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The popularity of the game, as well as the acquisition of a printing press , led to the creation of a literary genre called Kaidanshu. Kaidan are not always horror stories, they can "be funny, or strange, or just telling about an odd thing that happened one time". Lafcadio Hearn published Kwaidan: Stories and Studies of Strange Things in as a collection of Japanese ghost stories collected by Lafcadio Hearn , and later made into a film.

Fear of the Unknown

Ghost Stories magazine, which contained almost nothing but ghost stories, was published from to Beginning in the s, Fritz Leiber wrote ghost tales set in modern industrial settings, such as "Smoke Ghost" and "A Bit of the Dark World" A noted modern British writer of ghost fiction is Ramsey Campbell. During the late s the depiction of ghost and supernatural events appear in films. With the advent of motion pictures and television, screen depictions of ghosts became common, and spanned a variety of genres. The works of Shakespeare, Dickens and Wilde have all been made into cinematic versions, as well as adaptations of other playwrights and novelists.

It is also considered as the first silent short film depicting ghost and supernatural events. After the second World War, sentimental depictions of ghosts were more popular in cinema than horror, and include the film The Ghost and Mrs. Muir , which was later adapted to television with a successful —70 TV series. The s saw screen depictions of ghosts diverge into distinct genres of the romantic and horror. A common theme in the romantic genre from this period is the ghost as a benign guide or messenger, often with unfinished business, such as 's Field of Dreams , the film Ghost , and the comedy Heart and Souls.

The s also saw a lighthearted adaptation of the children's character Casper the Friendly Ghost , originally popular in cartoon form in the s and early s, in the feature film Casper. Asian cinema has also produced horror films about ghosts, such as the Japanese film Ringu remade in the US as The Ring in , and the Pang brothers' film The Eye.

In fictional television programming, ghosts have been explored in series such as Ghost Whisperer , Medium , Supernatural , the television series adaptation of The Ghost and Mrs. Muir and Randall and Hopkirk Deceased.

A Ghost Story - Creating a Unique Perspective - A Video Essay

In animated fictional television programming, ghosts have served as the central element in series such as Casper the Friendly Ghost , Danny Phantom , and Scooby-Doo , as well as minor roles in various other television shows. Popularized in part by the comedy franchise Ghostbusters , ghost hunting has been popularized as a hobby wherein reportedly haunted places are explored. It is also represented in children's television by such programs as The Ghost Hunter based on the book series of the same name and Ghost Trackers.

The Indian television series, Aahat , featured ghost and supernatural stories written by B. It was first aired on 5 October and ran for more than a decade, ending on 25 November with more than episodes. From Wikipedia, the free encyclopedia. For other uses, see Ghost Story disambiguation.


Main article: English Renaissance theatre. See also: Gothic fiction. Main article: Kaidan. Main article: List of ghost films. A ghost story. Horror fiction portal Literature portal Occult portal. Westport, CT: Greenwood. Oxford, Oxford University Press, Gordon Melton Gale Group. Westside Toastmasters. Retrieved 12 August ABC News.

The Guardian. Guardian News and Media. Retrieved 13 August Archived from the original on February 14, Retrieved 20 July Prometheus Books.

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Felton University of Texas Press. Southern Illinois University. Archived from the original on September 8, Retrieved Buckley, Emma; Dinter, Martin T. A Companion to the Neronian Age.

A Guide to How to Write a Horror Story - A Research Guide for Students

Bulletin of the School of Oriental and African Studies. Edinburgh University Press. The Japan Times. Retrieved August 12, Ghosts the complete guide to the supernatural. Eastbourne, UK: Canary Press. Renaissance Clothing and the Materials of Memory. Cambridge University Press. Retrieved August 16, New York: Houghton Mifflin. BFI Companion to Horror. London: Cassell. Bottletree Books LLC, Russian Literature and Its Demons. Berghahn Books, Page Viking Press. Campbell, Sr. Le Fanu", in E. Bleiler , ed.

Supernatural Fiction Writers. New York: Scribner's. Riddell", in Bleiler, ed. December Some Remarks on Ghost Stories. The Bookman. Bottletree Books LLC. James Press, In Joshi, S. James, Volume 1 , pt. Penguin Books. The literature of terror: a history of Gothic fictions from to the present day. London: Longman. Retrieved 29 January New York: Garland, Marion Crawford" in: Robillard, Douglas, ed. Leo, the Royal cadet. New York: G. Putnam's Sons. Retrieved 14 August Hyakumonogatari Kaidankai. He looked up. If you need something more, pick a single adjective and apply it to either the subject or the object.

White walls, white floors, white sinks, white toilet splashed with red. No words are spent describing how clean everything is. Blood is never mentioned. The apparition itself gets hardly any more: a still knot of flesh, a writhing twist, tiny hands reaching up. But together in context? Melissa touches the ghost several times, but its texture is never described with overwrought words like sticky or clammy. Such words carry sinister weight and feel at home in the horror genre, but they tell the reader to be afraid rather than make them feel afraid.

Instead, the ghost that Melissa touches is smooth , cold , and wet. The narrator dances around the discovery of the bones hanging over the bed. For a dreadful while the reader is told only that the thing hanging from the rafters is white. Emotion is vital in any form of literature, but especially ghost stories. Remember, the end goal is to make your reader feel what the protagonist is feeling: pure, unbridled terror. The scariest ghosts always project some kid of emotion. It could be a positive thing taken in a bad direction. Try enhancing the terror with sadness, depression, or anger.

Positive emotions can have a tremendous impact as well. Offer a glimmer of hope, then replace it with something awful. The contrast can be unnerving.

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The protagonist suffers a variety of emotions. Guilt over taking their place in the house. Fear that they might still be there, and that he might become like them. His fear is made apparent throughout the story by his actions. His quick retreat beneath the bed sheets; his deliberate ignorance of strange sights; his oscilation between hesitation and desperation as he traverses the house at night. I wrapped the blankets tighter around me and let out a sick whimper. My chest was tight, my stomach rotten. I would not look. No matter how close those shuffling footsteps came, I would not look.

I would not, I would…not…. The ghost in this story is not an angry or hateful spirit. Fear must be built up gradually. The audience is still comfortably seated at point A: a soft armchair by a warm fire. Just make sure you save the best for last. This priming process is called foreboding. It helps your reader suspend their disbelief and gradually draws them into your nightmare world. Start small. In a ghost story, this is the quiet noise, unexpected but not altogether unusual, that the protagonist dismisses, attributing it to natural causes.

Then go a little bit bigger. Perhaps they investigate, but once more can only shrug their shoulders and move on with life. Then one night the noise becomes a knocking. Maybe someone is at the front door? But the protagonist looks and no one is there. Many events serve to forebode near the beginning of this story.

The discovery of the strange little closet and its dirty contents. The nocturnal disturbance with the garbage can. The stains on the walls. None of these things are terribly scary on their own, but together they point to something unusual about the closet. Then, once you learn the history of the house, these details join to paint a hideous picture. Howard enters the labyrinth expecting nothing out of the ordinary. But as events escalate, he goes from dismissing the sounds as those of his missing teammates to the realization that he is the only living soul in the place.

The foreboding in this story runs along two tracks. In one, first the crows disappear, then the family finds dead crows in the field. Then the son is found dead. Finally, something tries to get in the house, and the wife is killed. It goes from being a pristine creation to a desiccated, horrific visage. This focus on decay foreshadows the reveal at the end. If you want to make your ghost story truly memorable, it needs a killer ending. The key is to put your scariest scene last.

This is the horror genre, after all; death is expected. This may mean leaving the reader with a disturbing question or a terrifying revelation. Putting your scariest scene last might require a non-linear narration.

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If your scariest scene takes place three quarters of the way through your story, write around it, then use a flashback at the end to explore the scene in greater detail. Regardless of how you end your ghost story, be careful not to overextend the ending. After the big reveal, it may be tempting to offer further explanation, but this can dampen the effect. Leave some questions unanswered, some conflicts unresolved. This produces doubt in the reader and forces them to think about your story late into the night.

Then the basement door opens. This seems to be a story about self-empowerment and overcoming your weaknesses, but the ending reveals it to be one of insanity and self-destruction.

5 Short Ghost Stories that Will Scare the Life Out of You

Writing a good ghost story is hard, but when your readers say they can no longer walk down dark hallways and complain of trouble sleeping, that feeling is totally worth it! Finally, the most important advice I can give you is this: read. A good place to start would be The Noctrium Library. If you can write a scary ghost story, you can write anything. Are you ready to inspire nightmares? Everyone fears the unknown. Examples of the Unknown The Babysitter The reader is never given a good idea of what the babysitter actually is.

Something Is Not Right Why is it that one smile can put you at ease, while another makes you want to get out of the room as quickly as possible? We may not be able to tell what , but something is…off. Something comes so close to being real, but falls short in some subtle way.