Autorentext

"I'm Ramsey Campbell. I write horror." That's how I introduce myself at readings and on panels, and in conversation too if the opportunity arises. I quite enjoy being told that people don't like horror, which they don't read (a situation that prompts me to ponder how they can know). Sometimes they even tell me that they don't like the sort of thing I write, although they haven't read it. On occasion they approach me to let me know as much. Admittedly the sort of fun this affords is limited, and I think there's a better reason for me to keep up the image. I believe I'm in a minority of writers who say that they write horror. Some of those who made their name with it seem eager to show they've moved on. Some might even like to convince us that they never entered the field, and seek to erase all traces of their presence as they flee the scene of the crime. I won't be doing either. Perhaps I was lucky to encounter the classics of the genre first - anything that found its way between hard covers and into the public library - but I've never faltered in my conviction that horror is a branch of literature, however much of it lets that tradition down. I started writing horror in an attempt to pay back some of the pleasure the field has given me, and I haven't by any means finishedI don't expect to choose to, ever. Lovecraft declared that the weird tale - by which he meant much of what I mean by horror fiction - could only ever be a portrayal of a certain type of human mood. Certainly one of the pleasures of some of the greatest work in the field is the aesthetic experience of terror (which involves appreciating the structure of the piece and, in prose fiction, of the selection of language). I don't see this as limited. There's surely no more reason to criticise a piece for conveying only this experience than there is to object to a comedy for being nothing except funny (as might be said of Laurel and Hardy, surely the greatest exponents on film) or a tragedy for making its audience weep. Indeed, I wish more of the field still assailed me with dread: these days little besides the darker films of David Lynch achieve it. However, the field is capable of much more, and frequently succeeds - as satire or as comedy (however black), as social comment, as psychological enquiry, and perhaps best of all when it aspires to the awesome, the sense of something larger than can be directly shown. One reason I stay in the field is that I haven't found its boundaries. Some years ago at a literary conference I attended a panel on which the speakers seemed to be hailing the death of genre (by cross-fertilisation, I believe). There's certainly nothing wrong with expanding genres by enriching them from without; indeed, writers who read purely within their own fields tend to end up buried in them (although bringing lived experience to bear on them is at least as important as reading more widely). All the same, I had the impression that the panel felt that the destruction of genre was a good thing, and I failed to grasp how. I almost spoke up to ask whether, since I didn't feel constrained by my field, I was somehow inadequate. It would have been a silly question, since I know my answer. (continued at www.RamseyCampbell.com)

Klappentext

The definitive guide to filmmaking and filmmakers by the best in the field. Horror 201: The Silver Scream, the follow-up to the Bram Stoker Award nominated Horror 101: The Way Forward, delves into the minds of filmmakers to see what it takes to produce great horror films, from the writing and funding process, to directing, producing, and writing tie-ins. It's a tome of interviews and essays by some of our favorite artists. Film legends and authors such as John Carpenter, Wes Craven, George A. Romero, Ray Bradbury, Ed Naha, Patrick Lussier, Stephen Volk, Ramsey Campbell, Nancy Holder, Tom Holland, John Shirley, William Stout, and John Russo want to share their expertise with you through informative, practical, career-building advice. These are the folks behind movies and novelizations such as A Nightmare on Elm Street, Scream, Dark Shadows, Sleepy Hollow, Supernatural, Buffy, Resident Evil, The Stand, Sleepwalkers, Masters of Horror, The Fly, Critters, Tales from the Crypt, Child's Play, Fright Night, Thinner, The Langoliers, Ted Bundy, Final Destination, Re-animator Unbound, Halloween, Apollo 18, The Eye, Night of the Living Dead, The Crow, The Mist, Pan's Labyrinth, and Raiders of the Lost Ark. Horror 201 also entertains. You'll see a side of your favorite authors, producers, and directors never seen before - combining fun and entertainment with informative career-building advice. Horror 201 is aimed at arming generations of authors, screenwriters, producers, directors, and anyone else interested in the film industry, from big budget movies to the independent film circuit, as well as the stage. Whether you're an accomplished author or screenwriter, writing as a hobby, or have dreams of writing screenplays or making movies, Horror 201 will take you on a behind the scenes tour of the Horror movie industry from Hollywood to the UK and Australia. The full line-up includes: John Carpenter, Wes Craven, George A. Romero, Ray Bradbury, Ramsey Campbell, Ed Naha, Edward Lee, Patrick Lussier, Tim Lebbon, Jonathan Maberry, Stephen Volk, William Stout, Michael McCarty, Dan Curtis, William Stout, Graham Masterton, Harry Shannon, Jason V. Brock, L.L. Soares, Mick Garris, William F. Nolan, Lee Karr, Jeffrey Reddick, Taylor Grant, Stephen Johnston, Aaron Sterns, Michael Laimo, Jonathan Winn, David. C. Hayes, Brian Pinkerton, David Henson Greathouse, Aaron Dries, Armand Rosamilia, Billy Hanson, Jack Thomas Smith, John Russo, Keith Arem, Denise Gossett, Mark Steensland, John Shirley, Tom Holland, Adrian Roe, Dave Jeffery, James Hart, James Cullen Bressack, Jeff Strand, Nancy Holder, E.C. McMullen Jr, Richard Gray, Richard Chizmar, William C. Cope (interior artist), Tim Waggoner, Tom Monteleone, Nick Cato, Kevin Wetmore, Eric Miller, and Lynne Hansen. Don't let this opportunity slip through your creative fingers.