Alan Moore in his living room.
Leverage nostalgia—but do so creatively. Instead of rebooting an old series or movie, the creators of Stranger Things drew nostalgic music, design elements, character tropes and themes from 80s classics such as The Goonies, E.
Netflix does everything it can to play up this aspect of the story; they even released a series of posters harking back to other 80s favorites images courtesy of Netflix: The scenery and language of Victorian Gothic novels brim with the crumbling remnants of a courtly past.
Meanwhile, Steampunk fiction draws upon Victorian technology and fashion. JK Rowling spun her iconic Harry Potter series using threads that pluck the heartstrings of those who grew up on Tolkien-esque high fantasy and classic coming-of-age stories—while still creating a story that feels fresh.
As a hypothetical example: Suppose you admire the way Poe builds suspense and dread in his short stories—leverage his techniques to create a tense scene in your next thriller novel, or use Poe-inspired symbolism to allude to his stories.
Do unexpected things with classic tropes. But its writers also do an excellent job of subverting the expectations attached to those tropes.
Eleven harks back to film characters like Leeloo and E.
Plenty of stories throughout the ages—The Chronicles of Narnia and Alice in Wonderland, just to name two—tell of hidden worlds and alternate realities.
You can take advantage of this approach in your own work to surprise and delight your readers. Granted, blending that quantity of genres can be a serious challenge, so sometimes two will do the trick. Writing a YA book centered around teen drama?
Blend in suspenseful elements for an unexpected hook. Stranger Things also manages to reach viewers of all ages, largely due to its rich and dynamic characters of different age groups kids, teens, adults and genders.
How did the curse start in It Follows? How do you break it? Or is it cabin fever? If the Upside-Down is some sort of monstrous, alternate-world reflection of present day, then does that make the Monster some sort of reflection of Eleven?
So many questions, so little answers—yet. Sometimes the best stories are when readers can fill in the gaps. Although, you should be spending time creating all of these details yourself, just for reference.
Your setting—and the details!
I love the setting of small towns—it adds a special creepy element to things when everyone knows each other, but there are still secrets. These towns all have a rhythm to them—an expectation. They almost exist as a character themselves.
The setting of Hawkins, Indiana and the Upside-Down are no different. They perfectly capture this balance of secrets in small town American, and the horror of a mysterious, sci-fi world.
Explore the depth of your cast, and flip expectations.If you’re looking for a little more guidance, I’ve found Alan Moore’s Writing For Comics is a great resource about the writing side of comics, and Jessica Abel and Matt Madden’s Mastering Comics, a sequel of sorts to their popular Drawing Words & Pictures is also good.
Rowling later said that writing the book was a chore, that it could have been shorter, and that she ran out of time and energy as she tried to finish it.  The sixth book, Harry Potter and the Half-Blood Prince, was released on 16 July This is advice Mr.
Moore is giving to beginners. More and more authors are agreeing with this every day. Personally I'd agree, at least in the context of short fiction, as the market for it has been so terrible the last - what - decade?
It's at the very least a market for novellas. Oct 06, · The horror author says writing is a form of self-hypnosis and having a daily routine helps him fall into a trance.
Writing for Comics. Moore, Alan. Writing for Comics ().
How To. High School Target Audience. Alan Moore, author of such popular comics as The Killing Joke, Watchman, Swamp Thing and Miracleman takes to the page to teach other prospective writers how /5.
Alan Moore in his living room. Photo: Gavin Wallace/Hoax Part I: Comedy in comic books Alan Moore sinks into a chair behind the coffee table in his home, an unassuming terraced house in Northampton.