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From Bram Stoker Award‑nominated author Craig DiLouie comes a darkly humorous horror novel that sees a famous 80s slasher director set out to shoot the most terrifying horror movie ever made using an occult camera that might be (and probably is) demonic.
Horror isn't horror unless it's real.
Max Maurey should be on top of the world. He's a famous horror director. Actors love him. Hollywood needs him. He's making money hand over fist. But it's the 80s, and he's directing cheap slashers for audiences who only crave more blood, not real art. Not real horror. And Max's slimy producer refuses to fund any of his new ideas.
Sally Priest dreams of being the Final Girl. She knows she's got what it takes to score the lead role, even if she's only been cast in small parts so far. When Sally meets Max at his latest wrap party, she sets out to impress him and prove her scream queen prowess.
But when Max discovers an old camera that filmed a very real Hollywood horror, he knows that he has to use this camera for his next movie. The only problem is that it came with a cryptic warning and sometimes wails.
By the time Max discovers the true evil lying within, he's already dead set on finishing the scariest movie ever put to film, and like it or not, it's Sally's time to shine as the Final Girl.
Genre: Horror
Horror isn't horror unless it's real.
Max Maurey should be on top of the world. He's a famous horror director. Actors love him. Hollywood needs him. He's making money hand over fist. But it's the 80s, and he's directing cheap slashers for audiences who only crave more blood, not real art. Not real horror. And Max's slimy producer refuses to fund any of his new ideas.
Sally Priest dreams of being the Final Girl. She knows she's got what it takes to score the lead role, even if she's only been cast in small parts so far. When Sally meets Max at his latest wrap party, she sets out to impress him and prove her scream queen prowess.
But when Max discovers an old camera that filmed a very real Hollywood horror, he knows that he has to use this camera for his next movie. The only problem is that it came with a cryptic warning and sometimes wails.
By the time Max discovers the true evil lying within, he's already dead set on finishing the scariest movie ever put to film, and like it or not, it's Sally's time to shine as the Final Girl.
Genre: Horror
Praise for this book
"Gory, glorious, and just a little too believable, Craig DiLouie's latest is a slick meta slasher movie in book form, set in the brutal intersection of art and obsession." - Peter Clines
"How to Make a Horror Movie and Survive is a blood-spattered homage to horror films, an ode to the craft of filmmaking, and a cautionary tale about the fiery - often destructive - creative passion inside every artist, one that continuously teeters on the brink of insanity. DiLouie has created a celluloid cursed object story that John Carpenter himself would stand up and applaud from the front row." - Philip Fracassi
"A tricky, twisty book with more levels to it than a slasher movie has sequels. DiLouie knows what makes the horror genre tick." - David Moody
"Confidently striding through the genre, DiLouie displays a deep and abiding love for horror, even as he finds new ways to bend our disgust and despair to his will. The camera cannot turn away." - Andrew F Sullivan
"How to Make a Horror Movie and Survive is a blood-spattered homage to horror films, an ode to the craft of filmmaking, and a cautionary tale about the fiery - often destructive - creative passion inside every artist, one that continuously teeters on the brink of insanity. DiLouie has created a celluloid cursed object story that John Carpenter himself would stand up and applaud from the front row." - Philip Fracassi
"A tricky, twisty book with more levels to it than a slasher movie has sequels. DiLouie knows what makes the horror genre tick." - David Moody
"Confidently striding through the genre, DiLouie displays a deep and abiding love for horror, even as he finds new ways to bend our disgust and despair to his will. The camera cannot turn away." - Andrew F Sullivan
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