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The story you write will contain some element of the supernatural –
either using the genre of the GHOST STORY or the genre of the
HORROR STORY.
These types of story contain very definite differences.
GHOST STORY
A faint tapping on the window woke Ben from his uneasy sleep.
As he tried to
adjust to the darkness he was aware of an icy chill in the room and the sound of
someone else breathing…
o
The purpose of a ghost story, as well as to entertain, is to create fear,
often only through suggestion.
o
There is usually a reason for the ghost’s visit, often because they feel that
they have some kind of unfinished business.
o
In a ghost story, the protagonist often helps the ghost to complete this
business and move on.
Setting:
Can
be
isolated,
mysterious,
frightening,
unusual,
threatening, e.g. Castles, old houses, dark woods, etc are all
very popular
Characters:
The ghost – frightening, mysterious, troubled
The protagonist(s) – frightened, innocent, brave
Plot:
Usually builds to a climax
Often an unusual, unexpected twist at the end
Ghost usually allowed to rest in peace
Word Choice:
Deliberately chosen to heighten suspense and fear
Use of figurative language (imagery) and sound words
(alliteration and onomatopoeia)
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HORROR STORY
Ben screamed and screamed. They had left him there to die, entombed in the cave now
that they had sealed the entrance.
vanished, Ben heard another sound.
When his screaming subsided and the echo
A low moaning sound which seemed to be coming
closer…
o
The purpose of a horror story, as well as to entertain, is to create terror,
usually through more blatant methods than the ghost story.
Often horror
stories contain some kind of monster (such as vampires, werewolves, etc)
whose only purpose is to prey on the human characters.
o
The protagonist often is the one who rids the world of the threat of this
monster, or becomes a victim trying.
Setting:
Often an isolated or scary location
One where there is little chance of escape
Or a normal location which has become very menacing and
threatening to the occupants
Characters:
Often the sense that the main character is an innocent victim
threatened by a more powerful force
The adversary is often supernatural and evil
Protagonist often finds bravery and hidden strengths
Plot:
The victim struggles against incredible odds to free him/herself
from an unpleasant fate
Sometimes this struggle is successful, sometimes not
There is a build up of tension
There is a strong climax, and possibly a cliffhanger ending
Word Choice:
Words are chosen to intensify fear and horror
Words are chosen to build up the suspense
Alliteration and onomatopoeia, as well as lots of imagery, build up
the atmosphere
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THE FIVE MAIN ELEMENTS OF
SETTING
o
The setting of a short story usually comes at the beginning of a story,
and lets the reader know where and when the story is taking place.
o
The setting helps the reader to imagine what the place is like.
o
It is a picture in words and is the backdrop against which the action
takes place.
o
It is very important to ensure that you create a believable and effective
setting for your story.
To create a setting for your reader you need to describe:
1. What the place looks like. You should choose your words carefully here,
giving as much description as you can.
2. If the place is light, dark, or has certain colours. Often a dark setting at
night is used in these type of stories. However a bright, sunlit day could
work well since it is an unexpected setting. You could also use colour as a
warning to your reader.
For example, each time the ghost, monster
appears the room takes on a red glow.)
3. What the weather is like.
Traditionally, storms and rain work well in
ghost stories, as do snow, fog etc.
4. What sounds there are. Depending on the weather, this could be sounds
of wind howling, thunder crashing, etc.
5. Any other impression made on the senses. The use of strange aromas
works well; the feel of the walls, the dampness of the fog on the skin etc;
unusual tastes, such as strong perfume which catches in the throat.
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The following extracts are all opening paragraphs from published short stories. They
are all take a very different approach to the genre, yet each is effective in its own way.
In your own writing you should ensure that you begin in a way which draws the reader in;
tell your audience just enough to get them interested and then tell your tale, gradually
revealing your story.
He had stalked the demon to her lair. Now, he waited. Waited for dawn, when she would
be most vulnerable. The waiting was the worst part.
Knowing what was to come.
The
legends, he’d learned, were not to be trusted. The legends were wrong in so many ways.
The Stake by RICHARD LAYMON
“I see…” said the vampire thoughtfully, and slowly he walked across the room towards
the window. For a long time he stood there against the dim light from Divisadero Street
and the passing beams of traffic.
The boy could see the furnishings of the room more
clearly now, the round oak table, the chairs. A wash basin hung on one wall with a mirror.
He set his brief case on the table and waited.
Interview with the Vampire by ANNE RICE
During the whole of a dull, dark, and soundless day in the autumn of the year, when the
clouds hung oppressively low in the heavens, I had been passing alone, on horseback,
through a singularly dreary tract of country; and at length found myself as the shades of
the evening drew on, within view of the melancholy House of Usher.
I know not how it
was – but, with the first glimpse of the building, a sense of insufferable gloom pervaded
my spirit.
The Fall of the House of Usher by EDGAR ALLEN POE
It all began when Grey was followed home, inexplicably enough, by the strange,
famished yellow cat. The cat was thin with large, intense eyes which gleamed amber in
the forlorn light of the lamp on the street corner. It was standing there as Grey passed,
whistling dejectedly, for he had had a depressing run of luck at Grannie’s tables, and it
made a slight piteous noise as it looked up at him. Then it followed at his heels, creeping
along as though it expected to be kicked unceremoniously out of the way.
The Yellow Cat by MICHAEL JOSEPH
It was incredible, of course. Bound to happen some day. But why did it have to happen
to me? What did I do to deserve the grief? And I was going to be married, too. I sank
my last thousand dollars into that trailer, almost.
In it Monica and I were going on a
honeymoon tour of the United States. We were going to see the country. I was going to
write, and we were going to be happy as two turtle-doves.
Ha!
Ha ha!
The Haunted Trailer by ROBERT ARTHUR
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The demon creature was also making plans. With bad temper transforming
into energy, Mandy was plotting in three directions:
school, for the gang had
been terrible that day; the ghost, she was going to deal with him; her family, to
prove to them that he existed. To fortify herself, she decided she would need
some nourishment from Mum’s latest hiding place.
She found it easily.
Poor
old Mum. She’d no imagination.
The Clock Tower Ghost by GENE KEMP
“I’d not go higher, sir,” said my landlady’s father.
I made out his warning through the shrill piping of the wind, and stopped and
took in the plunging seascape from where I stood.
The boom of the waves
came up from a vast distance beneath; sky and the horizon of running water
seemed hurrying upon us over the lip of the rearing cliff.
Dark Dignum by BERNARD CAPES
Even before I knew more about that piece of furniture I wouldn’t have
wanted it in my house. For a valuable antique, it wasn’t particularly attractive.
With that tall stack of dark mahogany drawers, and those long spindly bowed
legs, it looked not only heavy but top-heavy.
The carved bonnet-top of the
highboy was too elaborate for my taste, and the surface had been polished till it
glistened a deep blackish brown, exactly the colour of canned prunes.
The Highboy by ALISON LURIE
Richard Kinnell wasn’t frightened when he first saw the picture at the yard
sale in Rosewood. He was fascinated by it, and he felt he’d had the good luck to
find something which might be very special, but fright? No. It didn’t occur to
him until later (‘not until it was too late’ as he might have written in one of his
own numbingly successful novels) that he had felt much the same way about
certain illegal drugs as a young man.
The Road Virus Heads North by STEPHEN KING
Do you love?
I hear her voice saying this – sometimes I still hear it. In my dreams.
Do you love?
Yes, I answer. Yes – and true love will never die.
Then I wake up screaming.
Nona by STEPHEN KING
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Read this description of a haunted house in London.
PORTMAN SQUARE, LONDON, 1911.
It was an old house which stood on the corner of the street.
The corridors were very long and not very well lit. The sun
didn’t shine in the windows , and so the house didn’t have a
good view.
At night, the house grew very dark. As well as being difficult
to light, the house was always very cold.
Not very interesting, is it? However, using the elements for settings,
we can change it to something much better.
PORTMAN SQUARE, LONDON, 1911.
It was a strange and rambling house, full of old oak stairways.
Long and narrow corridors seemed to hold dark and evil
secrets.
Windows gave no warming sunlight, only gloomy
views of shadowed courtyards at the back and the blank,
blind faces of houses at the front.
After sunset a shroud of darkness seemed to wrap itself
around the house before creeping slowly inside. Blazing log
fires hardly seemed to warm the rooms and hissing gaslight
was strangely dimmed.
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BEN’S JOURNEY
The car engine seemed to cough a few times before it finally shuddered to a halt.
sighed in frustration.
Ben
Fifty miles from home, in the middle of nowhere, half past
midnight. His choice was simple: stay put in the icy darkness till the morning or leave
the car and see if there was any sign of human life nearby.
The moonlight glimmered on the white frost which covered the road like a gossamer
sheet and on the tussocks of grass standing stiffly and blackly along the roadside.
The
bushes cast strange shaped shadows in his path, and a solitary owl hooted from a nearby
wood.
He felt the skin at the back of his neck prickle with cold sweat.
The clouds
momentarily cut off the moonlight and the shadows melted into general darkness. The
air was thick with darkness, so thick that he could almost touch it. His breath seemed to
materialise into something solid in the icy air, and he could hear his heart beat like a
drum. Something touched his face, something as cold as the grave and his teeth clacked
and chattered uncontrollably.
1. Is this an effective setting?
2. What imagery do you find particularly effective?
3. Which words help to add to the spooky atmosphere?
Underline which of the words in bold you think is most effective in
describing the following setting.
The road up to the castle was littered with/covered in/full of stones that were so
big/sharp/uneven that they caught the traveller unawares and cut/tore/sliced through
his shoes or threw him off balance so that his ankles were sore/tender/racked with pain.
Around the castle there ran a deep river whose surface was covered with green
weeds/slime/vegetation. A few wild birds floated hopelessly/uneasily/sadly in it, their
feathers dull and drooping.
Overhead grey/stormy/cloudy skies cast a dull/dark/dead light over the castle.
seemed
that
the
thick
clouds
would
perpetually
stop
any
sun
It
from
reaching/warming/touching the castle with its rays.
The walls of the castle were hidden/entwined/covered with tangled creepers which
seemed
to
be
trying
to
choke
the
life
out
of
it.
The
creepers
had
pulled/dragged/wrenched stones from the wall so that the whole building threatened
to/was about to/might fall on anyone who entered and kill/crush/hurt him.
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READ THE FOLLOWING INTRODUCTION.
I entered the room and closed the door behind me. The room was big
with bay windows and there were lots of dark corners. The blinds were
drawn as were the curtains but I could hear the wind and rain outside.
The bedside lamp was lit and there was a fire in the grate.
Two large
mirrors were hung high on the walls and on a wooden shelf stood two
large brass candlesticks.
I could hear the ticking of the grandfather
clock
NOT VERY FRIGHTENING, IS IT?
Using the five elements of setting re-write the extract to create a more
frightening atmosphere. Try to take away any description which seems
ordinary, and add description which makes the atmosphere more
menacing. You can add details of your own if you wish.
READ THE FOLLOWING INTRODUCTION.
I entered the room and closed the door behind me. The room was big
with bay windows and there were lots of dark corners. The blinds were
drawn as were the curtains but I could hear the wind and rain outside.
The bedside lamp was lit and there was a fire in the grate.
Two large
mirrors were hung high on the walls and on a wooden shelf stood two
large brass candlesticks.
I could hear the ticking of the grandfather
clock
NOT VERY FRIGHTENING, IS IT?
Using the five elements of setting re-write the extract to create a more
frightening atmosphere. Try to take away any description which seems
ordinary, and add description which makes the atmosphere more
menacing. You can add details of your own if you wish.
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USING LANGUAGE TO CREATE A CONVINCING
ATMOSPHERE
To add to your setting and create a convincing atmosphere, you need to:





Use words or phrases which create a mood
Use simile
Use personification
Use metaphor
Use sound techniques – alliteration, onomatopoeia
TASK ONE
Read the following extract and note how the writer changes the
mood/atmosphere from the first paragraph to the second.
Overhead the trees arched, and water birds, becoming used to my
harmless presence, called out softly.
flashed.
Once or twice a kingfisher
There were trout in the warm water, I could feel them brush
gently against my bare legs every now and then as I waded kneedeep along the course of the brook.
And then – suddenly: fear. Where did it come from? I had no means
of knowing. Menace. Cold fear was all around me – in the dark arch
of the trees, the tunnel they make (into which the stream vanished), the
sharp croak of birds, the icy grip of the water on my calves, the gritty
scour of mud on my grimed and scraped hands. But most of all, in my
own mind, as if down at the back of it, stood something hidden,
watchful, waiting.
TASK TWO
Underline the phrases in the second paragraph which match, but alter,
the mood of the phrases from the first paragraph.
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TASK THREE
Rewrite the following passage in which a safe, comfortable setting /
atmosphere becomes one of fear and menace.
The cottage stood hidden from the road, held protectively by the surrounding trees.
Ivy climbed the walls, making it difficult to see what colour the stonework underneath
had originally been. The windows peered inquisitively out at those who approached,
while the door was always opened in a welcoming smile.
The little house was cosy and friendly.
It smelt of woodsmoke and apples when you
walked in and little squares of sunshine fell through its tiny windows.
It offered no
sound apart from the crackle of logs on the fire, or sigh of wind in the chimney.
New wooden floorboards had been laid in a couple of rooms over the bricks, for
warmth, and these had shrunk as they dried; just sometimes you’d get the feeling as
if somebody else had stepped on to the board you stood on, and made it bend a
little.
SIMILES
Highlight any similes you find in the following extracts (there is at least
one in each), and explain why you find them effective.
Sonny, who is a little troubled about this point, indicates the flat sheet of darkness to
the right of the sign and extending to the next, smaller oak tree. As he looks at it, the
darkness loses its two-dimensionality and deepens backward like a cave, or a black
hole softly punched through the air. The cave, the black hole, melts and widens into
the earthen road, about five and a half feet wide; it must have been there all along.
The streets were muddy then, the actual blocks islands above the gutters, and the
entire city so dark compared to the cities of today. The lights were as beacons in a
black sea. Even with morning rising slowly, only the dormers and high porches of the
houses were emerging from the dark…
The waves crashed against the shore like angry stallions, as the wind roared above
her head. In the distance, she could see the ship, it’s torn rigging illuminated by the
moon like a ghostly skeleton.
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PERSONIFICATION
Windows gave no warming sunlight, only gloomy views of
shadowed courtyards, at the back and the blank, blind
faces of houses at the front
-
Do houses have ‘faces’?
What is the writer trying to suggest by saying they are ‘blind’?
What is this technique called?
After sunset a shroud of darkness seemed to wrap itself
around the house before creeping slowly inside.
-
Why is ‘shroud’ a good choice of word here?
What is the writer trying to suggest about the darkness in this
extract?
The clouds cut off the moonlight and the shadows melted
into general darkness.
-
What does the word ‘melted’ suggest to you about the shadows?
The moon was smiling down on him and the clouds looked
like soft balls of cotton wool
-
What is suggested about the protagonist’s mood here?
How is this suggested?
The branches of the bushes waved him onwards to where
Beth was waiting for him.
- What does this extract tell you about the way Ben was feeling as he
drove home?
- What technique is used to achieve this?
Wind sighed mournfully through the rhododendron bushes.
- What mood is suggested by the writer’s use of personification?
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ALLITERATION and ONOMATOPOEIA
can be used to good effect.
1. The blank blind faces at the front
2. The hissing gaslight was strangely dimmed
3. The bushes cast strange shaped shadows
4. His teeth chattered and clacked uncontrollably
5. The sharp croak of birds
6. It offered no sound apart from the crackle of logs on
the fire, or sigh of wind in the chimney
IMAGERY
A simile tells you that one thing is like another; it compares two
different objects using the words ‘like’ or ‘as’.
 His hair was as black as coal.
 His heart beat like a drum.
A metaphor tells you that one thing is something else. It is not
meant literally but is just a way of creating vivid pictures in
your mind.
 The cold breeze was a slap in the face.
 She stared with eyes of stone.
Personification describes a thing or object as if it is a person or
has human qualities.
Eg
 The wind whistled through the sails.
 The sun tread a path through the woods.
WORD CHOICE
Your word choice is very important. It creates meaning.
 Careered is a stronger word than ran.
 ‘Shroud of darkness’ has a different meaning than ‘cloak
of darkness’.
 ‘He felt helpless’ is more effective than ‘he didn’t know
what to do’.
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Now write at least two opening paragraphs to describe the setting for your own story.

Remember the five elements for setting

Remember to choose your words carefully

Remember to use figurative language/imagery

Remember to use word sounds
Some further suggestions for setting are:

a wood

a lonely country road

a castle

an old house

a ruined church

caves

the beach
TECHNIQUES TO USE TO HELP IMPROVE YOUR WRITING

When describing setting and creating atmosphere, use details based on senses –
sight, sound, smell, taste and touch.

Base your settings on a place you know and then add invented details.

Use real as well as invented names to bring characters and places alive

Create atmosphere by writing about what is hidden, what is dangerous, what
looks unusual, what is out of place.

Describe the weather, time of day and season, as well as the place.

Use a mixture of long and short sentences to vary pace. Short sentences help to
increase tension and a sense of panic in your characters; long sentences with lots
of verbs or repeated use of ‘and’ can add to the impression of heightened
activity.

Use sentence fragments to build tension.

Ask questions to make your reader empathise with your characters.
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CHARACTER
You should aim to give the reader an impression of your character’s
personality by the way you describe him / her. You should also aim to
make your reader respond to your character in the way you want. Do you
want your character to be liked, feared, hated, pitied, etc?
Vyvyan’s dress did nothing to render him less scary. A beige burn mask (or
a right elastic hood designed to suggest a burn mask) covered his enormous
head.
His eyes were visible through the mask’s eyeholes; they were too
small for his head, as glassy-yellow as an alley cat’s, and so phlegmy that
their continuous discharge had left umber-orange tear tracks on either side
of his monstrous nose.
His lips showed through an oblong cut-out like a
pair of helically twisted wisps of liquorice, black and oddly glossy.
Which words or phrases are used here to create revulsion in the reader?
Which words suggest that this character is to be feared?
His face was a strong – a very strong – aquiline, with high bridge of the thin
nose and peculiarly arched nostrils; with lofty domed forehead, and hair
growing scantily round the temples but profusely elsewhere. His eyebrows
were very massive, almost meeting over the nose, and with bushy hair that
seemed to curl in its own profusion.
The mouth, so far as I could see it
under the heavy moustache, was fixed and rather cruel-looking, with
peculiarly sharp white teeth;
these protruded over the lips, whose
remarkable ruddiness showed astonishing vitality in a man of his years.
For the rest, his ears were pale, and at the tops extremely pointed; the chin
was broad and strong, and the cheeks firm though thin. The general effect
was one of extraordinary pallor.
How does the writer create the impression of potential danger in this
description?
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THE GHOST
Rewrite the following example, giving a clearer description of the ghost,
as well as some indication of whether it is to be feared or not.
Remember to use the techniques you learned when looking at setting and
atmosphere.
Tom tossed and turned before his eyes finally opened.
foot of the bed he saw a strange white shape.
still.
There at the
It was standing quite
The head nodded slowly, and the white hair moved in the
darkness.
Black eyes stared at Tom, and the mouth opened as if to
speak.
It was a terrible sight!
CHARACTER
This is a description of the character of Tom. He is supposed to be a
sympathetic, innocent child. Rewrite this, improving it as much as you
can.
Tom was twelve years old.
He was small for his age, but strong.
had red hair and very white skin.
He
His eyes were dark blue and small.
He had a miserable look on his face because he hadn’t wanted to
leave the only place he had ever known as home, and come to live in
the old cottage which his father had bought.
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CHARACTER
Boss Vole strode off the elevator as soon as it opened and was halfway down
the line of work modules before the young man at the reception desk could
alert the staff by pressing the intercom buzzer.
The Vole always made a
last round trip of the office before these business trips. She claimed it was
to pick up last minute papers, but everyone knew she was there to inject a
parting dose of her poisonous presence, enough venom to goad them until
her return.
Lenna Jordan had been the Vole’s assistant too long to be
caught by her raiding tactics. She felt the wave of tension slide through the
office in the silenced voices, the sudden steady hum of machines, and the
piercing “Yes, Ma’am!” as the Vole pounced on an idling clerk.
Jordan
pushed the bowl of candy closer to the edge of the desk where the Vole
usually leaned while harassing her, and went back to her reports.
TASK ONE
Underline all the WORDS which suggest that Boss Vole was a nasty,
disliked person.
TASK TWO
What do her ACTIONS reveal about her character?
TASK THREE
Now rewrite this passage, making Boss Vole a kind, well-liked person. You
may want to change her name!
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A MONSTER
Now read the following passage about a monster and his encounter with a
group of people.
The creature opened the door and entered the room, oblivious to the
stares which met him.
Knocking a chair out of the way, he reached
the mantelpiece and picked up the photograph of Eva which sat upon
it.
A strange noise came from the being, who did not seem to realise
until that moment that he was being watched.
He looked into the
eyes of each person there, before dropping the picture frame, where it
smashed on the hearth. As suddenly as he had entered, he was gone.
DOESN’T REALLY TELL US MUCH THOUGH, DOES IT?
TASK
Rewrite the paragraph for each of the following options.
1. The creature is a very dangerous monster.
He has been the
subject of legends for many years and is known to be cruel and
bloodthirsty. You are trying to influence your reader to be afraid
of the creature.
2. The creature is a gentle, man-like beast. He has been the subject
of legends for many years, but is associated with good luck, and has
been said to help humans in trouble. You are trying to influence
your reader to like the creature and to sympathise with him.
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CHARACTERS AND SPEECH
Characters reveal themselves through WHAT THEY SAY, and THE WAY in
which they say it.
1.
“Don’t you deny it, you miserable little gumboil!” the Trunchbull screamed.
2. “Speak up, boy. Cat got your tongue, eh? Too many lies running around loose in
your head? You wouldn’t recognise the truth if it was standing right in front of
you!” sneered Mr Taylor.
3. “Heavens and earth, no!” cried Arthur in a storm of passion.
world will I consent to any mutilation of her dead body.”
4. “I d-d-don’t know what to do.
whispered Ellen.
“Not for the wide
I won’t b-b-be able to do it.
I just can’t…”
5. “Okay,” Ty says. He speaks in a high, whinny voice. He hopes he sounds scared
out of his mind. God knows it shouldn’t be hard to sound that way. “Okay, okay,
just don’t hurt me, I’m doing it now, see? See?”
6. In a voice which, though low and almost in a whisper, seemed to cut through the
air and then ring round the room he said, “How dare you touch him, any of you?
How dare you cast eyes on him when I had forbidden it? Back, I tell you all”
This man belongs to me! Beware how you meddle with him, or you’ll have to deal
with me.”
7. Lestat smiled, as if he’d just thought of a joke. “This is your funeral, dear. You
see, you were at a dinner party and you died. We drank your blood.”
8. “You tell Mom and I’ll break your arm,” Roger grinned chillingly.
9. Van Helsing rose up and said with al his sternness, his iron jaw set and his bushy
eyebrows meeting, “ No trifling with me! I never jest! There is grim purpose in
all I do.”
Match these personalities with the correct characters
A)
B)
C)
D)
E)
F)
G)
H)
I)
Sarcastic and menacing, bullying
Strong, forceful, determined
Dangerous, taunting, uncaring
Bossy and harsh, insensitive to others
Moral, passionate, loving
Helpless, weak, lacking in confidence
Intelligent, brave, scared
Dangerous, angry, powerful
Cruel, bullying, taunting
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20
CHARACTERS AND SPEECH
We can often see what kind of person a character is through what he /
she says. In a short story, this is an effective way of developing your
characters, as well as your plot.
When writing dialogue, remember:
 To make sure that the dialogue reveals something
about the CHARACTER’S PERSONALITY;
 To make sure that you consider not only WHAT is said,
but HOW it is said;
 To use dialogue SPARINGLY and only where it is
APPROPRIATE.
When writing dialogue, also consider:
 When to speed up the dialogue by not adding in the
name of the person who spoke it;
 When it is appropriate to use the simple word ‘said’;
 When you should use more expressive words such as
shouted, whispered, muttered, murmured, sighed,
snarled, etc;
 When you should put the verb before and when after
the speaker. (said Robert or Robert retorted)
 When you should also use an adverb, such as sadly,
angrily, etc.
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21
DIALOGUE
“What now?” whispered Laura.
“I don’t know, but I’m not going to stay here and become lunch for one, that’s
for sure,” Dawn muttered determinedly.
The vampire arose from his chair at the end of the room. “I can assure you, my
dear, I have no intention of turning anyone into lunch, as you so charmingly put
it.
I do, however have plans for you both.”
As he smiled, the girls saw the
glistening points of the demon’s teeth.
“And then you’ll let us go?” asked Laura, her voice almost pleading.
“Of course he won’t let us go!” scoffed Dawn. “Are you really that stupid?”
“Oh, but I will, my dears,” the vampire seemed to glide across the room as he
spoke, his voice almost entrancing them, “the last thing I want to do is hurt
either of you.”
“And if we refuse to go along with your ‘plans’, what then?” demanded Dawn.
“Dawn, don’t make things worse…” Laura begged.
“Things can’t get much worse, or hadn’t you noticed!” retorted her friend.
“If you should become difficult,” the vampire breathed, “then I should have to
become less … accommodating.”
TASK
Write a short paragraph about each of the characters in the passage
above, describing their personalities. Use evidence from the text to
support your ideas.
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22
TASK ONE
Rewrite the following piece of dialogue to reveal the PERSONALITY of the
speakers, making the writing more REALISTIC.
PAUL
A quiet boy, easily frightened and often picked on by others.
to be accepted by his peers.
Desperate
JOHN
A popular boy, but a bit of a bully. Often in trouble, both in and out of
school. Laughs at others’ fears and mistakes.
The two boys approached the graveyard cautiously, John pushing Paul
ahead of him. Paul stumbled, and caught himself just before he cried out in
shock and pain. John tutted and scowled at the other boy in annoyance, as
if he wanted Paul there even less than Paul himself wanted to be there.
“Watch what you’re doing, won’t you?” said John.
“Sorry, I couldn’t help it,” said Paul.
“If you’re too frightened to do this, you know, I’m sure there’s plenty other
lads who would rather come with me,” said John.
“I’m not frightened,” said Paul.
“I’ll bet. Come on then, I’ll give you a leg up over the gate,” said John.
“You mean, I have to go in first?” said Paul.
TASK TWO
After you have rewritten this piece of dialogue, write a short piece of
writing about what happens inside the graveyard. The TURNING POINT
will be that Paul is the one who behaves bravely, and John becomes
frightened. Paul’s behaviour means that John will change his opinion of
him and Paul will be accepted.
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23
+
story
(what happens)
cause
(why things happen)
=
PLOT
This is what an author (E. M. Forster) said:
‘"The king died and then the queen died” is a STORY’.
‘"The king died, and then the queen died of grief", is a PLOT.’
In your story, something must happen to which your protagonist will
react. Without a MAIN EVENT your story will be, quite simply, not a
story, but a piece of writing. Some simple ideas for a turning point are:
protagonist sees something
What is it? What does she / he
do about it? Why?
protagonist hears something
What is it? What does she / he
do about it? Why?
protagonist finds something
What is it?
What does it do?
What does protagonist do about /
with it? Why?
ghostly figure appears
Who is it? Why? What do they
want? What can protagonist do
about it?
protagonist is attacked
By whom / what? Why?
she / he resolve this?
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How can
24
STRUCTURE
STRUCTURE refers to how the PLOT is put together.
Most stories are structured using a chronological or linear TIME
structure.
BEGINNING
MIDDLE
END
Beginning:
This INTRODUCES the reader to the SETTING in which you
have placed your PROTAGONIST. This also introduces your
protagonist and lets your reader see the kind of person he /
she is.
Middle:
This is the bulk of your story and usually starts with
something happening.
You need an EVENT or a PROBLEM
which pushes the action forward. The middle of your story
will continue with your tale of how your protagonist handles
this occurrence.
End:
This is where your story comes to its CLIMAX. The problem
is either resolved or your protagonist is defeated. Finally, if
you choose to, tie up any loose ends, explain anything as yet
unexplained, and conclude your story. Don’t drag your ending
out - it should be no more than two paragraphs long.
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25
TENSION
A good ghost story needs to build up TENSION.
Something has to
happen to move the action forward towards a CLIMAX.
Read the following extract and then answer the questions at the end.
Margaret’s uneasy sleep was disturbed by a tapping noise which
seemed to penetrate her dream. She tossed from side to side before her
tired eyes finally opened and adjusted to the darkness of her new room.
She sat up in the strange four poster bed, and listened.
At first she
thought it was part of her dream but just as she turned her pillow
round ready to resume her sleep, she heard it again. This time it was
louder than before.
A)
B)
C)
D)
E)
What happens next?
Then what happens?
What is the climax?
How is the problem resolved?
How does the story end?
GENRE
Read the following paragraph, then rewrite it twice, adding at least 3
sentences each time
1. as part of a ghost story
2. as part of a horror story
Mark walked into the room.
which surprised him.
He looked around and saw something
His brain struggled to understand what his eyes
were seeing, but before he had a chance to comprehend the sight
before him…
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26
ENDINGS
There are many ways to end a short story but the most popular and
effective ways usually:

Tie up all the loose ends in the story

Answer all the questions in the reader’s mind

Bring a resolution to the problem

Often offer a surprise, something the reader did not know about

Have a ‘twist in the tale’

May be a line of dialogue

Can be a cliff-hanger, whereby the writer gives some hint in the final line
that the danger is not over but will return …
ENDINGS
There are many ways to end a short story but the most popular and
effective ways usually:

Tie up all the loose ends in the story

Answer all the questions in the reader’s mind

Bring a resolution to the problem

Often offer a surprise, something the reader did not know about

Have a ‘twist in the tale’

May be a line of dialogue

Can be a cliff-hanger, whereby the writer gives some hint in the final line
that the danger is not over but will return …
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27
ENDINGS
There are many different ways to end a short story. Here are just a few
examples.
 THE PROTAGONIST IS CAUGHT BY THE GHOST/MONSTER
… the door clicked open and the motorcycle boots crossed the room toward where
he lay. Over his bed he could see the picture of the Road Virus’ car idling in front of
his house with the driver’s-side door open.
The driver’s-side bucket seat, he saw, was full of blood.
I’m going outside, I think,
Kinnell thought, and closed his eyes.
 THE PROTAGONIST’S ARE TRIUMPHANT AND WILL PASS THE TALE ON
We want no proofs; we ask none to believe us! This boy will some day know what a
brave and gallant woman his mother is. Already he knows her sweetness and loving
care; later on he will understand how some men so loved her, that they did dare
much for her sake.
 THE PROTAGONIST IS DESTROYED MENTALLY AND THE STORY COMES FULL
CIRCLE
But Nona was the only one I ever really loved.
It’s so hot in here. And I don’t like the sounds in the walls.
Do you love?
Yes, I love.
And true love will never die.
 THE MONSTER LIVES ON AND THE HORROR WILL CONTINUE
The monster stared out the window to where the snow still fell, quietly now, the
blizzard having moved on leaving only this calm memory of its storm winds in its wake.
He gave no indication that he was listening to the old woman, but she went on
talking all the same.
 THE HORROR IS OVER AND LIFE CAN GO BACK TO NORMAL FOR THE
PROTAGONIST
His ordinary life of school and friends and games and music, a life where there were
schools to go to and crisp sheets to slide between at night, the ordinary life of a
thirteen-year-old boy (if the life of such a creature can ever, in its colour and riot, be
considered ordinary) had been returned to him, he realized.
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28
 A MINOR CHARACTER FORCES THE STORY TO CONTINUE, BUT WITHOUT THE
READER
And quickly the boy noted:
“ Lestat …off St Charles Avenue. Old house crumbling … shabby neighbourhood.
Look for rusted railings.”
And then, stuffing the notebook quickly in his pocket, he gathered the tapes into his
brief case, along with the small recorder, and hurried down the long hallway and
down the stairs to the street, where in front of the corner bar his car was parked.
 THE PROTAGONIST DOES THE RIGHT THING AND SAVES HIMSELF (AND
OTHERS) AT THE LAST MINUTE
The knocking ceased suddenly, although the echoes of it were still in the house. He
heard the chain drawn back, and the door opened.
A cold wind rushed up the
staircase, and a long loud wail of disappointment and misery from his wife gave him
the courage to run down to her side, and then to the gate beyond. The street lamp
flickering opposite shone on a quiet deserted road.
 THE ACTION IS OVER BUT THE PROTAGONIST IS HAUNTED BY THE MEMORY
But that’s not the worst.
The worst is that sometimes I’m convinced she’s still out
there, and I’ll see her again.
Not the little girl in the bunny costume; Marguerite.
I
can’t get rid of the idea that some Halloween night when I look out past the little
witches and clowns and spacemen on our porch, she’ll be there too:
standing
halfway down the path in her pale raincoat under a bat-black umbrella, waiting for
me.
 AN IMPORTANT CHARACTER IS DISCOVERED TO HAVE DIED BEFORE THE
ACTION IN THE STORY BEGAN
“Why! What!”
hair.
Through the mud upon his face he went white, up to the roots of his
He turned to us with startled eyes.
Joyce died in Brixham Hospital nearly an
hour ago. The hospital people have telegraphed to say so.”
If you are still struggling with an idea for your story, have a look at the
following suggestions. Hopefully, they will help you find some inspiration!
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29
TITLE
‘The Calling’
PROTAGONIST’S SEX
male
PROTAGONIST’S AGE
late twenties
PROTAGONIST’S JOB
a lorry driver
ADJECTIVES RE PROTAGONIST
burly, cynical, sarcastic
SETTING
an American city, present day.
NARRATIVE POINT OF VIEW
third person narrative
TITLE
‘Ruth’s Legacy’
PROTAGONIST’S SEX
female
PROTAGONIST’S AGE
18
PROTAGONIST’S JOB
servant
ADJECTIVES RE PROTAGONIST
humble, quiet, sensitive, shy
SETTING
a castle inhabited by a titled family, 19 th century
NARRATIVE POINT OF VIEW
third person narrative
TITLE
‘The Birthday Party’
PROTAGONIST’S SEX
female
PROTAGONIST’S AGE
17
PROTAGONIST’S JOB
school pupil
ADJECTIVES RE PROTAGONIST
arrogant, foolish, sly, pretty
SETTING
protagonist’s house, present day.
NARRATIVE POINT OF VIEW
First person narrative
TITLE
‘The Return of the Clan’
PROTAGONIST’S SEX
male
PROTAGONIST’S AGE
15
PROTAGONIST’S JOB
training to be a warrior
ADJECTIVES RE PROTAGONIST
frustrated, brave, loyal
SETTING
Scottish Highlands, 17th century
NARRATIVE POINT OF VIEW
first person narrative
TITLE
‘Fear the Night’
PROTAGONIST’S SEX
Two people – a couple
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30
PROTAGONIST’S AGE
early twenties
PROTAGONIST’S JOB
travelling musicians
ADJECTIVES RE PROTAGONIST
loving, optimistic, brave, psychic
SETTING
somewhere in Britain, present day
NARRATIVE POINT OF VIEW
third person narrative
TITLE
‘Return’
PROTAGONIST’S SEX
male
PROTAGONIST’S AGE
centuries old
PROTAGONIST’S JOB
a monster, a ruthless killer
ADJECTIVES RE PROTAGONIST
ruthless, determined, cruel, bloodthirsty
SETTING
graveyard, present day
NARRATIVE POINT OF VIEW
third person narrative
TITLE
‘Day of Darkness’
PROTAGONIST’S SEX
a group of school pupils
PROTAGONIST’S AGE
teenagers
PROTAGONIST’S JOB
school pupils
ADJECTIVES RE PROTAGONIST
excitable, lively, argumentative
SETTING
school bus, present day
NARRATIVE POINT OF VIEW
third person narrative
TITLE
‘A Cry for Help’
PROTAGONIST’S SEX
female
PROTAGONIST’S AGE
19 when she died
PROTAGONIST’S JOB
a ghost, female murder victim.
ADJECTIVES RE PROTAGONIST
lonely, afraid, lost, unhappy
SETTING
a city house, present day
NARRATIVE POINT OF VIEW
first person narrative
TITLE
‘Silent Voices’
PROTAGONIST’S SEX
male
PROTAGONIST’S AGE
12
PROTAGONIST’S JOB
school pupil
ADJECTIVES RE PROTAGONIST
frightened, confused, lonely, slightly mad
SETTING
city in the aftermath of a disaster, 2058
NARRATIVE POINT OF VIEW
first person narrative
TITLE
‘Stephen’
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31
PROTAGONIST’S SEX
male
PROTAGONIST’S AGE
21
PROTAGONIST’S JOB
apprentice train driver
ADJECTIVES RE PROTAGONIST
quiet, introverted, troubled, haunted
SETTING
train station, present day
NARRATIVE POINT OF VIEW
third person narrative
TITLE
‘My Granny’s Cat’
PROTAGONIST’S SEX
female
PROTAGONIST’S AGE
15
PROTAGONIST’S JOB
school pupil
ADJECTIVES RE PROTAGONIST
cynical, short-tempered, rebellious, aggressive
SETTING
grandmother’s house, present day
NARRATIVE POINT OF VIEW
first person narrative
TITLE
‘Class of ‘93’
PROTAGONIST’S SEX
male
PROTAGONIST’S AGE
mid to late twenties
PROTAGONIST’S JOB
teacher
ADJECTIVES RE PROTAGONIST
angry, frustrated, sarcastic, dislikeable
SETTING
a classroom in a secondary school, 1993
NARRATIVE POINT OF VIEW
first person narrative
TITLE
‘The Room’
PROTAGONIST’S SEX
male twins
PROTAGONIST’S AGE
14
PROTAGONIST’S JOB
school pupils on holiday with parents
ADJECTIVES RE PROTAGONIST
easily bored, curious, mischievous, likeable
SETTING
a hotel in Scotland, present day
NARRATIVE POINT OF VIEW
third person narrative
TITLE
‘My Husband Came Home’
PROTAGONIST’S SEX
female
PROTAGONIST’S AGE
in her nineties
PROTAGONIST’S JOB
lives in a care home
ADJECTIVES RE PROTAGONIST
gentle, loving, quiet, sweet, widow
SETTING
Grandson’s house, Christmas, present day
NARRATIVE POINT OF VIEW
mixture of first and third person narrative
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32
TITLE
‘Trees’
PROTAGONIST’S SEX
male
PROTAGONIST’S AGE
sixties
PROTAGONIST’S JOB
a hermit
ADJECTIVES RE PROTAGONIST
reclusive, introverted, lonely, mystical
SETTING
deep within a forest, early 19th century
NARRATIVE POINT OF VIEW
first or third person narrative
TITLE
‘The Burnings’
PROTAGONIST’S SEX
female
PROTAGONIST’S AGE
30
PROTAGONIST’S JOB
witch
ADJECTIVES RE PROTAGONIST
Powerful, angry, vengeful, ruthless
SETTING
Salem, Massachussetts, USA, 17th century
NARRATIVE POINT OF VIEW
first person narrative
TITLE
‘The Cell’
PROTAGONIST’S SEX
female
PROTAGONIST’S AGE
20
PROTAGONIST’S JOB
unemployed, single mother
ADJECTIVES RE PROTAGONIST
aggressive, violent, frustrated, poor, lonely
SETTING
cell at a city police station, present day
NARRATIVE POINT OF VIEW
third or first person narrative
TITLE
‘The Door’
PROTAGONIST’S SEX
male
PROTAGONIST’S AGE
30
PROTAGONIST’S JOB
explorer, mountaineer
ADJECTIVES RE PROTAGONIST
adventurous, stubborn, demanding, authoritative
SETTING
Snowdonia, Wales, present day
NARRATIVE POINT OF VIEW
third person narrative
TITLE
‘Bugs’
PROTAGONIST’S SEX
female
PROTAGONIST’S AGE
15
PROTAGONIST’S JOB
cleaner (Saturday job)
ADJECTIVES RE PROTAGONIST
feminine, lacks confidence, trustworthy
SETTING
isolated cottage, The Lake District, present day
NARRATIVE POINT OF VIEW
first person narrative
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