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11 Women Horror Writers You Need to Read

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Edward Gooch/Getty Images

In 1818, Mary Shelley published Frankenstein, a novel so gripping it would continue to scare readers and shape genre literature for the next 200 years. But if Shelley is the godmother of modern horror, who are her goddaughters? Women have written some of the most blood-curdlingly scary stories of all time. But they haven’t always gotten the credit they deserve. To set the record straight—and give you some delightfully spooky reading this Halloween season—here are 11 women horror writers you need to read.

1. DAPHNE DU MAURIER

If you love Alfred Hitchcock movies, chances are that you’ll love Daphne du Maurier. The director adapted three of her novels into films, first with Jamaica Inn (1939), then Rebecca (1940), and finally The Birds (1963). If you were drawn to the premise of The Birds but perhaps found the special effects a little hokey, the du Maurier story is well worth checking out. And Hitchcock wasn't the only director who wanted to bring her work to the big screen. Her short story "Don't Look Now" was adapted into an extremely creepy movie starring Julie Christie and Donald Sutherland in 1973. In all, du Maurier’s works have been adapted for film 12 times, and for television even more frequently. But, as with many adaptations, her original stories are even more haunting than their on-screen counterparts.

2. CHARLOTTE RIDDELL

For great Victorian-era ghost stories, look no further than Charlotte Riddell. Scholar E.F. Bleiler once called her "the Victorian ghost novelist par excellence," and her stories are both extraordinarily spooky and subtly snarky. Born in Ireland in 1832, she was a prolific writer of supernatural tales—haunted house stories in particular. Though she and her husband often struggled financially, Riddell—who initially wrote under the masculine pen names F.G. Trafford and R.V.M. Sparling—was a popular writer in her time, publishing classic short stories like "The Open Door" and "Nut Bush Farm" along with four supernatural novellas. Today, Riddell's stories feel old-fashioned in the best possible way—they're full of dusty, deserted mansions and ghosts with unfinished business.

3. SHIRLEY JACKSON

A copy of Shirley Jackson's "The Lottery"

MISS SHARI, Flickr // CC BY-NC-ND 2.0

Shirley Jackson was one of the most influential horror writers of the 20th century. Her novel The Haunting of Hill House has been adapted for the big screen twice (and is currently being developed as a Netflix series), and her short story "The Lottery" is assigned in English classes across America. Despite her literary success, Jackson suffered from lifelong depression and anxiety, and often felt oppressed in her own home. Though she was her family's primary breadwinner, her husband controlled her finances and expected her to ignore his philandering. Her feelings about domestic life often came out in her work. In novels like The Haunting of Hill House and We Have Always Lived in the Castle, Jackson cultivates an atmosphere of unease and dread while questioning the very idea of home.

4. JOYCE CAROL OATES

The Pulitzer Prize-nominated author Joyce Carol Oates is a modern master of Gothic horror. Oates, who has been called "America’s foremost woman of letters," is famous for writing stories that will scare your pants off. Her catalogue of more than 100 books can be overwhelming, so we’d recommend starting off with her story collection Haunted: Tales of the Grotesque. Or, try her famous short story "Where Are You Going, Where Have You Been?", which was inspired by the real-life serial killer Charles Schmid.

5. OCTAVIA BUTLER

Octavia Butler signs a book at a reading.

NIKOLAS COUKOUMA, Wikimedia Commons // CC BY-SA 2.5

Though she’s primarily known as a science fiction author, Octavia Butler's stories often incorporate elements of horror. Her final novel, Fledgling, published in 2005, the year before her death, is perhaps her most horror-inspired work, telling the story of a young girl who discovers she's a vampire. In her stories, Butler addressed racism from a fantastical perspective—her works are full of futuristic dystopias and alien planets—but she never shied away from its horrors. But even those with more straightforward science fiction premises are often suffused with dread, exposing the suppressed horrors of American history. Referring to her time-travel novel Kindred, Butler explained, "I wanted to write a novel that would make others feel the history: the pain and fear that black people have had to live through in order to endure."

6. ASA NONAMI

Asa Nonami’s writing has been compared to everything from Rosemary’s Baby to The Twilight Zone. She’s an award-winning crime and horror writer whose novels often feature complex female characters in impossible situations. In her short story collection Body, Nonami tells five tales of terror, each inspired by a different body part, while her novel Now You’re One of Us tells the story of a young bride who discovers her husband and his family may not be quite what they seem. It’s a ghost-free horror tale that builds its sense of suspense from its sheer unpredictability.

7. LISA TUTTLE

The cover of Lisa Tuttle's "Familiar Spirit"

JOHN KEOUGH, Flickr // CC BY-NC 2.0

Remember those '80s horror paperbacks that tantalized with terrifying covers, then disappointed with incomprehensible plots? Lisa Tuttle is the antidote to that. She’s everything you hoped mass-market horror could be, in fact. Her novels, beginning with 1983's Familiar Spirit, are disturbing, creative, and most importantly, well written. Tuttle got her start collaborating with George R.R. Martin on the science fiction novel Windhaven before emerging as an important voice in '80s horror fiction with works like Familiar Spirit, Gabriel, and the short story collection A Nest of Nightmares. She’s also written fantasy, young adult fiction, and nonfiction—in 1986, she even published the reference book Encyclopedia of Feminism.

8. TANANARIVE DUE

Tananarive Due isn’t just one of the best contemporary horror writers around, she’s also one of the coolest. Back in the mid-1990s, when she was still an up-and-coming young author, Due attended a literary festival and somehow ended up onstage, in a rock band, with Stephen King. She then proceeded to get King to write a blurb for her second novel, My Soul to Keep (he called it an "eerie epic"). Nowadays, Due is an accomplished scholar and short story writer in addition to being a novelist. Her works include the African Immortals series, the haunted house novel The Good House, and Ghost Summer, a collection of short stories that somehow manages to be both nightmare-inducing and extremely moving. She is currently teaching a course at UCLA inspired by Jordan Peele’s 2017 horror movie Get Out called "The Sunken Place: Racism, Survival, and Black Horror Aesthetic."

9. MARIKO KOIKE

Mariko Koike is an award-winning Japanese author of suspense, romance, and, of course, horror. Her novel The Cat in the Coffin is a thrilling exercise in the macabre. But her greatest work of pure horror is the 1986 novel The Graveyard Apartment, which tells the story of a young family that moves into a brand new apartment complex overlooking an old graveyard and crematorium. The novel patiently builds dread from seemingly ordinary images: a bird's feather, a yellow hat, a smudge on the TV screen. It’s a chillingly tense haunted house novel from an author who understands that the greatest horrors often hide in the mundane.

10. HELEN OYEYEMI

Helen Oyeyemi stands at a microphone.

STANNY ANGGA/UBUD WRITERS FESTIVAL, Wikimedia Commons // CC BY 2.0

Helen Oyeyemi’s writing defies classification, blending horror, fantasy, fairy tales, and folklore. Though her works don’t always fit comfortably into the horror genre, they range from unsettling to truly frightening and often employ elements of the paranormal or bizarre. In The Icarus Girl, which Oyeyemi published when she was just 20, an awkward young girl makes a strange new friend who may or may not be real. The novel mixes paranormal and Gothic themes with Nigerian folklore. In her 2009 novel White is For Witching, meanwhile, Oyeyemi tells the story of a mysterious house in Dover, England, and the secrets of the family who lives there. Reviewing that novel, The Austin Chronicle dubbed Oyeyemi the "direct heir to [Shirley Jackson’s] Gothic throne."

11. JAC JEMC

Jac Jemc is a relatively new literary face, but her latest novel more than earns her a spot on this list. The Grip of It, which came out in August 2017, tells the story of a young couple who moves from a cramped apartment in a big city into a spacious suburban home, only to find it haunted by mysterious forces. That might sound like a traditional horror premise, yet the novel is anything but. Instead, it's surreal and disorienting, written in feverish prose that keeps you in its grip even when nothing in particular is happening. Aspiring writers, take note: Jemc also keeps a catalogue of all of her rejection letters on her site as a testament to the challenges of being a working writer.

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10 Things You Might Not Know About Steve Martin
NBC Television/Courtesy of Getty Images
NBC Television/Courtesy of Getty Images

Is there anything Steve Martin can't do? In addition to being one of the world's most beloved comedians and actors, he's also a writer, a musician, a magician, and an art enthusiast. And he's about to put a number of these talents on display with Steve Martin and Martin Short: An Evening You Will Forget for the Rest of Your Life, a new comedy special that just arrived on Netflix. To commemorate the occasion, here are 10 things you might not have known about Steve Martin.

1. HE WAS A CHEERLEADER.

As a yellleader (as he refers to it in a yearbook signature) at his high school in Garden Grove, California, Martin tried to make up his own cheers, but “Die, you gravy-sucking pigs,” he later told Newsweek, did not go over so well.

2. HIS FIRST JOB WAS AT DISNEYLAND.

Martin’s first-ever job was at Disneyland, which was located just two miles away from his house. He started out selling guidebooks, keeping $.02 for every book he sold. He graduated to the Magic Shop on Main Street, where he got his first taste of the gags that would later make his career. He also learned the rope tricks you see in ¡Three Amigos! from a rope wrangler over in Frontierland.

3. HE OWES HIS WRITING JOB WITH THE SMOTHERS BROTHERS TO AN EX-GIRLFRIEND.

Thanks to a girlfriend who got a job dancing on The Smothers Brothers Comedy Hour, Martin landed a gig writing for the show. He had absolutely no experience as a writer at the time. He shared an office with Bob Einstein—better known to some as Super Dave Osborne or Marty Funkhauser—and won an Emmy for writing in 1969.

4. HE WAS A CONTESTANT ON THE DATING GAME.

While he was writing for the Smothers Brothers, but before he was famous in his own right, Martin was on an episode of The Dating Game. (Spoiler alert: He wins. But did you have any doubt?)

5. MANY PEOPLE THOUGHT HE WAS A SERIES REGULAR ON SATURDAY NIGHT LIVE.

Martin hosted and did guest spots on Saturday Night Live so often in the 1970s and '80s that many people thought he was a series regular. He wasn't. 

6. HIS FATHER WROTE A REVIEW OF HIS FIRST SNL APPEARANCE.

After his first appearance on SNL, Martin’s father, the president of the Newport Beach Association of Realtors, wrote a review of his son’s performance in the company newsletter. “His performance did nothing to further his career,” the elder Martin wrote. He also once told a newspaper, “I think Saturday Night Live is the most horrible thing on television.”

7. HE POPULARIZED THE AIR QUOTE.

If you find yourself making air quotes with your fingers more than you’d really like, you have Martin to thank. He popularized the gesture during his guest spots on SNL and stand-up performances.

8. HE QUIT STAND-UP COMEDY IN THE EARLY 1980S.

Martin gave up stand-up comedy in 1981. “I still had a few obligations left but I knew that I could not continue,” he told NPR in 2009. “But I guess I could have continued if I had nothing to go to, but I did have something to go to, which was movies. And you know, the act had become so known that in order to go back, I would have had to create an entirely new show, and I wasn't up to it, especially when the opportunity for movies and writing movies came around.”

9. HE'S A MAJOR ART COLLECTOR.

As an avid art collector, Martin owns works by Pablo Picasso, Roy Lichtenstein, David Hockney, and Edward Hopper. He sold a Hopper for $26.9 million in 2006. Unfortunately, being rich and famous doesn’t mean Martin is immune to scams: In 2004, he spent about $850,000 on a piece believed to be by German-Dutch modernist painter Heinrich Campendonk. When Martin tried to sell the piece, “Landschaft mit Pferden” (or "Landscape With Horses") 15 months later, he was informed that it was a forgery. Though the painting still sold, it was at a huge loss.

10. HE'S AN ACCOMPLISHED BLUEGRASS PERFORMER.

Many people already know this, but we’d be remiss if we didn’t mention that he’s an extremely accomplished bluegrass performer. With the help of high school friend John McEuen, who later became a member of the Nitty Gritty Dirt Band, Martin taught himself to play the banjo when he was 17. He's been picking away ever since. If you see him on stage these days, he’s likely strumming a banjo with his band, the Steep Canyon Rangers. As seen above, they make delightful videos.

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Star Wars Premiered 41 Years Ago … and the Reviews Weren’t Always Kind
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.

A long time ago (41 years, to be exact) in a galaxy just like this one, George Lucas was about to make cinematic history—whether he knew it or not. On May 25, 1977, moviegoers got their first glimpse of Star Wars, Lucas’s long-simmering space opera that would help define the concept of the Hollywood “blockbuster.” While we're still talking about the film today, and its many sequels and spinoffs (hello, Solo), not every film critic would have guessed just how ingrained into the pop culture fabric Star Wars would become. While it charmed plenty of critics, some of the movie’s original reviews were less than glowing. Here are a few of our favorites (the good, the bad, and the Wookiee):

"Star Wars is a fairy tale, a fantasy, a legend, finding its roots in some of our most popular fictions. The golden robot, lion-faced space pilot, and insecure little computer on wheels must have been suggested by the Tin Man, the Cowardly Lion, and the Scarecrow in The Wizard of Oz. The journey from one end of the galaxy to another is out of countless thousands of space operas. The hardware is from Flash Gordon out of 2001: A Space Odyssey, the chivalry is from Robin Hood, the heroes are from Westerns and the villains are a cross between Nazis and sorcerers. Star Wars taps the pulp fantasies buried in our memories, and because it's done so brilliantly, it reactivates old thrills, fears, and exhilarations we thought we'd abandoned when we read our last copy of Amazing Stories."

—Roger Ebert, Chicago Sun-Times

Star Wars is not a great movie in that it describes the human condition. It simply is a fun picture that will appeal to those who enjoy Buck Rogers-style adventures. What places it a sizable cut about the routine is its spectacular visual effects, the best since Stanley Kubrick’s 2001Star Wars is a battle between good and evil. The bad guys (led by Peter Cushing and an assistant who looks like a black vinyl-coated frog) control the universe with their dreaded Death Star."

—Gene Siskel, Chicago Tribune

Star Wars is like getting a box of Cracker Jack which is all prizes. This is the writer-director George Lucas’s own film, subject to no business interference, yet it’s a film that’s totally uninterested in anything that doesn’t connect with the mass audience. There’s no breather in the picture, no lyricism; the only attempt at beauty is in the double sunset. It’s enjoyable on its own terms, but it’s exhausting, too: like taking a pack of kids to the circus. An hour into it, children say that they’re ready to see it again; that’s because it’s an assemblage of spare parts—it has no emotional grip. “Star Wars” may be the only movie in which the first time around the surprises are reassuring…. It’s an epic without a dream. But it’s probably the absence of wonder that accounts for the film’s special, huge success. The excitement of those who call it the film of the year goes way past nostalgia to the feeling that now is the time to return to childhood."

—Pauline Kael, The New Yorker

"The only way that Star Wars could have been interesting was through its visual imagination and special effects. Both are unexceptional ... I kept looking for an 'edge,' to peer around the corny, solemn comic-book strophes; he was facing them frontally and full. This picture was made for those (particularly males) who carry a portable shrine within them of their adolescence, a chalice of a Self that was Better Then, before the world's affairs or—in any complex way—sex intruded."

—Stanley Kauffmann, The New Republic

“There’s something depressing about seeing all these impressive cinematic gifts and all this extraordinary technological skills lavished on such puerile materials. Perhaps more important is what this seems to accomplish: the canonization of comic book culture which in turn becomes the triumph of the standardized, the simplistic, mass-produced commercial artifacts of our time. It’s the triumph of camp—that sentiment which takes delight in the awful simply because it’s awful. We enjoyed such stuff as children, but one would think there would come a time when we might put away childish things.”

—Joy Gould Boyum, The Wall Street Journal

Star Wars … is the most elaborate, most expensive, most beautiful movie serial ever made. It’s both an apotheosis of Flash Gordon serials and a witty critique that makes associations with a variety of literature that is nothing if not eclectic: Quo Vadis?, Buck Rogers, Ivanhoe, Superman, The Wizard of Oz, The Gospel According to St. Matthew, the legend of King Arthur and the knights of the Round Table … The way definitely not to approach Star Wars, though, is to expect a film of cosmic implications or to footnote it with so many references that one anticipates it as if it were a literary duty. It’s fun and funny.”

—Vincent Canby, The New York Times

"Viewed dispassionately—and of course that’s desperately difficult at this point in time—Star Wars is not an improvement on Mr Lucas’ previous work, except in box-office terms. It isn’t the best film of the year, it isn’t the best science fiction ever to be translated to the screen, it isn’t a number of other things either that sweating critics have tried to turn it into when faced with finding some plausible explanation for its huge and slightly sinister success considering a contracting market. But it is, on the other hand, enormous and exhilarating fun for those who are prepared to settle down in their seats and let it all wash over them.”

—Derek Malcolm, The Guardian

“Strip Star Wars of its often striking images and its high-falutin scientific jargon, and you get a story, characters, and dialogue of overwhelming banality, without even a ‘future’ cast to them. Human beings, anthropoids, or robots, you could probably find them all, more or less like that, in downtown Los Angeles today. Certainly the mentality and values of the movie can be duplicated in third-rate non-science fiction of any place or period. O dull new world!”

—John Simon, New York Magazine

"Star Wars is somewhat grounded by a malfunctioning script and hopelessly infantile dialogue, but from a technical standpoint, it is an absolutely breathtaking achievement. The special effects experts who put Lucas' far-out fantasies on film—everything from a gigantic galactic war machine to a stunningly spectacular World War II imitation dogfight—are Oscar-worthy wizards of the first order. And, for his own part, Lucas displays an incredibly fertile imagination—an almost Fellini-like fascination with bizarre creatures.”

—Kathleen Carroll, New York Daily News

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