A Quote by Andrew Pyper

What I see as the particularly exciting prospect for writing horror fiction as we go forward is setting stories in more internal landscapes than external ones, mapping out the mind as the home for scary things instead of the house at the end of the lane or lakeside campground or abandoned amusement park.
There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don't understand. Internal is the human heart.
I'm always the kid who is going to be finding out if there is a cemetery or an abandoned amusement park that I can go visit as opposed to the beach, so it wasn't too much of a stretch to get me to the world of Ninth House.'
Fiction shows the external effects of internal conditions. Be aware of the tension between internal and external movement.
I've seen a lot of movies that were great and scary, but not particularly fancy in their filmmaking or performance. And they're still scary, and I think a good horror movie should be scary above all things.
Far more disturbing than any spook house at an amusement park is a ride through the old hometown if you've been away for years.
Our time has been distinguished, more than by anything else, by a mastery, a control, of the external world, and by an almost total forgetfulness of the internal world. If one estimates human evolution from the point of view of knowledge of the external world, then we are in many respects progressing. If our estimate is from the point of view of the internal world, and of oneness of internal and external, then the judgment must be very different.
I love fiction, you know? I find it fascinating. So when film really does go into fictional places, that's the most exciting for me. And when the fiction is about the person rather than about the place, that's even more exciting.
I talked about the summer of 1985, when I worked at an amusement park on Long Island, the kind of place where someone would pull a knife on you if they wanted a better prize than you were giving them. You found a lot of used needles beside the cotton-candy cart at the end of the night. It was a pretty white-trash, scary place. It was one in a series of terrible jobs I've had, coming from not much money and having no particularly resourceful skills. And at one point one of my friends, a writer on the show, Jenny Konner, said, "You should write about that."
On the other hand, now that I'm not dependent on fiction for my income, I've been writing more short stories despite the fact that there's no real paying market for short horror other than Cemetery Dance.
I can write most places. I particularly like writing on trains. Being between places is quite liberating, and looking out of the window, watching a procession of landscapes and random-ish objects, is very good for stories.
These scars on my body,” Alexander declared, “were got for you, my brothers. Every wound, as you see, is in the front. Let that man stand forth from your ranks who has bled more than I, or endured more than I for your sake. Show him to me, and I will yield to your weariness and go home.” Not a man came forward. Instead, a great cheer arose from the army. The men begged their king to forgive them for their want of spirit and pleaded with him only to lead them forward.
I started writing short stories. I tried writing horror, mystery, science fiction. I joined a little critique group here in town and ran my stories past them. After about three years, I tackled my first novel, Subterranean. It took me 11 months to write.
My own writing has perhaps more of an American flavor than a British one, but that's because the stories I've so far written have needed it. 'Empire State,' 'Seven Wonders' and 'The Age Atomic' are all very place-centric, where the setting itself is almost a character. But there is a universality to story that isn't just limited to science fiction.
I call myself the Amusement Park. That's because I'm funny and scary at the same time.
Fiction is lies; we're writing about people who never existed and events that never happened when we write fiction, whether its science fiction or fantasy or western mystery stories or so-called literary stories. All those things are essentially untrue. But it has to have a truth at the core of it.
I read a lot of ghost stories because I was writing a ghost story. I didn't think at all I was writing a horror or a thriller or whatever because it is about a ghost, whereas a horror film can be about aliens or things that rise out of the marsh that have no human shape.
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