Recently, I completed the first draft of a slasher novella I’ve titled CUTTHROAT that I began in early September.

The premise is stupifyingly simple, though, like many of my works, it’s riddled with satiric malice and dark humor:

 A group of job applicants arrive at a sleek highrise for a coveted position, but find themselves trapped and fighting for their lives against a psychopathic assessor known as Cutthroat, who wields a briefcase full of nasty weapons and is out to kill all of them.

This first draft clocked in at around 31,000 words, and it proved to be both exhausting and grossly liberating at the same time. This was one of those “cutting loose” sort of writing experiments, where I didn’t feel bound by the ordinary constraints of storytelling. Though there are two character arcs, a strong mid-point shift, a late reveal, and a twisty plot with some inventive kills. Thematically, it’s centered around the tortuous difficulties attendant with job hunting, with the whole ugly process personified in the form of a psychopathic killer known as Cutthroat, who poses as a job recruiter performing interviews, only to hack his unawares applicants apart. I really tried to go for the economic malaise zeitgeist’s jugular here that mainly desperate jobseeking Millennials and Gen-Zers are suffering through or at least might relate to. Armed with briefcases filled with all kinds of nasty weapons, Cutthroat sadisticallly plays his own twisted “assessment” games with the group of twenty-somethings, and it’s up to the protagonist to figure out a way to stop him, or at least escape with his life.

Writing a slasher is brutish work, to say the least. I’ve written my share of horrors, such as The Devil’s Throne, released a few years ago, but a slasher is another beast altogether. Slashers, obviously, are less known for their elegant exploration of human themes through a lens of supernatural or psychological chills like traditional horrors, and more about delivering a certain graphic and visceral effect on the reader/viewer.

Cutthroat is sort of “Terrifier in a business suit,” as I’ve come to refer to it as a means to sum up its ethos in a pithy “elevator pitch” manner. The slasher franchise set around Art the Clown is a real phenomenon for its cult following. Walk by any Hot Topic store in a mall and you’re bound to see Art T-shirts and other merch. He’s as big as Freddy Krueger or Jason Voorhees were in their day. I’ve only seen the second film and the first half of the first one. That’s literally all I could stomach. From a writer’s perspective, I found them shockingly bereft of any “story,” even for a slasher series. The Terrifier films are more a bunch of gory vignettes strung together. A bloody highlight reel of makeup and special effects. Even Friday the 13th, with all its clumsy and meandering “plots” had a semblance of mythology what with Jason and his mommy issues. Not so for Terrifier, which seems content to just freak out audiences with new methods of bodily mutilation. Hellraiser seems tame by comparison, which seems not possible.

Honestly, I found writing my first slasher disappointingly mundane. How many ways can you really butcher human beings on paper? I found myself straining to somehow “make it more interesting.” I did this by interjecting a backstory for the villain in order to make him believable, and by adding humor wherever possible. At one point I gave up for a few days, put off by the whole thing. Only to return days later determined to finish the task.

Now that it’s done, like often happens when I’ve finished a writing project, I find myself wracked with a post-partum malaise. Though there is always the long and tedious editing process.

I remember reading about how John Carpenter, while struggling to write Halloween II (1981) hit some bad writer’s block. I wondered how in the hell could that happen. We’re talking Michael Myers here. Pehaps the most simplistic masked killer there ever was. Just set him loose in a school so he can stalk another group of dumb horny teenagers. How hard could it be, right? But after writing my first slasher, I can see where he was likely coming from, and how unfulfilled he probably felt trying his hand at the sequel. It’s no wonder he wound up throwing in the bogus development about Laurie Strode being Michael’s sister as a way to liven things up and add motivation. Something he later regretted adding to Michael’s “mythology” due to its inherent silliness. The whole point of Michael Myers is that he doesn’t need a “motivation.” That’s what makes him scary. But I can see how sheer boredom probably drove Carpenter to want to throw in anything, no matter how nonsensical, to make the writing process more palatable for him. At least The Thing had the intricate puzzlebox mysteries of “Who’s the Thing and who’s not?” “Who can you trust?” With Halloween, it’s more just about coming up with new ways Michael can kill people.

On the surface, writing a slasher is “stupidly easy,” sure. Kind of. We’re not writing a dense Cormac McCarthian Western here, even if Anton Chigurh is like a Mexican Michael Myers with a shotgun. But it takes a piece of your soul. There are also the tricky mechanics of coming up with a bigger than life villain. Something iconic. A Nightmare on Elm Street, to me, is the gold standard when it comes to slashers. It’s probably the most intelligent of them. Certainly it’s the best high-concept horror idea. A killer that stalks you in your dreams. The kind of idea that makes you go, “Why didn’t I think of that?”

Overall, I enjoyed attempting the slasher genre, though it’s not one I’d quickly want to return to. Technically, it’s not actually my first stab at it. I handwrote a short story about a group of masked killers stalking a school way back when I was a teenager in high school. It was a story obviously ripped off of Halloween as I’d just seen that film on cable, though I added a “clever” twist by not having one, or two, but three killers. Genius, obviously. With this latest attempt decades later, I like to think I’ve grown and matured. I feel I made Cutthroat suitably gory and satisfied the demands of the genre with all the requisite tropes, while putting my own touch on things and bringing something new. If anything, it was a fun writing exercise that felt perfectly appropriate with Halloween right around the corner. 🙂