2 Some students of this genre find that the best way to examine it is to deal with the way horror fiction is organized or structured. Examining the organization of a horror story shows that it shares certain traits with other types of fiction. Horror stories share the use of suspense as a tactic with many other kinds of literature. The tension we feel when a character goes into the attic, down into the basement, or just into the abandoned house is partially a result of suspense. We don’t know what is going to happen. But that suspense is intensified by our knowledge of the genre. We know that characters involved in the world of horror always meet something awful when they go where they shouldn’t. Part of the tension is created because they are doing something we know is going to get them in trouble. Stephen King refers directly to our anticipation of horror. In Salem’s Lot Susan approaches the house which is the source of evil. “She found herself thinking of those drive-in horror movie epics where the heroine goes venturing up the narrow attic stairs…or down into some dark, cobwebby cellar…and she…thinking:… I’d never do that!” Of course Susan’s fears are justified. She does end up dead in the basement, a victim of the vampire.

Question

3 If the horror genre uses the character’s search for information to create suspense, it controls when and where we get our knowledge. Because we are outside of the situation we usually know more than the characters. Our advance knowledge creates suspense because we can anticipate what is going to happen. The author can play with those expectations by either confirming them or surprising us with a different outcome. When suspense is an important element in fiction we may often find that the plot is the most critical part of the story. We care more about what happens next than about who the characters are or where the story is set. But setting is often considered a part of the horror genre. If the genre has traditional monsters, it also has traditional settings. Only authors who want to challenge the tradition place events in bright, beautiful parks. We expect a connection between the setting and the events in this genre. We are not surprised to find old houses, abandoned castles, damp cellars, or dark forests as important elements in the horror story.



4 Some people make further distinctions based on how the stories are organized. We can divide stories into different categories based on how we come to believe in the events related and how they are explained to us. Stories that deal with parallel worlds expect us to accept those worlds without question. We just believe Dorothy is in Oz; we accept Oz as a parallel world separate from ours. Other times events seem to be supernatural but turn out to have natural explanations: the ghosts turn out to be squirrels in the attic, or things that move mysteriously are part of a plot to drive someone crazy. Sometimes the supernatural is the result of the way the central character sees the world, as in stories told from the point of view of a crazy person. But at times we are not sure and hesitate about believing in the possibility of the supernatural. When I first read Dracula I seriously considered hanging garlic on my windows because I believed that vampires could exist. This type of hesitation, when we almost believe, falls into the general category of the “fantastic” (Todorov 25). Often horror has its greatest effect on us because we almost believe, or believe while we are reading the book or watching the film, that the events are possible.

Answer 1

This passage examines the structure and characteristics of horror fiction, emphasizing how these elements contribute to the overall experience of suspense and belief in supernatural events. Here's a breakdown of the key points:

1. Suspense in Horror: The author highlights that suspense is a common element in horror fiction, similar to other literary genres. The tension arises not only from characters' actions (e.g., entering a spooky attic or basement) but also from the reader's knowledge of horror conventions—that these actions often lead to danger.

2. Reader's Knowledge vs. Character's Ignorance: The passage notes that readers typically possess more information than the characters involved, heightening suspense. This disparity allows for a play on expectations: authors may confirm readers' anticipations of terror or subvert them with unexpected twists.

3. Plot vs. Character: In many horror stories, plot tends to take precedence over character development. Readers are often more invested in the unfolding events than in the characters themselves. However, the setting also plays a crucial role; traditional horror settings (such as old houses, castles, and dark forests) reinforce the genre’s themes.

4. Organization of Horror Stories: The author suggests that horror stories can be organized based on how they present the supernatural. For example:

   • Acceptance of Parallel Worlds: Some stories assume readers will accept fantastical worlds (e.g., "Oz").
   • Natural Explanations for Supernatural Events: Other stories may present seemingly supernatural occurrences that are later revealed to have rational explanations.
   • Subjective Reality: Stories told from the perspective of an unstable narrator may blur the lines between reality and delusion.
   • The Fantastic: The author references the concept of the "fantastic," where readers feel uncertainty about the events’ reality, enhancing their engagement with the story.

5. Impact of Belief: The author reflects on personal experiences of believing in supernatural elements while engaging with horror narratives, suggesting that the most effective horror evokes a sense of near belief or acceptance of the impossible.

Overall, the passage illustrates how the combination of suspense, plot-driven narratives, traditional settings, and fluctuating beliefs contribute to the distinctive experience of horror fiction.

Answer 2

This question has two parts. First, answer Part A. Then, answer Part B.



Part A
How does the author develop her central idea in paragraphs 2–4?



This question has two parts. First, answer Part A. Then, answer Part B.



Part A
How does the author develop her central idea in paragraphs 2–4?



By suggesting that horror stories have several things in common with other kinds of literature

By analyzing how horror stories are structured to explain events and make them believable

By evaluating the effectiveness of techniques used to create suspense in horror stories

Answer 3

In paragraphs 2–4, the author develops her central idea by analyzing how horror stories are structured to explain events and make them believable. The author discusses the role of suspense, the interplay between the reader’s knowledge and the character’s ignorance, and the different ways in which supernatural elements are presented. These analyses provide insight into the mechanics of horror fiction and how they engage readers.

Answer 4

Part B
Which quotation best supports the answer to Part A?

Part B
Which quotation best supports the answer to Part A?

In Salem’s Lot Susan approaches the house which is the source of evil. (paragraph 2)

Horror stories share the use of suspense as a tactic with many other kinds of literature. (paragraph 2)

Because we are outside of the situation we usually know more than the characters. (paragraph 3)

Some people make further distinctions based on how the stories are organized. (paragraph 4)

Answer 5

The quotation that best supports the answer to Part A is: "Because we are outside of the situation we usually know more than the characters." (paragraph 3)

This quote highlights the author's focus on how the structure of horror stories creates a dynamic of suspense by allowing the reader to possess information that characters do not, which is a critical aspect of how these stories are developed to engage and create belief in the events.