One of the most frequent questions I get from people is, “How can an innocent person who loves balloons write such graphic horror?” I’ve heard it from other writers, my buddies, and sometimes reviewers. So how can I write graphic horror? Balloons and horror fiction go together like spaghetti and meatballs.
Think of Pennywise the clown in Stephen King’s It. It had a lot of balloon scenes and King wasn’t trying to be cute. Pennywise lured his victims by popping through the gutter, brandishing a bouquet of balloons. “C’mon, Bucko. Don’t you want a balloon?” he’d ask his victim Georgie in a leering voice. “When you’re down here with me, Georgie, you’ll float, too.”
Jonathan Maberry’s book, Fire & Ash, features a scene where a character was getting bored blowing up balloons. I remember smiling until I found out the purpose of those balloons. They had a darn good reason being in the story. I don’t want to say more lest I give away spoilers.
Steel Rose has a balloon scene…or two. The balloons enable us to know Yeron better and how helium will affect people like him. I guarantee you that the helium from a balloon will poison someone later in the story. Ditto for “Echoes of a Distant World” in the Alien World anthology Tom Johnson and I cooked up. Why? Because the helium in the balloons are deadly to the alien attackers. You can also find balloon scenes in City of Brotherly Death (“Darkness Rising”). The balloons symbolized the protag Brianna’s humanity. Much as I like balloons, I would not use them in my tales without a reason.
Why? Because of Chekhov’s gun. I learned about Chekhov’s gun at the first writer’s conference I attended, and that information has stayed with me. Chekhov suggests that if you introduce a loaded gun on stage during the first act of your play, the gun should be fired during a later act. Otherwise, the gun shouldn’t be shown at all. Basically, he’s warning the writer not to put too much emphasis on unnecessary details. You can have guns, knives, balloons, or any other object, but they had better go into action before the story ends.
I’d also like to mention the MacGuffin. The MacGuffin is a goal, object, or person that motivates the protagonist in the beginning of the story, but becomes less important as the struggles play out. In It, Bill Denbrough decides to battle the monster that killed his brother Georgie, but as the battles continue, and the characters mature, Georgie’s death starts to fade into the background. If you’re not sure of your ending, you can use the MacGuffin to create a delightful story. But the Chekhov’s gun can be tricky. After you’ve finished your draft, go through it for any Chekhov’s guns, in case something you focused on turns out to be unimportant. Ask yourself, will the details advance your plot or tell us something about your characters?
Do you use the Chekhov’s gun and MacGuffin in your writing? How has these techniques influenced your tales?