Screenwriting : Writing a Horror by Anthony Murphy

Good question Anthony Murphy. In my opinion, the short answer is yes. The long(er) answer is it totally depends on what you're writing. Traditionally, I'd say the inciting incident should occur around page 10, unless your cold open is extra long (i.e. SCREAM).

Nick Waters Thank you, Nick. I wasn't aware of the term "cold open" until you brought it to my attention — a warm open versus a cold open. Cool, no pun intended.

I would count that first scene as the inciting incident if everything after that is a reaction to the glimpse of horror, like someone being murdered and then there's an investigation. Horror inciting incidents are often very early, as you want a very tight, tense horror script typically. Personally, I think if you're going for a ''glimpse of horror" opening, play with audience expectations after that to make regular scenes feel more tense since they know there's a monster/killer/etc. that could show up at anytime.

Thank you, David. This is my first horror, so I'm very much the novice in the genre.

I am not a page number person. But by giving the audience a view of the horror before the characters learn it. You place them ahead of the characters. They can now fear for the characters because they know what is coming.

Plus the story is just a vehicle get the audience to the monster.

I have written eleven horror features and the inciting incident always happens around the tenth page mark.

Alicia Vaughan Thank you, Alicia. With such experience, your opinion is valued.

I agree with Alicia it's a good ratio for horror. Too early never really worked for me (but I'm not Stephen King XD)

Craig D Griffiths Bullseye! And to mix metaphors, you hit the nail on the head with the technique that begins my horror and gives rise to my inciting incident query. I'm not a page number person either, but it amazed me, after completing my last screenplay, how my plot-point-pages land smack on screenplay gurus' page numbers, without a conscious attempt to do so, and I don't outline, although I've tried, but it shuts me down.

Anthony Murphy I do what Nick Waters said (inciting incident around page 10, unless the open is extra long).

Maurice Vaughan Thank you, for I know that you're experienced in the genre. My opening, where horror is immediately introduced, is two pages long(so I'm thinking those two pages to my inciting incident are like fiber subtracted from carbs). My protagonist's family arrives in the horror setting after the opening, and I take time to build characters, because to do so garners sympathy for my protagonist, and i just can't help but write a character driven script, whether a sports drama or a horror. My inciting incident happens on p.15, but I think I'm alright with that(especially if you subtract the fiber), for Ari Aster, who develops characters more than most in the genre, innovatively uses late inciting incidents in both "Hereditary" and "Midsommer."

Here is an interesting article about Aster's unique take on inciting incidents:

https://filmschoolrejects.com/ari-aster-inciting-incident/

I wouldn't see it as buying time before the inciting incident. I've reviewed titles where the "teaser scare" has been used as an attempt to keep the viewer committed until the next horror moment far too late on in the movie. Look at movies like "Jaws", "Alien" and "Rec" (the original Spanish movie that was re-made into "Quarantine" in the US) which sometimes use the initial opening scare, but also build on the horror aspects as the movie progresses, rather than ditch them till later.

Ewan Dunbar I hear what you are saying. What I've studied suggests that after the initial scare, a scare should occur at least every ten pages to build the horror.

You're welcome, Anthony Murphy. I do that ("My opening, where horror is immediately introduced, is two pages long (so I'm thinking those two pages to my inciting incident are like fiber subtracted from carbs). My protagonist's family arrives in the horror setting after the opening, and I take time to build characters."). I aim for my inciting incident to happen on pages 10-12, but I've had my inciting incidents fall on pages 13-15.

Maurice Vaughan I was hoping to hear that.

Nothing is set in stone, John. As long as the incident happens in the first act, you're safe and sound.

Marcel Nault Jr. Thank you for answering. That's what I'm thinking too, Marcel.

Interesting question Anthony Murphy as it made me ponder a handful of my horror scripts. Generally, I kill someone off within the first 10 pages, but a script I finished recently broke that pattern, probably because it builds up to when things eventually go wrong, I had a very brief scene 2 pages in with something sinister to signpost there will be blood.

William Friedkin, director of The Exorcist, just passed away. Brilliant screenplay by William Peter Blatty. Never hurts to review how the best of the best have handled. Assuming you're doing supernatural horror and not horror/comedy hybrid or conventional monster movie, more important than the inciting incident is establishing the alienation of your protagonist. The real hook for the audience is how compelling that moment of impact is, when the line separating normal and abnormal is crossed for the protagonist. That moment is better measuerd by their state of mind, their state of heart and their disconnect than measured by page count.

I like my inciting incident to occur around pages 10-12. Sometimes I get it by 15, but even then I feel like that's pushing it.

Antonio M. Neal Howard Thank you.

Usually the first scene is someone dying, to give us a hint at the terrors to come...

Scott Sawitz That's how my story begins, with the "evil" killing a character in the opening scene, and then my protagonist and his family arrive in the town.

Neal Howard The "Exorcist" is a brilliant piece of writing and a masterful film. My story is set in the 90's in the NC mountains, so cell phones aren't in common use and the deep, dark forest provides alienation.

The physical environment the story takes place in is important and can certainly add a layer of alienation, but it is no subsitutute for the protagonist's psychologoical and spiritual alienation. That's what creates the disturbing empathy audiences feel in the best horror movies and the fear we are all vulnerable to inviting such terrible demons or. such into our own lives. It's a more critical aspect of the formula for writing a more compelling horror script than page count for the inciting incident. It's what your story is about on a much deeper level that should guide you through your process.

The early American writer, Nathaniel Hawthorne (1804-1864) called a deep, dark forest "a repository of evil". So, you're following a great literary tradition.

In horror cinema, it's common to have an introductory scene that reveals what the characters in the story will face. At the same time, many films of this genre also employ the more classical formula. In any case, to keep the audience engaged, it seems that having the inciting incident between 5 to 30 pages is a good point.

What grinds my gears about horror movies is the fact that the producers (and screenwriters) have to rely on clichés and the cheapest jumpscares imaginable. I don't know about you, but it doesn't work.

I like jump scares if they're done right, Marcel Nault Jr., but I don't like Horror clichés. I try to avoid clichés in my scripts. If I find myself writing a cliché, I'll make sure to get rid of it. Sometimes that means rewriting the entire scene, but it's worth it.

"Grinds my gears" - what a great expression Marcel Nault Jr.. Yeah, I'm with you there. Ages ago, I watched a remake (not going to say which one, I knew I wouldn't like it very quickly but sometimes it's educational to watch a not so good film in the genre) of one of the 80s slashers - one jump scare was a character bumping into a lamp... I swore at the TV. I was talking with a producer once and I said pretty much the same thing you said about jump scares, he laughed, said that although he did not disagree, it a genre expectation, if not a requirement. I think they would annoy me less if they didn't suddenly have a burst of loud audio, it's about as subtle as being hit in the head with a hammer (though if I remember there is a scene in the original 'Texas Chainsaw Massacre' where Leatherface appears and strikes with a hammer, don't remember a music jolt with that, maybe there was who knows, I wasn't expecting it at all even though I knew the person was in massive danger). As you say, the challenge is to find a different way to raise the creepy level. Soors are prevalent with jump scares (although I have to say I do like a good basement door - open it, flickering light or no light, stairs disappearing into darkness) fridge door, closet door, attic door, trapdoor; someone banging on a car window; a startled animal, a hand reaching out of the darkness to grab someone (but it's their friend). I love the shot in 'Halloween' where Michael Myers seemingly manifests out of the shadows.

Probably Nick's answer " it depends on what your writing" is key. Really nothing more to say. Only clarify. Still I would not gamble and make the inciting incident occur as soon as possible. We can not root for our protag if we do not know 'what' to root for - if we do not know what inciting incident introduces the theme and propels our hero into 'live changing' action. Normally people do not like too much pipe. Minority Report I personally feel - against some opposite opinions - is an exception. Leading up to 40 seconds about everything is "leeway" as being a "glimps of horror." For me it works.

At around 30 minuter into the film Agatha tells Jonh" Can you see?" That's the first inciting incident. Which makes John check the pregoc system. Could anything be wrong? Does it really work as it should? Then around 40 minutes we have the famous brown ball with Jonh's name on it, the second inciting incident --and now he has to run for his life, investigate, and prove he's innocent. But is he?!

For any genre/screenwriting (this post, horror), I would suggest to watch & study a stack of horror movies you think stinks. Figure out for yourself why they stink and then write your horror concept. What new spin, new world you can create?

Most ppl believe the last Halloween movie sucks. Ask yourself why. Danny McBride knows how to write screenplays. I doubt he said "fuck it, my concept sucks but I need a paycheck."

Dan MaxXx Thank you, Dan. That's good advice.

Marcel Nault Jr. Marcel, I'm with you. I love drama, and I would prefer to be writing another drama, but horror sells, so with that incentive, I'm approaching a genre new to me as a challenge, and so far it's going pretty well, I think, and I'm having fun writing it. Overall I'm not a fan of the horror genre, especially not the slasher type campy movies like Freddie, Jason etc, for I've never watched a single one, but when horror is done well, like "The Others," "The Exorcist," "The Omen, " or more recently "The Babadook," it can stand beside any genre, IMO.

Neal Howard I hear what you are saying about going beyond physical to psychological alienation. I, in part, achieve this using the horror trope of having my teen aged protagonist, after the divorce of his parents, moving with his mother and younger sister from the Tri-State area around NYC to his mother's hometown in the NC mountains, which is an alienating culture shock for him, and frames him very much the outsider in his new school and rural town.

If you survey what counts as horror (psychological i.e. little to slasher violence, 'mentally sick' character, 'demonic' character, steampunk, retro-future, monster, etc.) you'll be pleasantly surprised. Some people even say war stories are essentially horror stories. Combine any of these sub-genres and you'll be fine. Example: Sgt. Goofus finds himself behind enemy lines, finds giant hill with giant ants controlled by mad scientist from another planet, holding and torturing 3 teenagers in a well who believed they were going on a rafting trip, while other captives are having a banjo duel. Guess that covers the waterfront ... where spies plot a nuclear attack while holding Jimmy Hoffa in a cage. Running time: 4 hours. Now that's horror!

Jenean McBrearty That's a strong argument.

Horror can combine with other sub-genres, as long as it's done right. Overlord is a brilliant example of that.

The original Halloween is one of the best there is and it starts with murder. I like to start with a flash forward of a murder and suck the audience in immediately so the rest of the story, they wonder when it's going to happen again. Maybe it will, maybe it won't. But putting that suggestion in their mind is all you need to keep them in suspense.

"There is no terror in the bang. Only in the anticipation of it." Hitchcock. Think that's why I like the psychological horror films best. I love horror, but can't stand the gore.

Lynda Mason Thank you, Lynda. I start my story with a killing, then introduce my main characters in their "normal" world to build sympathy for them before the horror resumes.

I think that's a good way to do it. So, in your case, it's in chronological order, but would the characters know anything about it? I guess when I start it as a flash forward, the audience might not know that, but maybe that's okay. It's all about creating suspense.

One of the biggest challenges is finding the balance between humor and horror. If it's just scene after scene of suspense, it starts to lose it's power.

I am brushing up a horror I started years back. Inspired by this thread actually.

I don’t show the horror for a few pages and then it is only hinted. It feels more like a thriller in that regard. Then around page 25 we kick it into gear. Then deep in the final pages I reveal the twist.

It reads like Pile of poo at the moment. I use things I forgot to set up and the emotion and reaction of the characters doesn’t track.

But that is what rewrites are for,

Lynda Mason My horror is in chronological order, so after the opening killing(horror)scene, my protagonist and his family arrive in the mountain town where the murder recently occurred, but it is being reported to the press by the stubborn local sheriff as a mountain lion attack, even though panthers have not been seen within a thousand miles of the area for over a century,