How to Write Horror Novels: Kyoya Origami x Sesuji x Nashi #CreativeAwards2024

Creative Awards 2024 has a newly established Horror Novel category. Is there anyone out there who wants to take on the challenge but isn't quite sure how to write one?

For this event, we invited three active horror authors as guests to hold a talk event on "How to Write Horror Novels." Our guests are Kyoya Origami, Sesuji, and Nashi. They spoke in detail about their respective views on horror and how they create their characters.

Horror is a very broad genre

—To start off, I think there are various genres within horror, such as ghost stories and occult. To begin with, what is "horror" to all of you?

Sesuji (hereinafter, Sesuji) I think "horror is like curry!"

The "spiciness" you naturally associate with curry is an unpleasant sensation, yet many people love it. But if you ask if the appeal of curry is limited to its "spiciness," that's not the case. There are people who eat curry for the richness of the spices, the sweetness within the heat, or even just because they like naan. Horror is the same; it's not limited to just being "scary." I believe it is a genre where you can enjoy various dramas centered around "fear," such as the emotional movements of characters facing terror, the thrill of escaping from it, or solving mysteries that get to the root of the fear.

Also, I don't think you need to worry about questions like "It's not horror if there are no ghosts!" or "Is this really horror?" As long as there is a sense of fear in the story, it can be juvenile (young adult) fiction or a mystery. Horror is such a broad genre, and horror fans are kind, so they won't criticize you for serving store-bought curry even if it's not a spice curry.

Furthermore, I don't think you need to worry about whether something is "horror" or not. As long as the story has a sense of fear, it can be juvenile fiction or a mystery. Horror is a very broad genre, and horror fans are kind, so they won't criticize you for serving store-bought curry even if it's not a spice curry.

Kyoya Origami (hereinafter, Origami) I also think it's fine to have works where you think, "This isn't very scary, but it's still horror." Certainly, when you think of the word horror, it might have to be scary, but... just as there are many types of spiciness, like wasabi or mustard, I think it's fine for there to be many types of "fear."

Nashi (hereinafter, Nashi) I, like everyone else, realize the breadth of the horror genre, and that is what I love most about it. As long as you have the bare minimum of form, you can just add a few horror elements, and many people will accept it.

Plotting is different for everyone. Various approaches by authors

—From here on, under the premise that "horror is free!," I would like to ask how the three of you write horror novels. Do you write plots when creating stories?

Origami I am the type who creates detailed plots. I take notes for each rough scene and connect them with arrows to think about the structure. This is because in horror works, if you explain the content of the story too much at the beginning, there is a possibility that the interest will drop drastically. I need a plot to devise the structure of the story so that the reader doesn't get bored.

However, due to deadlines, there are times when I have to think while writing after coming up with a certain amount of plot.

Sesuji I use Excel to organize the flow of emotions I want the reader to experience chronologically, and then insert the turning points and milestones of the story into that. It's like fitting puzzle pieces together to construct the story. Next, I arrange the emotional flow of the characters chronologically. Furthermore, next to that, I freely jot down "ideas" or scenes I want to depict. I prepare a minimum blueprint like this, but I often adjust the fine details while writing.

Nashi I'm the type who doesn't really flesh out a plot, and I often just set up the framework, such as the minimum ending or gimmicks, and then proceed with writing.

In my case, for example, for the mystery of "why a ghost appeared here," I might prepare an answer that is difficult to understand at first glance, such as "because the traffic light near the house looked purple." Such logic holds true in the worldview, but it is difficult to convey at the plot stage.

So, I often tell the editors, "I think you'll understand the intention if you read the work, so I'd be happy if you could trust me for now," and report back after the work is finished.

Character creation differs between short and long stories

—Next, please tell us about the role of characters in horror novels and how to create them.

Nashi In my case, rather than having characters drive the story, I tend to think of the supernatural or scary logic first and then fit people into that framework. Because of this, I don't think a character's personality is very necessary, and I've only named characters two or three times in my entire writing career. In short, I've made it this far while barely creating any characters at all.

If you ask me what that says about me as a writer, well, you'd be right.... Since I mainly want to write about the supernatural, I don't really want humans to get in the way (laughs). So, even when I do think about characters, I try to come up with personas that stay in the background as much as possible.

Sesuji I change my approach between short stories and novels. For short stories, I sometimes use certain occupational or visual stereotypes to make an immediate impression on the reader. On the other hand, in novels, I try to add character traits that subvert those stereotypes to give the figures reality and depth. For example, if the character is a blonde YouTuber who recklessly rushes into haunted spots, I might have them act like a goofball on the surface, while internally, they have a side that flips the stereotype and calmly analyzes the viewers. By doing that, the character gains depth, making it easier for the reader to empathize and feel like they could exist in the real world.

Origami I also make characters neutral or utilize stereotypes when writing short stories so that I can stage the narrative effectively. And as for novels, it is exactly as Sesuji-san said.

In the novel 'She Is There,' I thought about what kind of people were needed to advance the story and designed the character profiles. Especially for the characters who hold the key to the story, I carefully considered giving their actions convincing underlying motives, and ensuring that when characters take strange actions, it makes sense because of the relationships between them.

The 'Negative Space' effect that creates fear. Thinking about negative hospitality

—What techniques do you use to create 'fear' in horror novels? Do you have any tricks for how you reveal information?

Sesuji If there were a standard way to create fear, I'd love for you to teach it to me (laughs). However, regarding the parts I personally pay attention to, I suppose it's the point that video works and written works are different.

For example, in a written work, if there is information about 'a woman in white clothes,' the image that comes to mind will differ from reader to reader—whether they are wearing a white kimono or a white dress. However, in a video work, the image of the character is fixed, for better or worse.

In a written work, if you intentionally avoid writing out the expressions or appearance of the supernatural entity and blur the description, there is a possibility that the reader will imagine what is most terrifying to them personally. Of course, I don't run away from descriptions entirely, but I do try to use expressions that stimulate the reader's imagination.

Origami I adjust the balance of descriptions quite a bit while I'm writing. Reality is necessary, but if you explain too much, the fear suddenly diminishes. I also think quite a bit about how much of the characters' emotions to describe. In the end, it might be essential to write while being conscious of 'how I want the reader to feel.'

Nashi In horror, shouldn't we value what could be called negative hospitality, where the reader can feel unpleasant as quickly as possible?

Therefore, I try to eliminate any noise other than horror as much as possible so that the reader can focus on the emotion of 'fear.' It's a feeling of shaving off parts that might snag for the reader using a deduction method.

To leave a lingering impression of horror. What is an ending conscious of the post-reading experience?

—What kind of post-reading experience are you conscious of in horror novels?

Origami The post-reading experience differs depending on the work. Some people prefer works that leave a lingering impression, and for novels, some people hate finishing a long read only to be left feeling fuzzy. Conversely, there are people who think it's more worth analyzing if it doesn't resolve, so it really depends on the color of the work. I think it's good to consider how you want the reader to feel.

Sesuji Honestly, I think preferences for post-reading experiences vary from person to person. It's not limited to horror; evaluations of story endings are a matter of taste. I personally like both clean endings and endings where nothing is resolved. That's why I think it's important to freely choose an ending you can be satisfied with. Surely, there is no right answer there. That is why diverse endings are born, and I think the world of horror becomes richer for it.

Nashi Personally, I prefer it when the aftertaste is the worst, but the difficult part is that pursuing only fear or discomfort is not the optimal solution for horror. After all, if you really wanted to make someone uncomfortable, there should be ways to make them more uncomfortable than a horror novel, such as showing photos of bugs to someone who hates them.

So, as for the post-reading experience, I think it's good if some kind of entertainment value is guaranteed, like 'that was interesting' or 'that was fun.' Of course, fear and discomfort are important, but I felt it's worth keeping in the back of your mind that if you do only that, it will be quite a thorny path to succeed commercially.

Q&A

—From here on, we will answer questions sent in by the viewers.

I believe 'ambiguity' is an important element in creating horror works. To what extent do you hide information from the reader, and conversely, what is your criteria for judging what should be told?

Nashi Assuming the author themselves understands the logical structure of the entire story, my criteria for what to hide from the reader is: 'Hide it if hiding it makes it more interesting or scarier. Reveal it if revealing it makes it more interesting or scarier.'

Sesuji In the works I write, I don't aim for the reader to finish feeling like they 'don't understand what's going on,' so I tend to reveal quite a bit. I don't have a clear standard for myself, but I want to avoid endings that make the reader think, 'So what?'

Origami I also tend to reveal things, but even if there are parts I'm hiding, I'm conscious of ensuring that about 80% of readers can reach their own conclusions. Conversely, I want to leave the remaining 10-20% as room for the reader's imagination. In other words, rather than revealing everything, I leave a little ambiguity or mystery to stimulate the reader's imagination.

——What kind of training is effective for mastering techniques in the horror genre? Also, what are the key points you value when writing horror novels?

Origami I suppose it's reading and writing a lot, and then revising your own manuscript with a critic's eye. Also, if you aren't at the stage of writing your own work yet, I think it's effective to personally edit works that others have published online while thinking about 'how to make this scarier.'

Also, what I value when writing horror novels is, after all, whether I find it interesting myself.

Sesuji I'm not sure if it's training, but I watch and read everything, especially in the horror genre. Afterward, I reflect on my impressions. For example, if I watch a masterpiece and feel it's boring, I realize that my sensibilities are divergent from the general consensus. By thinking about which points weren't interesting and why they didn't resonate with me, I think it becomes easier to understand my own position.

I also make it a point to tell someone the plot of a story I've thought of. If there's no one to talk to, try talking to a pet or a wall. If you hit a snag while talking, I think that's a part that isn't clear in your own mind yet.

Nashi I've never done any training, so instead, I'll introduce a game I thought was fun. Use a site that generates random words, and try writing a scary story of about 1000 characters using the words that come up randomly. Even if words like 'spicy cod roe' or 'pine candy' come up, you have to do your best to write it.

The reason is that the horror genre is already quite well-explored, so it's important to see how far you can stretch your ideas. Since there's a limit to the vocabulary and ways of stretching ideas within myself, I often play this game as a kind of drastic remedy.

——Thank you for today.

▼ If you are interested in the detailed content of the event, please watch the video archive.

Guest Profiles

Kyoya Origami

Born October 7, 1980. Born in London, England. Graduated from International Christian University. Graduated from Waseda University Law School. Registered as a lawyer in 2008 (61st term). Debuted in 2013 after winning the 14th Kodansha BOX Newcomer Award Powers for 'Reikan Kentei' (Psychic Test). In 2015, 'Kiokuya' (Memory Dealer) won the 22nd Japan Horror Novel Award Readers' Prize and was later adapted into a film. In 2021, 'Hanataba wa Doku' (The Bouquet is Poison) won the 5th Miraiya Novel Award. Other published works include 'Hibino Kaidan', 'Hanamura Tono no Koi to Koi', 'Tadashi, Muon ni Kagiri', 'Asayake ni Fanfare', 'Ganshisha no Kumorizora', and 'Kiss ni Kemuri'.

X: https://twitter.com/origamikyoya

Sesuji

Started his career as a novelist with 'Kinki Chiho no Aru Basho ni Tsuite' (About a Certain Place in the Kinki Region) (KADOKAWA), which he posted on the web novel submission site 'Kakuyomu' between January and April 2023. Its existence became a hot topic on social media, making him a known figure among horror fans. Additionally, he was in charge of part of the composition for the TV Tokyo event and TV program 'Fujo'. He is currently preparing his second novel, 'Kegareta Seichi Junrei ni Tsuite' (About a Defiled Pilgrimage), scheduled for release on September 3rd (KADOKAWA).

note: https://note.com/sesujisesujisesu/
X: https://twitter.com/sesujisesujises

Nashi

A ghost story writer active mainly on the internet. Known for a style that incorporates mysteries lurking in daily life and folklore. Major works include 'Kawaiso Warai' (East Press) and the original concept for 'Kowai Hanashi wa ≠ Kudake de.' (KADOKAWA). In addition, he has been active in various media, working as a writer for the web media 'Omocoro' since October 2021 and handling part of the composition for the BS TV Tokyo program 'Kono Tape Mottenai Desu ka?' (Do You Have This Tape?).

note: https://note.com/pearing
X: https://twitter.com/pear0001sub

Japan's largest creative contest 'Creative Awards 2024' is now underway!

Currently, note is holding the 'Creative Awards 2024', a contest that invites creative work in all genres. Opportunities for book publication, film adaptation, and serialization from 21 media outlets! We are accepting entries in all 12 categories, including novels, essays, manga, recipes, and business, until Tuesday, July 23rd.
Please see the special page for details.

▼ You can view the archives and articles of related events here.

Text by Yuki Sugahara