives. It also generally allows you to present as the bad guys (or at least antagonists) the kind of [[HillbillyHorrors grotesque, in-bred, physically repellent and psychotic hillbillies and hicks]] that this genre seems to adore. The latter allows you to spook the audience out by presenting something that they'd recognise and be comfortable with as a horrifying place of terrors. Of course, the latter is usually less isolated, presenting something of a pitfall in that the audience may question why the characters don't just call the police and let them handle it; this is usually resolved (not entirely satisfactorily at times) by making the police [[PoliceAreUseless useless and incompetent blunderers]] who are usually [[RedshirtArmy way outmatched by one killer]] and thus end up as blade fodder. Or [[PlotDrivenBreakdown there is simply no way left to call them.]]

* ''Film/BlackChristmas'', released in the same year as ''TCM'', is also considered a TropeMaker for the genre, although time has caused it to become more obscure than its cousin. The fact that it was made and released around the same time as ''TCM'', independently of that film, means that it too has a reasonable claim to being the "first slasher flick." (Most horror fans just split the difference and give both movies credit.) It jump-started the tradition of [[HorrorDoesntSettleForSimpleTuesday holiday-themed horror films]], and remains very effective as a straight-up scarefest. Clearly, enough people remembered it for it to be remade in 2006.

* There are two common and popular alternatives for slasher movie settings; either an isolated, creepy out-of-the-way place (often some kind of shack or collection of shacks; see the {{summer camp|y}} setting of ''Franchise/FridayThe13th'', or the out-of-the-way hovel in ''Franchise/TheTexasChainsawMassacre'') surrounded by forests and scrub land, or an urban location that the audience would be expected to be familiar with presented in a creepy, sinister fashion ({{suburbia}} in ''Franchise/{{Halloween}}''; the high school prom in ''Film/PromNight''). The former generally allows you to stress the isolation of the characters -- if anyone is coming to the rescue, it's going to be a while before they get there, meaning the characters have to survive as long as possible before help arrives. It also generally allows you to present as the bad guys (or at least antagonists) the kind of [[HillbillyHorrors grotesque, in-bred, physically repellent and psychotic hillbillies and hicks]] that this genre seems to adore. The latter allows you to spook the audience out by presenting something that they'd recognise and be comfortable with as a horrifying place of terrors. Of course, the latter is usually less isolated, presenting something of a pitfall in that the audience may question why the characters don't just call the police and let them handle it; this is usually resolved (not entirely satisfactorily at times) by making the police [[PoliceAreUseless useless and incompetent blunderers]] who are usually [[RedshirtArmy way outmatched by one killer]] and thus end up as blade fodder.

* Is your killer human, like ''Film/{{Scream}}'''s killers, or is he or she something more supernatural, such as [[ANightmareOnElmStreet Freddy Krueger]], [[Franchise/FridayThe13th Jason Voorhees]] or [[Franchise/{{Halloween}} The Shape]]? In the case of the more famous slasher horror franchises, it is not uncommon for a killer to start off more or less human, but to become supernatural as the series goes on, if only to explain how he or she [[JokerImmunity keeps coming back]] [[NotQuiteDead for the sequels]].

* ''Film/ANightmareOnElmStreet'' put a supernatural twist on the genre. The killer is a former child predator named Freddy Krueger (the last of the "Big Three" slashers) who was [[PaedoHunt murdered by local parents]] in an act of vigilante justice, and now stalks his teenage victims through their dreams as [[SinsOfOurFathers revenge against their parents]]. The original and ''New Nightmare'' are usually regarded as the scariest in the series, with most of the other movies moving further into [[SlidingScaleOfComedyAndHorror horror-comedy territory]] by turning Freddy into a more FauxAffablyEvil character. That is, with the exception of the second movie, ''Freddy's Revenge'', which is known primarily for having [[ReadingsAreOffTheScale off-the-charts]] levels of [[HoYay gay subtext]] that would make [[Series/{{Supernatural}} Sam and Dean Winchester]] blush. The original was remade in 2010, to the disappointment of many.
* ''Film/{{Scream}}'', made by ''Nightmare'' director WesCraven, takes the GenreSavvy approach to slasher horror, with plenty of LampshadeHanging, and turns several of the more common tropes on their heads, as well as featuring ''two'' killers rather than just one. It is actually quite genuinely scary at times, particularly in the opening scene. Its success wound up [[PopularityPolynomial reviving the slasher genre]] after years of being viewed as [[DeaderThanDisco trite and cliche]], as well as starting a [[PostModernism Post Modernist]] wave in horror. For tropers, the sheer quantity of horror tropes that get lampshaded, subverted and otherwise played with is by itself reason to see this film. It has had three sequels.

You love to watch SlasherMovies (GuiltyPleasure notwithstanding), so you've decided to take the audience's PrimalFear of being hunted and twist it into NightmareFuel. Specifically, you want to follow the tried and true method that has haunted audiences for generations: a single murderer is picking off his victims one... by... one. Until the bloody end.

* Is your killer human, like ''Film/{{Scream}}'''s killers, or is he or she something more supernatural, such as [[ANightmareOnElmStreet Freddy Krueger]], [[Franchise/FridayThe13th Jason Voorhees]] or [[Film/{{Halloween}} The Shape]]? In the case of the more famous slasher horror franchises, it is not uncommon for a killer to start off more or less human, but to become supernatural as the series goes on, if only to explain how he or she [[JokerImmunity keeps coming back]] [[NotQuiteDead for the sequels]].

* There are two common and popular alternatives for slasher movie settings; either an isolated, creepy out-of-the-way place (often some kind of shack or collection of shacks; see the {{summer camp|y}} setting of ''Franchise/FridayThe13th'', or the out-of-the-way hovel in ''Franchise/TheTexasChainsawMassacre'') surrounded by forests and scrub land, or an urban location that the audience would be expected to be familiar with presented in a creepy, sinister fashion ({{suburbia}} in ''Film/{{Halloween}}''; the high school prom in ''Film/PromNight''). The former generally allows you to stress the isolation of the characters -- if anyone is coming to the rescue, it's going to be a while before they get there, meaning the characters have to survive as long as possible before help arrives. It also generally allows you to present as the bad guys (or at least antagonists) the kind of [[HillbillyHorrors grotesque, in-bred, physically repellent and psychotic hillbillies and hicks]] that this genre seems to adore. The latter allows you to spook the audience out by presenting something that they'd recognise and be comfortable with as a horrifying place of terrors. Of course, the latter is usually less isolated, presenting something of a pitfall in that the audience may question why the characters don't just call the police and let them handle it; this is usually resolved (not entirely satisfactorily at times) by making the police [[PoliceAreUseless useless and incompetent blunderers]] who are usually [[RedshirtArmy way outmatched by one killer]] and thus end up as blade fodder.

* The original ''Film/{{Halloween}}'' is frequently regarded as one of the two {{Trope Codifier}}s for most modern slasher movies. Be warned when watching it; not only is it less gory and visceral than most slasher movies which have followed it, including its own sequels (like ''TCM'', it relies more on suspense than gore -- the killer doesn't even kill very many people throughout), the fact that most of the tropes it popularised were later shamelessly ripped off may result in SeinfeldIsUnfunny syndrome. Its killer, Michael Myers, is the first of the "Big Three" slasher killers. Was [[TheRemake remade]] by RobZombie in 2007, with a sequel (also made by Zombie) following two years later; his vision of the film falls very squarely into LoveItOrHateIt territory.

* Is your killer human, like ''Film/{{Scream}}'''s killers, or is he or she something more supernatural, such as [[ANightmareOnElmStreet Freddy Krueger]], [[Film/FridayThe13th Jason Voorhees]] or [[Film/{{Halloween}} The Shape]]? In the case of the more famous slasher horror franchises, it is not uncommon for a killer to start off more or less human, but to become supernatural as the series goes on, if only to explain how he or she [[JokerImmunity keeps coming back]] [[NotQuiteDead for the sequels]].

* There are two common and popular alternatives for slasher movie settings; either an isolated, creepy out-of-the-way place (often some kind of shack or collection of shacks; see the {{summer camp|y}} setting of ''Franchise/{{Friday the 13th}}'', or the out-of-the-way hovel in ''Franchise/TheTexasChainsawMassacre'') surrounded by forests and scrub land, or an urban location that the audience would be expected to be familiar with presented in a creepy, sinister fashion ({{suburbia}} in ''Film/{{Halloween}}''; the high school prom in ''Film/PromNight''). The former generally allows you to stress the isolation of the characters -- if anyone is coming to the rescue, it's going to be a while before they get there, meaning the characters have to survive as long as possible before help arrives. It also generally allows you to present as the bad guys (or at least antagonists) the kind of [[HillbillyHorrors grotesque, in-bred, physically repellent and psychotic hillbillies and hicks]] that this genre seems to adore. The latter allows you to spook the audience out by presenting something that they'd recognise and be comfortable with as a horrifying place of terrors. Of course, the latter is usually less isolated, presenting something of a pitfall in that the audience may question why the characters don't just call the police and let them handle it; this is usually resolved (not entirely satisfactorily at times) by making the police [[PoliceAreUseless useless and incompetent blunderers]] who are usually [[RedshirtArmy way outmatched by one killer]] and thus end up as blade fodder.

* ''Film/{{Friday the 13th}}'' is the other TropeCodifier for the genre, spawning a long list of sequels of varying quality. The first, fourth and sixth movies are often held up as series highlights, ''Jason X'' is usually viewed as SoBadItsGood, and the eighth and ninth movies are usually treated as a DorkAge for the franchise. Introduced the second of the "Big Three" slasher icons: Jason Voorhees. Was [[TheRemake remade]] in 2009.

* There are two common and popular alternatives for slasher movie settings; either an isolated, creepy out-of-the-way place (often some kind of shack or collection of shacks; see the {{summer camp|y}} setting of ''Film/{{Friday the 13th}}'', or the out-of-the-way hovel in ''Film/TheTexasChainsawMassacre'') surrounded by forests and scrub land, or an urban location that the audience would be expected to be familiar with presented in a creepy, sinister fashion ({{suburbia}} in ''Film/{{Halloween}}''; the high school prom in ''Film/PromNight''). The former generally allows you to stress the isolation of the characters -- if anyone is coming to the rescue, it's going to be a while before they get there, meaning the characters have to survive as long as possible before help arrives. It also generally allows you to present as the bad guys (or at least antagonists) the kind of [[HillbillyHorrors grotesque, in-bred, physically repellent and psychotic hillbillies and hicks]] that this genre seems to adore. The latter allows you to spook the audience out by presenting something that they'd recognise and be comfortable with as a horrifying place of terrors. Of course, the latter is usually less isolated, presenting something of a pitfall in that the audience may question why the characters don't just call the police and let them handle it; this is usually resolved (not entirely satisfactorily at times) by making the police [[PoliceAreUseless useless and incompetent blunderers]] who are usually [[RedshirtArmy way outmatched by one killer]] and thus end up as blade fodder.

* While prior films (such as ''Film/{{Psycho}}'' and the works of DarioArgento) laid the groundwork for the genre, ''Film/TheTexasChainsawMassacre'' is often credited as being the first "real" slasher flick. While it holds up surprisingly well, nearly all of the actual violence is [[GoryDiscretionShot implied or offscreen]], which may disappoint modern audiences. Its sequels all [[BloodierAndGorier amped up the gore factor]], although some would argue that this came [[{{Sequelitis}} at the expense of quality]]. Its 2003 [[TheRemake remake]] is often held up as one of the few horror remakes that managed to live up to the original.

* There are two common and popular alternatives for slasher movie settings; either an isolated, creepy out-of-the-way place (often some kind of shack or collection of shacks; see the {{summer camp|y}} setting of ''Film/{{Friday the 13th}}'', or the out-of-the-way hovel in ''Film/TheTexasChainsawMassacre'') surrounded by forests and scrub land, or an urban location that the audience would be expected to be familiar with presented in a creepy, sinister fashion ({{suburbia}} in ''Halloween''; the high school prom in ''PromNight''). The former generally allows you to stress the isolation of the characters -- if anyone is coming to the rescue, it's going to be a while before they get there, meaning the characters have to survive as long as possible before help arrives. It also generally allows you to present as the bad guys (or at least antagonists) the kind of [[HillbillyHorrors grotesque, in-bred, physically repellent and psychotic hillbillies and hicks]] that this genre seems to adore. The latter allows you to spook the audience out by presenting something that they'd recognise and be comfortable with as a horrifying place of terrors. Of course, the latter is usually less isolated, presenting something of a pitfall in that the audience may question why the characters don't just call the police and let them handle it; this is usually resolved (not entirely satisfactorily at times) by making the police [[PoliceAreUseless useless and incompetent blunderers]] who are usually [[RedshirtArmy way outmatched by one killer]] and thus end up as blade fodder.

* While prior films (such as ''{{Psycho}}'' and the works of DarioArgento) laid the groundwork for the genre, ''Film/TheTexasChainsawMassacre'' is often credited as being the first "real" slasher flick. While it holds up surprisingly well, nearly all of the actual violence is [[GoryDiscretionShot implied or offscreen]], which may disappoint modern audiences. Its sequels all [[BloodierAndGorier amped up the gore factor]], although some would argue that this came [[{{Sequelitis}} at the expense of quality]]. Its 2003 [[TheRemake remake]] is often held up as one of the few horror remakes that managed to live up to the original.

* ''ANightmareOnElmStreet'' put a supernatural twist on the genre. The killer is a former child predator named Freddy Krueger (the last of the "Big Three" slashers) who was [[PaedoHunt murdered by local parents]] in an act of vigilante justice, and now stalks his teenage victims through their dreams as [[SinsOfOurFathers revenge against their parents]]. The original and ''New Nightmare'' are usually regarded as the scariest in the series, with most of the other movies moving further into [[SlidingScaleOfComedyAndHorror horror-comedy territory]] by turning Freddy into a more FauxAffablyEvil character. That is, with the exception of the second movie, ''Freddy's Revenge'', which is known primarily for having [[ReadingsAreOffTheScale off-the-charts]] levels of [[HoYay gay subtext]] that would make [[Series/{{Supernatural}} Sam and Dean Winchester]] blush. The original was remade in 2010, to the disappointment of many.

* ''BlackChristmas'', released in the same year as ''TCM'', is also considered a TropeMaker for the genre, although time has caused it to become more obscure than its cousin. The fact that it was made and released around the same time as ''TCM'', independently of that film, means that it too has a reasonable claim to being the "first slasher flick." (Most horror fans just split the difference and give both movies credit.) It jump-started the tradition of [[HorrorDoesntSettleForSimpleTuesday holiday-themed horror films]], and remains very effective as a straight-up scarefest. Clearly, enough people remembered it for it to be remade in 2006.
* ''IKnowWhatYouDidLastSummer'' is probably the most famous film to come from the post-''Scream'' wave of slasher flicks. While a decent enough movie, it is perhaps most famous for having Jennifer Love Hewitt [[{{Fanservice}} running around in a tight tank top]] for the last third of the film, and for killing [[BuffyTheVampireSlayer Buffy]]. It had two sequels, the second of which went {{Direct-to-Video}}.

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<<|SoYouWantTo/SeeTheIndex|>>

You love to watch SlasherMovies (GuiltyPleasure notwithstanding), so you've decided to take the audience's PrimalFear of being hunted and twist it into HighOctaneNightmareFuel. Specifically, you want to follow the tried and true method that has haunted audiences for generations: a single murderer is picking off his victims one... by... one. Until the bloody end.

* There are two common and popular alternatives for slasher movie settings; either an isolated, creepy out-of-the-way place (often some kind of shack or collection of shacks; see the {{summer camp|y}} setting of ''Film/{{Friday the 13th}}'', or the out-of-the-way hovel in ''TheTexasChainsawMassacre'') surrounded by forests and scrub land, or an urban location that the audience would be expected to be familiar with presented in a creepy, sinister fashion ({{suburbia}} in ''Halloween''; the high school prom in ''PromNight''). The former generally allows you to stress the isolation of the characters -- if anyone is coming to the rescue, it's going to be a while before they get there, meaning the characters have to survive as long as possible before help arrives. It also generally allows you to present as the bad guys (or at least antagonists) the kind of [[HillbillyHorrors grotesque, in-bred, physically repellent and psychotic hillbillies and hicks]] that this genre seems to adore. The latter allows you to spook the audience out by presenting something that they'd recognise and be comfortable with as a horrifying place of terrors. Of course, the latter is usually less isolated, presenting something of a pitfall in that the audience may question why the characters don't just call the police and let them handle it; this is usually resolved (not entirely satisfactorily at times) by making the police [[PoliceAreUseless useless and incompetent blunderers]] who are usually [[RedshirtArmy way outmatched by one killer]] and thus end up as blade fodder.

* While prior films (such as ''{{Psycho}}'' and the works of DarioArgento) laid the groundwork for the genre, ''TheTexasChainsawMassacre'' is often credited as being the first "real" slasher flick. While it holds up surprisingly well, nearly all of the actual violence is [[GoryDiscretionShot implied or offscreen]], which may disappoint modern audiences. Its sequels all [[BloodierAndGorier amped up the gore factor]], although some would argue that this came [[{{Sequelitis}} at the expense of quality]]. Its 2003 [[TheRemake remake]] is often held up as one of the few horror remakes that managed to live up to the original.

* Many slasher movies tend to be [[HorrorDoesntSettleForSimpleTuesday set around a 'themed' or notable calendar holiday]] (for example Christmas, New Year's and, of course, [[AllHallowsEve Halloween]] and [[ThirteenIsUnlucky friday the 13th). This obviously enables the movie to present a subverted or darkened twist on 'safe' holiday trappings -- for example, a slasher killer might decide to dress up as Santa Claus if committing their crimes during the Christmas season. This is such a common motif, however, that it lends itself easily to a potential for subversion -- a movie in which the killer decides to strike on days which have no particular calendar significance (except, maybe, for the killer and victims).

* Related to the above, TwentyMinutesWithJerks is a common problem with this genre; you have to establish ''some'' connection with the characters before you have your serial killer start butchering them, and a bit of teasing and tension is always good to get your audience in the mood -- however, if you wait too long to start the action, or if you make your characters too hard-to-like or cliched / formulaic, then the audience is going to spend this time not caught up in the character dramas and interplays between these characters but instead anxiously (and, depending on just how insufferable they are, possibly eagerly) [[EightDeadlyWords awaiting the arrival of the killer]] and start of the killing spree. You don't want to bore or frustrate your audience.

* Usually slasher movies require the actors to be [[TwentyMinutesWithJerks acting like "normal" teenagers]] for a while, then on various paths of skeptical, fearful, or disbelief.

* ''ANightmareOnElmStreet'' put a supernatural twist on the genre. The killer is a former child predator named Freddy Krueger (the last of the "Big Three" slashers) who was [[PaedoHunt murdered by local parents]] in an act of vigilante justice, and now stalks his teenage victims through their dreams as [[SinsOfOurFathers revenge against their parents]]. The original and ''New Nightmare'' are usually regarded as the scariest in the series, with most of the other movies moving further into [[SlidingScaleOfComedyAndHorror horror-comedy territory]] by turning Freddy into a more FauxAffablyEvil character. That is, with the exception of the second movie, ''Freddy's Revenge'', which is known primarily for having [[ReadingsAreOffTheScale off-the-charts]] levels of [[HoYay gay subtext]] that would make [[{{Supernatural}} Sam and Dean Winchester]] blush. The original was remade in 2010, to the disappointment of many.

* Is your killer human, like ''{{Scream}}'''s killers, or is he or she something more supernatural, such as [[ANightmareOnElmStreet Freddy Krueger]], [[Film/FridayThe13th Jason Voorhees]] or [[Film/{{Halloween}} The Shape]]? In the case of the more famous slasher horror franchises, it is not uncommon for a killer to start off more or less human, but to become supernatural as the series goes on, if only to explain how he or she [[JokerImmunity keeps coming back]] [[NotQuiteDead for the sequels]].

* ''{{Scream}}'', made by ''Nightmare'' director WesCraven, takes the GenreSavvy approach to slasher horror, with plenty of LampshadeHanging, and turns several of the more common tropes on their heads, as well as featuring ''two'' killers rather than just one. It is actually quite genuinely scary at times, particularly in the opening scene. Its success wound up [[PopularityPolynomial reviving the slasher genre]] after years of being viewed as [[DeaderThanDisco trite and cliche]], as well as starting a [[PostModernism Post Modernist]] wave in horror. For tropers, the sheer quantity of horror tropes that get lampshaded, subverted and otherwise played with is by itself reason to see this film. It has had three sequels.

* Many slasher stories also end with the killer being disposed of in a seemingly-final confrontation with the [[FinalGirl final survivor]], only for the movie to close on a note of OrIsIt with regard to the killer, with the implication that (s)he is NotQuiteDead. Whilst it can be an easy SequelHook, it's also been over-used to the point of {{cliche}}; audiences often ''expect'' the killer to survive the final confrontation and threaten a return.

* Subvert NotQuiteDead and OrIsIt - when the killer comes back to life, the survivors are waiting for them, and take the opportunity to finish them off for good.

* Is your killer human, like ''{{Scream}}'''s killers, or is he or she something more supernatural, such as [[ANightmareOnElmStreet Freddy Krueger]], [[Film/FridayThe13th Jason Voorhees]] or [[{{Halloween}} The Shape]]? In the case of the more famous slasher horror franchises, it is not uncommon for a killer to start off more or less human, but to become supernatural as the series goes on, if only to explain how he or she [[JokerImmunity keeps coming back]] [[NotQuiteDead for the sequels]].

* Many slasher movies tend to be [[HorrorDoesntSettleForSimpleTuesday set around a 'themed' or notable calendar holiday]] (for example Christmas, New Year's and, of course, {{Halloween}} and Film/FridayThe13th). This obviously enables the movie to present a subverted or darkened twist on 'safe' holiday trappings -- for example, a slasher killer might decide to dress up as Santa Claus if committing their crimes during the Christmas season. This is such a common motif, however, that it lends itself easily to a potential for subversion -- a movie in which the killer decides to strike on days which have no particular calendar significance (except, maybe, for the killer and victims).

* The original ''{{Halloween}}'' is frequently regarded as one of the two {{Trope Codifier}}s for most modern slasher movies. Be warned when watching it; not only is it less gory and visceral than most slasher movies which have followed it, including its own sequels (like ''TCM'', it relies more on suspense than gore -- the killer doesn't even kill very many people throughout), the fact that most of the tropes it popularised were later shamelessly ripped off may result in SeinfeldIsUnfunny syndrome. Its killer, Michael Myers, is the first of the "Big Three" slasher killers. Was [[TheRemake remade]] by RobZombie in 2007, with a sequel (also made by Zombie) following two years later; his vision of the film falls very squarely into LoveItOrHateIt territory.

* Most slasher stories use the same old character archetypes from past stories: TheLibby, the JerkJock, the TokenMinority (who is often [[BlackDudeDiesFirst one of the first to bite it]]), TheStoner, and of course, the FinalGirl. This makes it very obvious as to who is going to die and who is going to live. Try to make some new character archetypes, or expand off the old ones. Also, try to make at least some of the characters likeable, or you may have your readers RootingForTheEmpire.

* ''ANightmareOnElmStreet'' put a supernatural twist on the genre. The killer is a former child predator named Freddy Krueger (the last of the "Big Three" slashers) who was [[PaedoHunt murdered by local parents]] in an act of vigilante justice, and now stalks his teenage victims through their dreams as [[SinsOfOurFathers revenge against their parents]]. The original and ''New Nightmare'' are usually regarded as the scariest in the series, with most of the other movies moving further into [[SlidingScaleOfComedyAndHorror horror-comedy territory]] by turning Freddy into a more EvillyAffable character. That is, with the exception of the second movie, ''Freddy's Revenge'', which is known primarily for having [[ReadingsAreOffTheScale off-the-charts]] levels of [[HoYay gay subtext]] that would make [[{{Supernatural}} Sam and Dean Winchester]] blush. The original was remade in 2010, to the disappointment of many.

* Many slasher stories also end with the killer being disposed of in a seeming final confrontation with the [[FinalGirl final survivor]], only for the movie to close on a note of OrIsIt with regard to the killer, with the implication that (s)he is NotQuiteDead. Whilst it can be an easy SequelHook, it's also been over-used to the point of {{cliche}}; audiences often ''expect'' the killer to survive the final confrontation and threaten a return.