Peter Goldfinger: Producer and screenwriter in Los Angeles, California.

And, interesting comments and Q+A on Peter's article. // My own brush with horror films was being hired once to rewrite a horror script. Managed to write in a Halloween party which offered lots of fun opportunities in the costumes and disguises. // Then I was brought on as a Consultant on as a Story and Production Design for two Wes Craven films: "Wes Craven's New Nightmare" [Nightmare on Elm Street VII] and "Vampire in Brooklyn" starring Angela Bassett and Eddie Murphy. Cynthia Charette was the Production Designer on them. Both had rich, complex stories and doing the research was quite fascinating, going back to ancient Egypt as well as myths about the presence of Evil. // Even in the horror genre, you can explore some universal themes and tie in other cultures and histories. All good fortune to those of you doing these kinds of stories...may we all be really scared!

Great advice, Peter! “There are so many genius horror movies that take place in a house or a hotel or in the woods. Why? Because you only need one location.” A house is my default location choice when I outline a script. Sometimes it takes creativity to figure out an interesting story that takes place in a house though.

Just planning a horror script. Your blog was "blood-spot-on" and well-timed. Thanks, Tom

What impressive accomplishments, Peter. Good for you! And thanks for passing along your experienced observations. Wishing you all good fortune in your creative projects.

I was writing a horror movie, and honestly, I had a lot of second thoughts on if I should incorporate a dramatic subplot and a subgenre. This lesson has clarified a lot. I think I aligned with most of what was said here in the script I'm presently working on.

I've honestly been thinking about this article all day. So, when it comes to zombies being played out (and I believe another commenter mentioned vampires and werewolves as well) my ever-hopeful self says, "Nay, nay!". I think that they can still be done well, but the problem is how they've been shot. With zombies, it always turns into an action-packed shootout. And with vampires and werewolves, it tends to end up being a massive CGI fest. I think if filmmakers returned to an equilibrium between CGI and practical effects, as well as making the shots much more visceral, then the "children of the night" would be just fine. Just my 2 cents, but love the article.

Love these tips, Peter! Thank you for sharing!

Thank you, Peter. This was a very thought-provoking article. I wrote a horror feature called HORROR-FEST. My "Final Girl" dies at the end.... moments after killing the serial killer. Decided to go "Full-Blown Unconventional." Your thoughts? Happy Way-Way-Way Early Halloween!

Great article Brian! As a budding horror writer what would your advice be for a body part collector?

Thank you for this writing. I've still been trying to figure out some low budget concepts, so that advice will help. Also, definitely onboard with the Zombies played out. They're on my list along with vampires and werewolves (though I ironically have a vampire script, but I'm playing it up as more of a comedy than anything else). The opening kill is definitely key part of the film, as it sets the tone for rest of the film. Not that it necessarily needs to start off dark (as far as the characters' mindsets go). Scream doesn't immediately see Sidney react to the opening kill's death in a way where she's under a dark cloud for the entire picture. We get some idea of who she is at her house following the opening kill. Also, the people around her aren't gloom and doom from the start. Glad you made the note about characters. It doesn't matter if you like or despise them (unless the intended reaction to make them likeable ends up going in the opposite direction, or too many unlikeable characters), but you have to feel something at least. Going into spoiler territory now, Sorority Row did a great job with that. You can really root for Cassidy's survival because she provides an edge that contrasts Jessica's mean girl and their differences make them an excellent pairing off of one another. In fact, Jessica's attitude is unlikeable, but in the most entertaining way where you can't help but enjoy it because it's so funny, even though you know she's probably gonna get it at the end of the film as a result.

Thank you, Peter

Thank you for reminding me of Chad Vader!

It seems the online content which has been the most successful has been comedy. What would you say would be the best genres for someone who does not write comedy (yet)?

I love writing horror! Great information in this blog. Is it a dealbreaker to not have an opening kill?

Great information. I have a story I'm toying with between Dark Fantasy and Horror. In your opinion, what're the differences between Dark Fantasy and Horror? Thanks.

You are a genius brother!

Love your Post! you're so right on #4 You have to accept feedback's and expose your first draft of story and only take the notes that improves your script. This stage of modeling and again remodeling your story is wonderful and fun. It's this part that makes you improve your story. Just start by being positive ... don't say 'criticism' use the word 'feedback's'. I do think that when i have feedback's from others people there intention is to help, to propose some ideas... not criticism my work but to help me get the story more entertaining. Thanks Pete, love your work and sorry for the bad english.

On what page do you recommend that "opening kill"?

My four scripts, in the horror genre have been redone and are ready to be looked at. You give great advice. Thanks.

You don't happen to be related to Auric, btw?

Excellent post, thank you for sharing all of this. We do all of these things, but it's nice to get affirmation that we're not being ego-maniacle when we hold hard on some things. For everyone arguing against this excellent list, I would just say this; write and sell your movie/show. You can make changes and it's still your creation. You can take advice and it's still your creation. We brutally murdered an entire feature script based on long-awaited notes because the notes made sense. It's easy to look at your work and think "this looks fine," but when you get that set of new and trained eyes on it, listen. Things that that person says will make perfect sense, and you'll wonder why you didn't see it in the first place. Other times you put your foot down and stick to that piece you want to keep. Our murdered script was resurrected into a much better, leaner, cleaner, and entertaining piece of work by using some of those critical notes.