I know I've stressed this point before, but I still believe that one of the greatest tricks you can pull in telling horror is to keep most of the secrets just that; secrets. the answers you never have will always be far worse than the answers you do. King has made this mistake many times on his own, best some of his best work comes from when he doesn't, i.e. Pet Semetary.
you know I've always meant to read that book. figuring in my love of horror, as well as storytelling in general, that's probably a good idea.
"DUDDITS!!!" that had to be one of the gayest things I've ever seen happen at the climax of a good story. there's something much more gripping when Duddits just simply dies instead of turns into a costumed villain from an episode of some cheap Japanese inspired TV program for children. and it ruins the very face of the alien entity, which is just supposed to be a fungus that for the first time begins to live a life of consciousness and self-awareness. I will never know what the director was thinking, like Sam Raimi and the second half of Spider Man 3.
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In Danse Macabre he admits his own failings, but claims that often times it's unavoidable. The reader usually expects some kind of reveal.
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"DUDDITS!!!" that had to be one of the gayest things I've ever seen happen at the climax of a good story. there's something much more gripping when Duddits just simply dies instead of turns into a costumed villain from an episode of some cheap Japanese inspired TV program for children. and it ruins the very face of the alien entity, which is just supposed to be a fungus that for the first time begins to live a life of consciousness and self-awareness. I will never know what the director was thinking, like Sam Raimi and the second half of Spider Man 3.
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