Horror has a diverse population or villainous characters. There are the slashers: Freddy, Jason, Leatherface, Chucky, and Michael Myers. Universal introduced us to the classics: Dracula, Frankenstein’s monster, the Wolf Man, the Mummy, the Invisible Man, and Creature from the Black Lagoon. There are countless stories about zombies, demonic possessions, serial killers, alien invasions, and ghosts.
For most of my adult life, I thought zombie fiction was my favorite sub-genre of horror. Yet, looking at my favorite scary books and movies, they tend to be ghost stories.
The Shining, The Ring, Stir of Echoes, The Haunting of Hill House, Mexican Gothic, The Frighteners, The Sixth Sense, The Canterville Ghost, The Fall of the House of Usher, and … well, it’s a long list. There’s something about ghost stories captivating our attention. They haunt us long after the final page or closing credits. They tug our heartstrings and trigger our fight/flight responses. They thrill us, terrify us, fill us with wonder, and remind us our residency in this world is only temporary.
When it comes to tales of hauntings, there is a familiar trope most of these stories follow. A spirit of the recently deceased lingers after a tragic death. Their presence frightens any new tenants in their domain until a person of either high intelligence or spiritual sensitivity moves in and seeks to understand the specter of the abode. From there they find the remains of the dearly departed to either solve the mystery of who killed them or provide a proper burial. This story arc has existed for as long as pop culture has regurgitated ghost stories. But where did it come from?
Have y’all heard of Pliney the Younger? He was a first century Roman historian, politician, philosopher, and student of his uncle, Pliney the Elder. When the Elder died attempting to rescue a friend from the eruption of Mount Vesuvius, his will deeded his entire estate to the Younger who dedicated his life and wealth to the Roman Empire. This Younger Pliney was born high into the Roman aristocracy, influential in both military and civilian circles. He was a prolific writer and orator often addressing emperors, governors, and other noble figures.
In his large collection of epistles, Young Pliney wrote two letters about the Mount Vesuvius tragedy with such great detail and accuracy, they’re still respected by modern volcanologists. While serving as a judge presiding over cases prosecuting suspected Christians, Pliney wrote to the emperor because he’d never investigated the new religion and wanted clear instruction. Their correspondence is some of the earliest extrabiblical accounts of Christianity. He wrote letters explaining Roman administrative processes and his daily life, giving modern peoples a firsthand account of what it was like to live in first century Rome.
Among all of the important historical texts composed by Pliney the Younger, he also wrote the earliest surviving ghost story. Per Pliney’s accounts, he was disturbed by a rouge spirit in one of his villas while he was busy writing. He chose to ignore the ghoul but it kept returning, creeping closer. Rather than dismiss it, abandon the villa, consort with a medium, or seek help from an oracle, Pliney employed his intelligence to investigate. He followed the apparition and discovered a body. Once the philosopher provided the corpse a Roman burial, the ghost was gone - never to return.
We have been following this format for 2000 years. Horror writers are finding new ways to tell the same story and through all ingenuity, we’re maintaining a tradition stretching back thousands of years. We remix haunted tales to create something that is fresh and ancient at the same time.
The notes app on my phone gets a lot of usage. Any time I get an idea for a blog post, short story, novel, or a video I want to make for TikTok, I write a note. For books, some of those thoughts jotted down in digital form are just a notion - a vague “what if?” question that is the basis for all of my book ideas. Others have a very loose outline. A few have character names attached, descriptions of settings, plot points, or more detailed outlines. There’s another note that compiles a list of every book idea I have brewing with the title, genre, and brief synopsis. With 42 titles in that list, I have more plans for books than I have years left to live. Throughout this inventory are ideas for ghost stories.
One is about a single dad confronted with the literal ghosts of his regrets, like Dicken’s Christmas Carol meets Thirteen Ghosts. In another, a ghost falls in love with the living person who bought the house she haunts. There’s an idea about the ghost of a serial killer who possesses the body of a snowman. Or a pair of haunted drumsticks received as a white elephant gift. Then one about a despondent dude taking a cross country road trip with the ghost of his best friend. More proposals exist but you get the point. My special blend of neurodivergence never ceases to generate new ideas. It’s my autistic super power.
These stories sing to me. Tales of the ghosts that haunt us - real or imagined, campfire stories or literary classics, big budget blockbusters or obscure indie flicks - I’m inspired by ghostly fables. Even though I don’t believe ghosts are real I find threads of hope in their legends, the ability to express grief, the power to overcome fear, and a shared lamentation with all humanity.
What is it about these spooky yarns? Why are they so powerful? How to they elicit such strong emotional responses of terror with the comforting sense of solidarity? On a recent episode of Lore, podcast host Aaron Mahnke explained:
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