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A place for all your gory horror writing discussions.
Posted: 2/14/2011 7:36 AM PST
HPL only forgot to add: "and while you write your bestseller, never ever think of the white elephant."
Posted: 7/21/2010 11:39 AM PDT
God forbid. Although, someone stuck the last-but-one British Prime Minister's assistant's diary through one of those 'who do I write like' websites and he apparently writes like HPL.
Posted: 1/21/2010 7:07 PM PST
It works for Lovecraft, but not for everyone. If it did, we might all sound like him.
Posted: 10/23/2009 2:53 AM PDT
You forgot to add:
'4) Sprinkle liberally with abstruse verbiage including (but not limited to) palaeogean, Cyclopean, tenebrousness, supernal, undimensioned and chromaticism, and the names of entities concocted by pulling letters from a scrabble bag.'
This isn't a serious dig, I'm a huge Lovecraft fan (well, except for the racism). My ideal pet would be a shoggoth.
Posted: 1/11/2009 12:34 AM PST
Good call, Code.
Posted: 1/10/2009 7:48 AM PST
Same here, Code.
Posted: 1/10/2009 5:05 AM PST
Thank you so much for this post
Posted: 1/6/2009 12:13 AM PST
I figured considering the author, I'd post it here.
HP Lovecraft's Guide to Creative Writing:
1. Prepare a synopsis or scenario of events in the order of their absolute occurrence - not the order of their narration. Describe with enough fullness to cover all vital points and motivate all incidents
planned. Details, comments, and estimates of consequences are sometimes desirable in this
2. Prepare a second synopsis or scenario of events - this one in order of narration (not actual
occurrence), with ample fullness and detail, and with notes as to changing perspective, stresses,
and climax. Change the original synopsis to fit if such a change will increase the dramatic force or
general effectiveness of the story. Interpolate or delete incidents at will - never being bound by the
original conception even if the ultimate result be a tale wholly different from that first planned.
Let additions and alterations be made whenever suggested by anything in the for mulating process.
3. Write out the story - rapidly, fluently, and not too critically - following the second or narrative-
order synopsis. Change incidents and plot whenever the developing process seems to suggest such
change, never being bound by any previous design. If the development suddenly reveals new
opportunities for dramatic effect or vivid story telling, add whatever is thought advantageous -
going back and reconciling the early parts to the new plan. Insert and delete whole sections if
necessary or desirable, trying different beginnings and endings until the best arrangement is found.
But be sure that all references throughout the story are thoroughly reconciled with the final design.
Remove all possible superfluities - words, sentences, paragraphs, or whole episodes or elements -
observing the usual precautions about the reconciling of all references.
4. Revise the entire text, paying attention to vocabulary, syntax, rhythm of prose, proportioning of
parts, niceties of tone, grace and convincingness of transitions (scene to scene, slow and detailed
action to rapid and sketchy time-covering action and vice versa... etc., etc., etc.), effectiveness of
beginning, ending, climaxes, etc., dramatic suspense and interest, plausibility and atmosphere, and
various other elements.
5. Prepare a neatly typed copy - not hesitating to add final revisory touches where they seem in