Line #22 SoYouWantTo/WriteASlasherHorrorStory


1	You love to watch {{Slasher Movie}}s, 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.
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3	First, be sure to check out SoYouWantTo/WriteAStory for basic advice that holds across ''all'' genres.
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6	!'''Necessary Tropes'''
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8	* A SerialKiller: Though it may come as a shock, slasher stories do generally need [[StockSlasher someone to do the slashing]].
9	* [[RedShirtArmy Murder Victims]]: The people who get slashed and whose bodies are steadily piling up.
10	* [[FinalGirl The Survivor]]: Usually the protagonist, often female; usually engages the killer in a final climactic struggle. If it's a happy ending, the Survivor will triumph; in a DownerEnding, the killer claims a final scalp. More bittersweet endings will have the Survivor win the day, but be heavily traumatised by their experiences. Traditionally, in contrast to the depraved killer (and many of the victims), the "FinalGirl," as this character is known, is often [[IncorruptiblePurePureness virginal, abstaining from drugs and alcohol, and "innocent"]]. More recently, however, this characterization has been downplayed, if not outright subverted.
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12	!'''Choices, Choices'''
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14	* What is your killer's {{Backstory}}? Does he [[DiabolusExNihilo even have one]]? If so, are his reasons [[SympatheticMurderer understandable]] or is he just a SerialKiller who kills ForTheEvulz?
15	* What is your killer's motive? Does he kill [[ForTheEvulz for the sake of killing]]? Or does he [[BloodKnight take pleasure in bloodshed]] or [[HuntingTheMostDangerousGame hunting humans]]? Is he a KnightTemplar VigilanteMan trying to lynch a group of petty thieves? Is he merely a creature need of [[OurVampiresAreDifferent blood]] or [[ToServeMan human]] [[IAmAHumanitarian meat]] [[NonMaliciousMonster just to stay alive]]? Is he out for {{Revenge}} for a grievous wrong done him or someone he loved? Or is he secretly trying to appease an EldritchAbomination to [[WellIntentionedExtremist stop it from obliterating the Earth]] by offering it a HumanSacrifice? Is he [[AliensAreBastards even human]]? Or, is he secretly an EldritchAbomination with [[BlueAndOrangeMorality a motive that is just too plain weird for humans to understand]]?
16	* What is your killer's ''modus operandi''? Try to make it tie into their backstory in some way, even if only thematically. Notwithstanding the name "slasher movies", there are a lot of potential ways to kill the victims. The killer might drown the victims... sometimes in impossible situations like in the middle of a parking lot to stress the "inescapable death" vibe... or in simple yet unique ways. For example, if the killer were to always slash his victims to death, he might cut numbers on them (counting up or down) or cut off appendages to [[LivingDollCollector create a doll out of the victims.]]
17	* 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]].
18	* Potential victims: Is the primary cast generally likeable, or are they [[DevelopingDoomedCharacters largely jerks who you cannot wait to see die]]?
19	* The amount of survivors: How many main characters will survive it to the end? This can vary from all of them plus the killer ending up dead to just one or two meeting their demise. Note that the survivors don't necessarily have to come out unharmed.
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21	!'''Pitfalls'''
22	* Lots of slasher horror stories seem to use SexSignalsDeath; the victims are often killed shortly after or even during an act of sexual intercourse, with the survivor at the end often being a virgin (or at the least, someone who avoided 'temptation' throughout the film); the perception is that the characters are being 'punished' for having sex. These days, this is usually seen as being a bit outdated and formulaic, and may also be accused of having UnfortunateImplications, particularly if [[MyGirlIsNotASlut the victims are women]]. See below for possible ways to subvert this.
23	* Related to the above, the FinalGirl usually lives because she is a virgin, and seen as pure and innocent enough to live. Maybe you could have an obvious FinalGirl set up, [[SacrificialLamb only to kill her off]] while one of her more 'experienced' friends lives.
24	* Given that the FinalGirl has more restrictions to her than other characters (Must be a virgin/less sexual than the others, no drinking or doing drugs), this can make her come off as somewhat [[FlatCharacter flat]] compared to the rest of the cast, being a ShrinkingViolet at best. Maybe have her be the [[DeadpanSnarker snarkiest]] member of the cast. Or the OnlySaneWoman to all of their alcohol, drug-fueled antics. Or the most HardDrinkingPartyGirl of the bunch. She has to have ''some'' semblance of a personality or the audience [[VanillaProtagonist might wonder why they should want her to survive instead of her more interesting friends]].
25	* 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 TheEndOrIsIt 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.
26	* 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[[note]]in the "this could potentially happen to you" sense[[/note]], though a few films knowingly turn the above up to eleven (most notably ''Franchise/{{Saw}}'') and draw audiences by promising [[SadistShow creative kill showcases]].
27	* Most slasher stories use the same old character archetypes from past stories: the AlphaBitch, 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 rooting for the killer]].
28	* Related to the above, DevelopingDoomedCharacters 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) awaiting the arrival of the killer and start of the killing spree. You don't want to bore or frustrate your audience.
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30	!'''Potential Subversions'''
31	* Most slasher movies tend to have one killer who is doing all the hunting - what if there's more than one? An original and a [[JackTheRipoff copycat]], or [[BigBadDuumvirate two working in tandem]], like in ''Film/{{Scream\|1996}}'''s famous twist? What if the [[TheKillerInMe protagonist is]] [[SplitPersonality the killer?]] One new variant is to tell the story from the killer's point of view, showing their StartOfDarkness and making them at least a slightly sympathetic figure. Usually, the "protagonist" slot switches to the final girl before the killer is killed.
32	* Subvert NotQuiteDead and TheEndOrIsIt - when the killer comes back to life, the survivors are waiting for them, and take the opportunity to finish them off for good.
33	* Most (American) slasher casts are either all-white and all-heterosexual, possibly with a TokenMinority or two. Why not have an all-Black cast or have the film be set in the LGBTQ+ community?
34	* Does the FinalGirl have to be a virginal and innocent young teenage girl? Perhaps she could be one of the more 'experienced' or 'naughty' girls instead. Or could be an adult woman, perhaps a mother with kids. Or perhaps the survivor could be a guy. Or there could be more than one survivor...
35	* Is there really a SerialKiller? It might just be a normal (albeit murderous) person running a bloody ScoobyDooHoax to kill enemies without getting incriminated, or to distract from another evil plan. This can be double subverted by revealing there [[RealAfterAll really]] ''[[RealAfterAll is]]'' a monster/killer acting independently of the hoaxers.
36	* Most slasher killers are antagonists, with the FinalGirl being the protagonist. But some slashers, such as ''Film/{{Savaged}}'', have the killer as the ''protagonist'' instead, hunting down each of the people who wronged him or her in RoaringRampageOfRevenge fashion. Since most slasher killers are in no way sympathetic at all (they murder people in horrific fashions, after all), sympathy often has to be derived from the killer having had something horrible done to them by their victims.
37	* Is it necessary for the slasher to be human? In some cases, it can be brought by [[CosmicHorrorReveal supernatural causes]], ''Film/TheCabinInTheWoods'' is a good example of a CosmicHorrorStory disguised as a slasher film. Alternatively, the slasher could be an animalistic beast which hunts by [[SuspiciouslyStealthyPredator flanking from dark areas]], [[SuperPersistentPredator pursuing its preys continuously]] and picking off its preys one by one. The Xenomorph in the first ''Film/{{Alien}}'' film is essentially a slasher killer in the form of an animalistic alien creature.
38	* Perhaps have more focus on how the killings take a toll on the cast psychologically than on the gore itself, with most if not all the killings happening off-screen and the gruesome results only being shown afterward.
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40	!'''Writers' Lounge'''
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42	!!'''Suggested Themes and Aesops'''
43	* Retribution (or rather, in plenty of cases, DisproportionateRetribution) tends to form the backdrop of these stories; in many of these stories, the victims are being hunted and killed as revenge for some perceived wrong, either directly against the killer (or someone related to the killer). In others, the killer is presented as being TheScourgeOfGod (or {{Satan}} in some cases), on a quest to avenge more oblique wrongs committed not so much against the killer as much as against society or God in general. This is usually more pronounced in later entries in a series, mainly because the killer's already gone through everyone who he reasonably has a grievance against in earlier installments.
44	* The killer might represent a facet of modern society GoneHorriblyWrong. Usually it works to use one of the SevenDeadlySins. For example, a spurned teen outcast, target of [[KidsAreCruel Teens Are Cruel]], could grow into a hateful monster, killing his tormentors and/or even ''their'' children (Wrath). An ugly woman might see the most beautiful parts of everyone she meets... and then kill them to cut off those parts for her collection (Envy). The killer might be [[StalkerWithACrush obsessively in love]] with one of his 'targets' and has decided to [[MurderTheHypotenuse get rid of the competition]] (Lust). A person of authority might be shamed, and take out their issues on those they think did the wronging (Pride). And so on. And if they're dead? Well, then they have all of eternity to let these hungers fester.
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46	!!'''Potential Motifs'''
47	* The killers in these movies are usually distinguished by a particular appearance and manner of dress that makes them easily identifiable - think Jason Voorhees' hockey mask, Freddy Krueger's hideous scars, fedora and green-and-red striped pullover, and such. They also generally have a particular method of killing people that acts as their CallingCard (usually involving knives and other stabby-slashy weapons -- hence the name of the genre); again, Freddy's [[WolverineClaws razor-clawed glove]] and Jason's [[MacheteMayhem machete]] are good examples of this.
48	* The killers in these movies are frequently depicted as being {{determinator}}s who, if they're not quite MadeOfIron, might as well be -- even if they aren't explicitly supernatural, they're usually curiously resilient, [[ImplacableMan able to withstand a large amount of punishment and keep going]]. Later installments of a series in particular tend to stress the supernatural manner of the killer. Whereas earlier installments may have depicted the killer as being just a very insane guy going around killing people, later appearances usually tend to see the killer gradually developed into an explicitly supernatural creation, to the point where they're practically the right hand of {{Satan}} himself. This is usually something of a necessity in order to explain how a returning killer manages to perform so many NotQuiteDead moments and still retain some level of plausibility.
49	* As mentioned above, the FinalGirl is usually presented as an innocent; often a high school-age teenage girl.
50	* Many slasher movies tend to be [[HorrorDoesntSettleForSimpleTuesday set around a 'themed' or notable calendar holiday]] (for example Christmas, New Year's and, of course, [[UsefulNotes/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).
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52	!!'''Suggested Plots'''
53	* Most Slasher Movies tend to revolve around the TenLittleMurderVictims plot -- a cast of characters gradually being whittled down until there's only one (or a small group, at least) left.
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55	!'''Departments'''
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57	!!'''Set Designer''' / '''Location Scout'''
58	* Most slasher movies are set at night, or at least in dark places where there's lots of shadows convenient for lurking around in. Night tends to make even places which are comfortable and familiar during the day unsettling and creepy, which is perfect for suspense.
59	* 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 ''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 ''Franchise/{{Halloween}}''; the high school prom in ''Film/PromNight1980''). 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.]]
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61	!!'''Props Department'''
62	* For the killer, knives, axes and other stabby, slashy things. The more elaborate forms of death you devise will require yet more elaborate contraptions to pull them off.
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64	!!'''Costume Designer'''
65	* The victims usually wear the trendiest things for teens at the time, which serves to make them relatable... and sadly, to date the movies a decade after filming.
66	* The killer should have two modes of dress: Stealth and On the Job. Stealth is their civilian clothes, which should reflect their personality. True {{serial killer}}s will dress as inconspicuously as possible, often being a little ''too'' neat and clean. If they're deranged, out of style and unkempt clothes are the norm. When on the job, they can either for a stealth look (all black, with a [[MalevolentMaskedMen menacing mask]]), or for over-the-top psycho killer gear. This should reflect their theme and origins, and whether they sneak kill victims or overwhelm through terror and brute force.
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68	!!'''Casting Director'''
69	* Usually slasher movies require the actors to be [[DevelopingDoomedCharacters acting like "normal" teenagers]] for a while, then on various paths of skeptical, fearful, or disbelief.
70	* If the cast are supposed to be teenagers, they will usually be [[DawsonCasting played by much older actors]], and [[BeautyEqualsGoodness pretty.]]
71	* For the role of the killer, first figure out what type of figure you are going for. If it's somebody who stalks victims from the shadows and then kills them silently, then it's okay to cast a smaller person in the role. If, however, the killer is an unrelenting ImplacableMan, or is otherwise implied to have a lot of physical strength (i.e. moving and hiding bodies so that the FinalGirl can conveniently [[PeekABooCorpse stumble upon them]] in the last ten minutes), then you should cast a big guy who looks like he could pull these things off.
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73	!!'''Stunt Department'''
74	* The more elaborate the death, the more preparation will be required on the part of the actors playing both killer and victim to do it right. As noted above, if your killer is of the "brute force" type, then it's recommended that the person playing said killer is capable of pulling off very physical stunts.
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78	!!'''The Greats'''
79	* While prior films (such as ''Film/{{Psycho}}'' and the works of Creator/DarioArgento) laid the groundwork for the genre, ''Film/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.
80	* The original ''Film/{{Halloween 1978}}'' 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 OnceOriginalNowCommon syndrome. Its killer, Michael Myers, is the first of the "Big Three" slasher killers. Was [[Film/{{Halloween 2007}} remade]] by Music/RobZombie in 2007, with [[Film/HalloweenII2009 a sequel]] (also made by Zombie) following two years later; his vision of the film falls very squarely into polarizing territory.
81	* ''Franchise/FridayThe13th'' is the other TropeCodifier for the genre, spawning a long list of sequels of varying quality. [[Film/FridayThe13th1980 The first]], [[Film/FridayThe13thTheFinalChapter fourth]] and [[Film/FridayThe13thPartVIJasonLives sixth]] movies are often held up as series highlights, ''Film/JasonX'' is usually viewed as SoBadItsGood, and the [[Film/FridayThe13thPartVIIIJasonTakesManhattan eighth]] and [[Film/JasonGoesToHellTheFinalFriday ninth]] movies are usually treated as an AudienceAlienatingEra for the franchise. Introduced the second of the "Big Three" slasher icons: Jason Voorhees. Was [[Film/FridayThe13th2009 rebooted]] in 2009.
82	* ''Film/TheTerminator'' shows the sheer versatility of this basic genre structure. Take away the convoluted StableTimeLoop, evil robots from AfterTheEnd nuclear war, and you have yourself a very chilling twist on the (literally) MadeOfIron ImplacableMan SerialKiller, methodically picking off his young female victims one by one off a phonebook. Notable as the only major SlasherMovie where the murderer primarily uses firearms.
83	* ''Film/ANightmareOnElmStreet1984'' 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 ''Film/WesCravensNewNightmare'' 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 LaughablyEvil character. That is, with the exception of the second movie, ''[[Film/ANightmareOnElmStreetPart2FreddysRevenge Freddy's Revenge]]'', which is known primarily for having [[ReadingsAreOffTheScale off-the-charts]] levels of [[HomoeroticSubtext gay subtext]] that would make [[Series/{{Supernatural}} Sam and Dean Winchester]] blush. The original was [[Film/ANightmareOnElmStreet2010 remade in 2010]], to the disappointment of many.
84	* ''Film/{{Scream 1996}}'', 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 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 five sequels.
85	* ''Film/CryWolf'' is notable in that it started out as a straightforward slasher. But as it was made after the TurnOfTheMillennium, the director soon realised all the modern conveniences that had been developed in the years since the second wave of slashers were acting as {{Trope Breaker}}s. So the film instead became a satire of slasher tropes, while also incorporating the technology. The killer, named The Wolf, uses texts and instant messages to harass the protagonists - while the internet helps him/her conceal their identity.
86	* ''Film/TheCabinInTheWoods'' as noted above, is disguised as a slasher film, but is really a CosmicHorrorStory. It not only satirises slasher film tropes, but also the ''production'' of said films too.
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88	!!'''The Epic Fails'''
89	* As a genre, {{slasher movie}} 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. Even if a slasher does have some good ideas and does something different (see ''Film/DevilsPrey''), it can still be brought down by the low production values associated with the genre.
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91	!!'''Honorable Mentions'''
92	* ''Film/PeepingTom'' was the first film to put the audience in the killer's POV. The killer is our VillainProtagonist, and his murdering spree is paralleled to voyeurism and porn addiction. In this case the FinalGirl has a pretty good justification for living - she's the killer's MoralityPet and he's in love with her!
93	* ''Film/BlackChristmas1974'', 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 [[Film/BlackChristmas2006 remade in 2006]].
94	* ''Film/IKnowWhatYouDidLastSummer'' is probably the most famous film to come from the post-''Scream'' wave of slasher flicks[[note]]Kevin Williamson said he wrote it before ''Scream'' but it didn't get picked up until after[[/note]]. 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 [[Series/BuffyTheVampireSlayer Buffy]]. It had two sequels, the second of which went DirectToVideo. Interestingly enough the [[Literature/IKnowWhatYouDidLastSummer book it was based on]] was a mystery thriller in which no one dies.
95	* ''{{Film/Mindhunters}}'' is a little-seen 2004 thriller that borrows a lot from slasher tropes. The killer is an FBI profiler who targets his victims based on their flaws. There's a female protagonist whose flaw is based around a trauma in her past, in contrast to the other characters' less moral vices (smoking addiction, desire to show off etc.) - and indeed the other girl on the team is shown to be more sexual.

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