What makes great horror fiction?
As a critic and reviewer, I have been called upon
regularly to pass judgment on the writing of horror
fiction s leading talents. I ve probed the phenomenal
success of Stephen King in a book-length study, and
I ve also published a history of contemporary horror,
as told through the lives of its brightest and bestselling
writers. As a compulsive reader and filmgoer, I ve
experienced nearly everything the field of horror has
to offer. My own fiction returns w~th regularity to
themes of violence and fear.
Nevertheless, I m tempted to answer this question
with the unblinking certainty of Supreme Court Justice
Potter Stewart, who once offered as his definition of
obscenity that he knew it when he saw it.
Many readers see the horror story as something that
is packaged only in repetitive paperback editions, replete
with potboiler prose, lurid covers, and corny titles that
seem always to begin with the word "The." And most
of the time, they are right. Today s tales of terror rarely
offer anything new. Few plots bearing the "horror"
label are fresh and exciting; indeed, most editors lament
how easily these stories can be pigeonholed into recog-
nizable types. (T.E.D. Klein, the original editor of
Twilight Zone Magazine, once told me that he could fit
over ninety percent of the submissions to his magazine
into ten clich6 categories). The writing itself is, on
average, slick and superficial; at worst, the stuff of pulp
adventure, written to the lowest common denominator.
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