A ghost story this is a real story that happened to me personally a few years ago. It was saturday, a very sad day, as it was the day of one of my friends funeral ceremony. All day long from morning till evening, i and sonam, who were his best friends, worked in his house, helping his parent to finish. distort the everyday ldquo the scariest thing for me is taking an ordinary situation and injecting something extraordinary, rdquo says lennie goodings, virago press publisher. This is a great way to build an uncanny atmosphere while avoiding clich s such as a haunted house, the stroke of midnight or a stormy night. Ldquo it rsquo s a question of creating a plausible, believable environment in which the implausible and unbelievable can occur.

In mr james, a normal boarding house that seems to have an extra window, for example, or the wooden end of a pew in a church that feels like fur. Rdquo let your story guide you. don rsquo t impose too many rules upon your writing ndash they rsquo ll only act as constraints, which will choke your creativity. Ldquo picture your landscape, picture your character in that landscape, then watch them and see what they do.

Becoming the character helps you develop a plot organically character and atmosphere develops out of really understanding your character and their situation: ldquo it's always about holding your nerve and letting the plot unravel, rather than trying to force it. Rdquo hellip then control where you want to go lennie makes up her mind about a manuscript after no more than around 50 pages: ldquo a publisher can overlook flaws but you can usually tell by then if the writer is control of their material and has anything to say. Rdquo careful planning, then, is as essential as in the crime or detective genre: ldquo i would hope that a writer has worked out what they want to say.

Rdquo be suggestive it rsquo s about what might be, rather than what is. Ldquo suggestions, hints and general uncertainty are always more effective than long passages describing some hideous apparition, rdquo says kate. Lennie adds that she admires sarah waters, who rsquo s said that she shifts her prose ldquo as if through a sieve rdquo until only the necessary essentials are left. Ldquo i rsquo ve always admired hitchcock for the way he created fear, rdquo lennie adds. Ldquo he believed that the audience rsquo s imagination is far more powerful than anything he could actually do.

Rdquo pick the right perspective if you want to be in more than one character rsquo s head, go for third person narration lsquo they rsquo if you want to stick with one perspective and create confusion, go for first person lsquo i rsquo . Mr james and henry james, as well as kate and others, frame novels with a first person narration then using third person elsewhere. Ldquo first person will be more immediate, but also limiting if you want to go outside your protagonist's immediate experience. Second person lsquo you rsquo is often rather distancing and less emotionally engaging, rdquo kate advises. Ldquo third person is the easiest, so best for new writers, but first person does work particularly well because of the sense of claustrophobia it brings. Rdquo don rsquo t be afraid of the genre people read ghost storiesbecause they know what they rsquo re getting, but a nod to tradition is different than a clich. Ldquo it's not a matter of imitation so much as respecting the form, rdquo kate says.

When it comes to spectres, lennie is adamant that modern audiences prefer spooks that can rsquo t be immediately identified. Rdquo it was never all a dream hellip it rsquo s one of lennie rsquo s pet hates as an editor: ldquo i really do mind people relying on the dream concept to solve problems ndash though it can be used lightly. But never lsquo hellip and then i woke up! rsquo rdquo her other major dislikes include too much exposition ldquo lsquo show not tell rsquo is obvious but somehow always needs saying rdquo and writers who don rsquo t trust their readers.

Ldquo we rsquo re sophisticated viewers and readers ndash we don rsquo t need to have everything spelt out. Rdquo promise ndash and deliver ldquo if you get the opening and the ending right you rsquo ve got it hooked, rdquo lennie says. Getting the reader rsquo s imagination working is key give them something to immediately care about or better yet, be curious about in terms of the story. I don rsquo t mean a bloody hand or a dead body, but there has to be drama and movement. Rdquo in terms of the ending, things left unsaid can be as satisfying as a complex twist ndash there rsquo s nothing worse than a ldquo surprise rdquo you rsquo ve seen coming for p ages.

Introduction ghost story write up i think the most successful ghost story out of 'the red room' by h.g. In each story the characters react very different to the different types of ghost that they meet. In the 'the red room' the young man, is very energetic and arrogant man who thinks that it 'will take a very tangible ghost' to scare him, but panics when he is confronted by a ghost which challenges him. On the other hand hill's story of the 'farthing house' reveals a timid, but yet experienced and mature woman who does not panic because she understands and feels sympathy for the 'crying' ghost. Hill in this story builds up tension, suspense and fear, deliberately to involve the reader, by shirring their emotions and feelings through the story. This is shown at the beginning of the story when it says ' i have never told you any of this before.

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This supposed ghost also keeps knowledge of where the person is, this is shown when this ghost took 'another step towards' the storyteller. The mans emotions in 'the red room' would be the same as most people when confronted with a ghost scared! this is shown when he says, 'my hands trembled'. All his emotions were cluttered due to these ghostly appearances that go to his head.

I stumbled and fell.' he was totally confused, could not think, 'frantic' with horror and his 'self possession' had deserted him. All this is my personal response to the stories, and i prefer 'the red room' because it was a complete story because it explains why the things happened in the first place. I firmly believe that there is reason behind everything that is happening, be it mental or physical. In conclusion the man in 'the red room' coped badly with the supposed ghost and so was mentally and physically broken down as a result of the intense setting, his age experience , his firm belief in logic and science and aggressive ghost.

But the woman coped well because she was placed in a very relaxed setting, where all the characters are women this resulted in better understanding due to the inner bonding. The ghost, who the women encountered, was not aggressive as the one the man encountered, she also did not have a firm belief against superstition. In content of what i have just written, i think 'farthing house' is the most successful ghost story. The above preview is unformatted text posted by the ghost story writer on feb 22nd, 2015 in essays below you can find a reconstruction of the reflective essay i wrote about my own creative writing master’s dissertation. At the time, i can remember thinking and furiously googling what is a creative writing reflective essay and how do i write one? hopefully, i can answer this question for my fellow aspiring writers. The end result of a reflective essay should be a deeply personal piece of writing. The aim is to expose vulnerabilities and weaknesses, so that through tuition they might be overcome.

How to Write Ghost Story Essay Text

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