With the advent of the new ‘1-Page Horror Short’ category here at the Killer Shorts Contest, I’ve collected some handy quick tips for reference when you’re writing that killer page. This new category seeks to sharpen those horror storytelling skills on a single page, with the top prizes geared towards helping you produce a 1-minute short film. If you can tell a compelling story with just one page, just think about what you could do for a feature… For information on the contest itself visit the Killer Shorts site and check out the ‘1 Page Horror Short’ listing.
One of my favorite things to do in my writing groups is to set 1-page challenges just like this, and as a long-time 1-page challenge setter, these tired old eyes have seen more stand-alone pages than there are stars in the sky. Okay, that might be hyperbole but I’ve seen a lot. Enough to notice some commonalities that should be avoided and others that can make a page excel. Below I have compiled my 7 tips for perfecting the 1-page horror script.
But first a comparison…
The 1-page short category in many ways represents the main challenges of writing long-form screenplays. Except with this task, it takes the craft and forces you to sharpen the words until that single page is near flawless – every word pointed and sacred – there quite simply isn’t room for anything else. These are the skills at the very heart of screenwriting; the edit, the chop, the clear and concise communication of ideas to the reader. Minimum words. Maximum output. So let’s take a look at these techniques to hone that page down, some you will surely know from the world of screenwriting but here we look at them through the 1-page eye…
I have included, throughout the article, three great examples of successful One-Page horror short scripts, from my writing group’s 1-page challenge, that followed the below elements:
- Page takes place in 1 location.
- Must not see ‘the monster.’
- The reader should know what the monster is.
These specific requirements do not apply to the Killer Shorts Contest 1-Page category.
Remove Widows & Orphans
It stands to reason that you need to be careful with the space you take up on a single page, every line is now more crucial than ever before, so there is absolutely no room for WIDOWS and ORPHANS. What are widows and orphans? Well, quite simply they are words that take up a full paragraph line by themselves, quite apart from their original paragraph and are left hanging at the top or bottom of a page.
Now it’s unlikely you’ll find a widow on your page (because there is no second page thankfully) but you should be very cautious of your orphans. A single word taking up a full line is criminal. That’s a whole line that could be used elsewhere, it’s space to add more description and flavor to your scene, maybe that extra bit of dialogue you desperately wanted to write, now clutched in that selfish orphan’s hand.
Snip Dialogue
Alas! Perhaps I spoke too soon because the very definition of this exercise is in brevity. Take a good look at your character’s dialogue. Do they really need to push their speech over to that third or fourth line? Do they even need to push to that second? Just remember that your dialogue is taking up a lot of action space here, so very carefully consider whether your character needs to be yap- yapping on, or whether it’s time to cut them down to size.
Evan Baughman on Instagram.
Minimize Locations
I’ve seen a lot of pages done well, but I’ve only ever seen a few with more than three locations. Sluglines are space eaters first of all, but more importantly, do you really want your reader to jump around from place to place, and all throughout one page? The poor audience hasn’t had time to meet any of your characters previous to this, so these kinds of quick cuts will most likely detract from any plot you are trying to convey. That’s not to say it can’t be done though! Just make sure you do it well…
Minimize Characters & Descriptions
Yep, you guessed it, minimal locations, minimal characters. You don’t really have time to introduce one character let alone a ragtag group of twelve, each with unique personality traits, tattoos, and favorite flavor ice-creams. Sure they all need to be introduced for your incredible horror-heist scene, but I promise you they will only end up heisting your page. If you find your character has more than one line of description, then something has gone terribly wrong.
Character Emotional State
One thing you’ll hear a lot of ‘pro-screenwriters’ talking about is the character and the audience’s emotional states. With regards to your characters, the questions should be: ‘How do they start on the page?’ and ‘Where do they finish?’. If they haven’t changed from one emotional state to another, you can pretty much guarantee your audience’s emotions won’t be changing either. It doesn’t have to be some massive revelation – they could start angry and end furious for example – but it’s always good to keep that change in mind as you write. Take your audience on an emotional journey through the eyes of your characters.
Audience Emotional State
Not only can we draw our reader through our character’s emotions but we can create emotional states directly within them. One way you can do this is by controlling the information you present to them. As a couple of my favorite podcasters frequently mention (Chas & Stu who can be found breaking down screenwriting theory to its fundamentals on the Draft Zero Podcast ) :
“When your audience is restricted to information on the page it creates mystery and curiosity. When your audience knows more than your character that creates sympathy for what is yet to come.”
These are just a couple of techniques you can use to instill that emotion into the reader. You can use subtext to create tension, comedy to bring joy, sound effects to cross those synaesthetic barriers towards excitement and obviously, as horror writers, you can always gross someone right out! There is so much you can do if you figure out the emotion you want to inspire in the reader first and then figure out how to write those emotions directly into their vulnerable minds… Cue evil laugh and an extra year of therapy for everyone involved.
Aaron Ducker on Twitter.
The Landing or ‘End’
This is a tricky one, I’m not suggesting that your page has a twist (although that can be fun too) but I think the best pages revolve around a single concept that culminates into ‘something’ at the end of the page, whether that’s some sort of revelation, resolution or even just a snappy line of dialogue. Just remember that even though this is merely a snapshot of something bigger, it also needs to be able to stand on its own merit.
Final Words
Well there you have it folks, be mindful of these elements as you write your page and they will be sure to serve you well… although I might add that you can ignore them all entirely, as is the screenwriting way! Most of all don’t forget to have fun with it. The best thing about the 1 Page Horror Short is it is just that, one page. It’s not a huge project (although many do inevitably turn into them) it’s just a fun little activity and a snapshot of your killer skills.
If you’d like to throw your hat in for this year’s brand new contest it’s only a thrifty $5, with submissions anytime before Dec 17th 2021. The winner will receive a bunch of awesome prizes including a $500 cash prize and a whole host of other screenwriting goodies. Find out more at the Killer Shorts Contest site and Submit via Coverfly or Filmfreeway.
