Dear Summer of Horror Creator (2026)

[scioscribe]

Thank you so much for writing for me! Horror is the genre of my heart, and I can never get enough of it, so I'm already really looking forward to whatever you create. I've added some prompts, but definitely feel free to go your own way. Please think of the requested horror tags as more directions than anything else—it's more than okay if something blends subgenres or doesn't fit in neatly.

I have gifts enabled, and treats are very welcome!

I'm scioscribe on AO3 and scioscribe on Tumblr. All requests are for fic.

Likes

hurt/comfort, emotional hurt/comfort, ensembles, enemies-to-lovers (or friends), friendships, friends-to-lovers, opposites attract, conflicting worldviews and priorities, emotional vulnerability, fix-its, casefic, canon-style adventures, moral complexity, nuanced bad guys/terrible people with moments of goodness or vulnerability, redemption, pining, obvious feelings that don’t quite get admitted to, unconventional gestures of affection, complicated relationships, partnerships, power dynamics, shippy gen and ambiguously intense relationships, intimacy, found family, first-time stories, established relationships, character death, amnesia, characters forced to cooperate, forced proximity, bedsharing, huddling/cuddling for warmth, 5 + 1 fics, slow-burns, fake/pretend relationships, arranged marriage/marriage of convenience, sex pollen, made them do it, noncon-related hurt/comfort, rape recovery, power couples, age gaps, worldbuilding, undercover work, loyalty, tenderness, acts of kindness, trying to do the right thing, identity porn, canon-divergence AUs, added supernatural/fantasy/sci-fi elements

Historical- and canon-typical language, violence, attitudes, and darkness-levels all okay to include unless otherwise noted.



General Sex Likes/Kinks

clothed sex, wall-sex, rough sex, teasing, anal play/sex, oral sex, rimming, frottage, fingering, gags, dirty talk, hand and finger kink, hair-touching, nipple play, characters giving orders/instructions, roleplay, casual D/s, spanking (including breasts, thighs, and pussy), talking during sex, emotional sex, sleepy/lazy sex, humorous sex scenes, enthusiastic sex, tenderness, loss of virginity, bad/awkward sex (either charmingly funny or downbeat), coming untouched, coming in pants, voyeurism, exhibitionism, collaring, people getting mussed, orgasm delay/denial, overstimulation, edging, begging, historical period- or location-specific sex, sex toys, praise kink, possessiveness, marking/bruising/biting



Bonus Horror Likes

horror-related hurt/comfort, haunted houses/hotels/etc., unsettlingly perfect small towns with dark secrets, "everything here seems superficially fine except someone's eyes are screaming," lingering trauma, bonding through trauma, courage, mutual protectiveness and self-sacrifice, comfort sex in the midst of horror, trying to survive an apocalypse together, mutating landscapes, "it's a bad idea to go into the woods," hunted for sport, finding evidence of cult-like religious practices and old beliefs with terrifying implications, ghosts, haunted spaceships, haunted regular ships, mass disappearances and abandoned locations, coming into possession of a cursed object that has unsettling or dangerous effects, supernatural or paranormal casefic, technology has turned on you, many people really are out to get you, dark carnivals, "it's a challenge to reach the end of this Halloween haunted house but—surprise!--it's actually really haunted and/or the hosts are trying to kill you," spending all night in a haunted house, quietly unsettling horror with little elements that are just slightly wrong, reality is slippery, trapped in a cave, snowbound in a haunted location, investigating supernatural phenomena, the ghosts are personally connected to you and it's tragic, the ghosts are only pretending to be personally connected to you and actually they're not ghosts at all, creepy mirrors, creepy doppelgangers, lured into a dangerous situation … and many more things



DNW

ageplay, use of "mommy" or "daddy" in sex scenes, explicit sex for characters under sixteen, scat, bestiality, necrophilia, literal and real fire-and-brimstone hell



Carrie - Stephen King

Susan Snell & Carrie White
Solo: Susan Snell
Solo: Carrie White

Dark Fantasy, Folk Horror, Gothic Horror, Institutional Horror, Paranormal Horror, Psychological Horror, Supernatural Horror

Optional ships: Carrie/Sue (both dark/horrifying/nonconny/dubconny and hopeful/romantic), and Carrie/Sue/Tommy. I'm also good with all the canon ships.

Any kind of ending is fine!

* Carrie doesn't go home after the prom; instead, she leaves town with a terrified Sue as a hostage. Does she cause more havoc on their cross-country journey?

* Carrie discovers her powers under different circumstances. What if they'd stayed active after the rain of stones incident, and she'd just kept gradually getting stronger and more practiced over the years? I'm totally here for Carrie just becoming an "It's a Good Life"-style horror where she gets phenomenal power at a too-young age and uses it to completely control everyone around her until everyone is dancing to her whims and the whole town might be cut off from the world. I'd love to see her relationship with her mother in this context. But I'm also here for her using her powers in less noticeable but still creepy ways. Meanwhile, Sue's gradually discovering that everyone who says something mean to Carrie soon has something awful happen to them in return ….

* Carrie lives on as a ghost in Sue's mind. If you take this in a shippy direction, I'm open to everything from nightmare noncon/dubcon to dark romance to something more wistful. Or maybe Carrie lives and blows town, but she's haunted by the prom ghosts and/or the ghost of her mother? Can she overcome them, banish them, or lay them to rest, or will they get the upper hand? Does she have genuine regrets?

* I also love the idea of Sue being haunted by prom ghosts, especially while she's trying to deal with being ostracized by the town and having so much survivor's guilt. Or Sue starting to investigate paranormal/psychic phenomena, going headfirst into what scares her. Or Carrie/Sue with them partnered up in looking into these cases. Carrie/Sue vs. haunted houses and other people with wild talents.

* Tragic horror! Feeling like a monster, dealing with enormous power and the temptation to use it to do terrible things to people, PTSD and nightmares, physical deterioration and the knowledge that you're going to die young (or, if Carrie/Sue, the knowledge that the person you love is going to die young).

* Carrie somehow manages to bring her mother back, but she Comes Back Wrong(er).

* Carrie's intrusion into Sue's head gave her unwanted telekinetic powers that she's horrified by, and it's making people suspicious of her.

* In the aftermath of prom night, Chamberlain develops some peculiar rituals for detecting people with telekinetic powers, and everything slowly becomes oppressive and/or retrograde-creepy with beliefs about witchcraft. Or a folk horror AU where everything is superficially modern, but this is still a world where people are alert to signs of "witchcraft" and ready to turn on Carrie as soon as her powers start manifesting and they want to stone her in the public square. (I like the idea that this world would basically agree with Margaret White but just presumably still ostracize her for being off-putting.)

* Carrie gets captured by the government/the Shop/some nefarious lab, either before or after prom, and they start experimenting on her and trying to control her, with a possible rescue attempt by Sue. Or a possible scenario where Sue is also brought into keep her company/help control her. Can they escape? How do the researchers control Carrie? If they offer her praise and support, does she even want to get out? If they try to use her new relationship with Sue against her, how does she react?



Knives Out

Benoit Blanc & Jud Duplenticy

Dark Fantasy, Folk Horror, Religious Horror, Supernatural Horror

Optional ships: Blanc/Jud, Blanc/Phillip, Blanc/Phillip/Jud.

Any kind of ending is okay, including character death, as long as Blanc and Jud don't end on bad terms.

Fandom-specific DNW: Blanc converting. Jud losing his faith (leaving the priesthood is fine). Religious kink (Jud looking hot while wearing a priest collar is fine; I'm just not into him looking hot because he's in a priest collar.)

* Jefferson Wicks's malevolent spirit seems to be haunting the church and/or village. (I'm good with a literal manifestation, including ghost sightings, or "irrational flare-ups of rage and bitterness in a congregation that's otherwise very pleased with its new priest," or "weird how the new crucifix Jud carves keeps falling down," or whatever works for you.) Blanc doesn't initially believe in the supernatural any more than he believes in God, but he's willing to either look at it as a new thing to rationally explore or Scooby Doo the shit out of it, especially since it's putting Jud on edge and making him miserable.

* From cult of personality to actual, literal cult: a new folk religion has sprung up around Wicks's "resurrection," no matter how hard Blanc, Jud, and the Church have tried to debunk it. Is the sheer power of their belief enough to summon some supernatural force? Has some scary, unknown supernatural/otherworldly/cosmic entity started using Wicks as a mask to present itself to the world? Do the cult members believe they should sacrifice Blanc, Jud, or both to bring their "god" back again?

* Dark fantasy where priests are also trained in magic, and Blanc needs Jud's help with a murder that has a magical angle to it. I love the idea of weird, painful magic with a high risk and high physical cost—maybe they're that Blanc doesn't even like to ask, or doesn't ask at all, but Jud insists. Blood magic? Sex magic? Magic that requires extreme situations, like finding out more about a dead person only if you're buried alive in their exhumed grave?

* Jud goes to visit an isolated parish, and the vibes are even stranger and more unsettling than the ones he saw under Wicks. It's beginning to seem like whatever they're worshipping isn't anything he would recognize, and human sacrifice may be involved. He needs to call on Blanc for help.

* There's something in the woods near the church, and it's especially active at night and creeping closer all the time.

* Blanc and Jud vs. a haunted house: maybe Blanc's working a case in a Gothic manor where everything seems to be going wrong, or a client has asked him to investigate why people keep dying there seemingly by accident? It's not his usual kind of job, but maybe the novelty compels him, or maybe it's tied to someone he knows—maybe it's the mansion Marta inherits in Knives Out?--so he's willing to humor them. They would be more reassured if he brought some religious representative along, and Jud's the only one he trusts … but neither of them anticipate that genuinely frightening, apparently impossible things will begin happening there.

* I have a soft spot for wistful, bittersweet ghost stories, especially with shipfic, and I love the idea of Jud's ghost coming to Blanc. Does he not know Jud is dead at first, and it's just that Jud seems to be visiting him and finally throwing caution (and vows of celibacy) to the wind to start a romance? (Is it a kind of Carnival of Souls setup where Jud doesn't know he's dead either, and Blanc eventually has to tell him?) Does Jud die at some point during or after the movie and then continue to reappear to Blanc throughout the years when Blanc needs him, but never as often as Blanc wants him? I love the idea of seeing Blanc's fundamental disbelief in the supernatural wrestling with his desire to see Jud again and the evidence of his own senses. Is Jud dead, and a malevolent supernatural force is using his form to appear to Blanc while the real ghostly Jud is trying to stop it?



Re-Animator

Daniel Cain & Herbert West

Body Horror, Cosmic Horror, Folk Horror, Medical Horror, Monster Horror, Paranormal Horror, Science Fiction Horror, Supernatural Horror

Optional ships: Dan/Herbert. Past Dan/Meg or Dan/Francesca are both totally fine.

I'm good with any kind of ending as long as Dan and Herbert don't completely destroy their relationship in the course of the story.

Fandom-specific DNW: Beyond Re-Animator canon.

* Dan and Herbert awaken or otherwise attract the attention of some kind of eldritch entity—maybe by entering the wrong cave or isolated pocket of woods in search of some potential reagent component, maybe by messing around with life and death in the first place—and now it's leaking through their reality, giving them nightmares, manifesting with horrible physical side effects, etc.

* They wind up snowbound in a haunted hotel. Herbert is contemptuous of ghosts, but eventually even he can't deny that they're a real threat. It would be really interesting to see them dealing with a less immediately tangible form of horror—can they use their medical/scientific expertise to fight it in some way? Can they manage to force the ghosts into a physical form?

* Herbert dies at the end of the first movie but sporadically makes ghostly appearances in Dan's life to protect him, bug him about working on the reagent, and just generally be in love with him?

* AU where Herbert tries to conquer death in a different way. Maybe he's experimenting with chemically engineered vampirism or trying to preserve disembodied consciousness after death, and whatever the process is, it has its own dangerous fallout.

* Any kind of horror-related hurt/comfort. Chased and hurt by monsters and/or zombies? Attacked by people Trying to survive in a zombie apocalypse? Dealing with reagent addiction side effects or slow, grotesque physical transformation? Feel free to go all-out on the body horror, whether it's violent, deliberate, or accidental and science-fictional and normally impossible. Maybe Herbert starts using his own body to produce certain reagent components, so there's something growing inside him or on him?

* Instead of coming back as zombies, the dead resurrected by the reagent come back and immediately start morphing into grosser, weirder, and more grotesque forms.

* Dan and Herbert in space! Maybe they've engineered some kind of organic spaceship made out of the vaguely living dead, or out of a resurrected cosmic creature? Do they encounter mind-boggling space horrors on a regular basis? What kind of SF medical horror could they get up to with things like nanobots or cryogenics or alien flora and fauna involved?

* Dan keeps dying, and Herbert keeps bringing him back, but every time, he comes back a little bit more wrong—needing to feed off blood (Herbert's or other people's), afflicted with a newfound ability to see eldritch colors and lights in the sky that signify cosmic horrors breaking through, a craving to eat dead people, etc. Herbert is flexible, though. He can deal with this.



Inside No. 9

Chas & Joe

Body Horror, Folk Horror, Medical Horror, Psychological Horror, Supernatural Horror, Violent Horror

Optional ships: I like Chas/Joe both in terms of "Chas is fully in love, and Joe has at least a pinch of genuine if horrifically conflicted feelings" and "Chas is fully in love, and Joe is playing elaborate, torturous psychosexual mind games."

Any kind of ending is okay, but I'd prefer Chas not become actively awful: let's have the worst thing he ever did stay in the past. He can meet a horrific fate (a lot of these prompts are going to boil down to "let's make this famously upsetting ending even worse or at least only differently terrible") or kill Joe to escape, though.

* What if we just spent more time in Chas's slow demise in the bath? What are some of the conversations he has with Joe, who's encouraging him to keep his strength up? How does his sanity start to slip, and how far does it go? (I'm also interested in there being a point of diminishing returns for Joe, where either Chas has lost the plot so thoroughly and retreated into a painless fantasyland so he's no longer suffering or where his rotting-while-still-alive body has started to horrify even Joe, who thought this was what he wanted.) What are some of the gory details of being slowly eaten alive by bugs and rats? Is there any chance he could somehow get free and turn the tables on Joe?

* Fucked-up erotic horror option: bath!Chas gives Joe a blowjob. Is he so out-of-it at that point—or still so in love, despite dying in agony—that there's a bizarre kind of consent? Is Joe semi-remoreseful and actually doing it for him in a weird way, or is he getting off on Chas's horrible predicament or just indifferent to it? Also good with Joe jerking off and coming on Chas's face in this scenario, especially if Chas is more conscious and aware at that point.

* Olivia survives her suicide attempt but stays comatose, so after a while, Joe seeks Chas out so he can make her "killer" and favorite almost pop star into a kind of living doll for her, since she'll never really get to grow up. Just weird, dark dollification kink with some drugging and psychological control, maybe some hypnosis, etc. Chas, hope you like singing "Blue Jeans Baby" on command.

* Despite all his "best" intentions, Joe cannot bring himself to kill Chas after all, so he makes him into his attic/cellar boyfriend instead, holding him captive in horrible circumstances (yes, I realize this is kind of now a crossover with "To Have and to Hold") while he carries on a superficially normal life with Mick.

* Joe actually chooses to kill Chas at the house by the lake because there's an old folk horror story that if you kill a killer in these woods or by this water (maybe in the woods? In the water? This doesn't have to be bath-bound!), their victims will come back to life as long as the person has sufficiently paid for their crimes. Or what about some other folk legend related to the area? Maybe Mollie is actually trying to hint that the cabin would cure Joe's cancer (if he'd actually had it), and instead, those curative properties bring Chas back to life after he dies? Or keep him alive in a trapped and half-eaten state? Does his suffering lure an old god out of the woods who may be able to grant a wish? But is it going to be Joe's wish or Chas's?

* Joe and Chas's nine years together are marked by Chas seeing Olivia's ghost. Does he maybe start seeing her even before he meets Joe, if she's doing a kind of astral projection from her coma? Does she try to warn him about what her dad is planning, or does she also want revenge? (Can she communicate at all?) What happens when Chas eventually opens up to Joe about what he's been seeing? I'm fine with this actually going in a quieter direction where the horror is more melancholy than awful—it could maybe even be healing for everybody.

* Outside POV fic where the lakeside cabin becomes a famously haunted location, and people are reporting on the different phenomena they've experienced and the things they've felt or seen there. Are they seeing Joe as well as Chas? Does Joe kill himself after killing Chas? (I can see that: it's easy to believe Mick is actually a lie he uses to make the situation worse, and it's pretty hard to see how he could get away with this.) Or is it just that since Chas's Joe, the man he loved, is dead (and never fully existed), he's also a ghost? What happens if Joe takes Mick to the cabin for a kind of grotesque weekend away/chance to relive his crime?



Our Flag Means Death

Archie & Fang & Frenchie & Israel Hands & Jim Jimenez
Solo: Frenchie

Monster Horror, Psychological Horror, Supernatural Horror

Optional ships: Everyone on this ship should be fucking. To narrow it down to just the characters I'm requesting: Archie/Fang/Frenchie/Izzy/Jim, Jim/Archie, Jim/Frenchie, Jim/Izzy, Frenchie/Fang/Izzy, Izzy/Frenchie, Izzy/Fang, Ed/Frenchie. But I also like all the canon ships and am good with any non-canon ones you want to include too; I'm a total multishipper here.

I would like Archie & Fang & Frenchie & Izzy & Jim to not end up on bad terms with each other. They can die, it can be tragic and/or horrifying, but I just don't want them to hate/fear/turn on each other, at least not without making up before the end.

* The breakup boat actually goes down during the storm (or suffers incredible damages during it, leading to the rest of the surviving crew perishing soon afterwards of hunger/thirst/injuries). Now they're a ghost ship and a ghost crew. I'd like them to find some solace with each other, but that doesn't mean everything has to be okay. What is it like for them to slowly realize that they're actually gone? What do they "need" as ghosts, and what are their interactions like with other ships? If one person lingers on for a while after the others are gone, is it almost bittersweet to die and find they're reunited with everyone else? What happens if Stede and the others finally come across what's left of the Revenge, only to find this ghostly wreck full of spirits they may or may not perceive? (Is Ed also haunting the ship, or does he somehow get swept overboard and survive? Or wind up haunting a different space/moving on into the afterlife?)

* Frenchie is right about certain people having crystals in their body that attract demons. He's just wrong about it being women. He has some crystals in him, though, and that might explain the shadowy terrors that are following him around ….

* Sorry, Ed, but your early S2 phase of unpredictable dark whimsy, deliberately provocative mutilation, and attempted murder-suicide is very inspirational for fucked-up horror premises—I really like it when him being an antagonist during this period is less about him wanting to hurt someone and more about him just seeking sensation and/or numbness at any cost or about him just self-destructively over-committing to obviously horrible, dead-end choices. So I'm very here for the general psychological horror of this time, with everyone being exhausted and forced from violent scenario to violent scenario, all while dealing with someone powerful and unpredictable. Forced games of Russian roulette or William Tell-style shooting things off people's heads or out of their hands? Raiding Archie's snake cult ship and finding everything absolutely crawling with snakes, including venomous ones or giant anacondas? Ed ordering them to bring the snakes aboard because he's secretly hoping one of the snakes will bite him?

* Ed decides to use a séance or other ritual to see if Stede didn't make their rendezvous because he died. This has Very Bad supernatural effects that everyone has to deal with. Ghost Badmintons? Amorphous evil spirits? The ghosts of their former selves?

* Post-S2, Frenchie is the new captain of the Revenge (I will totally take Randomly Alive Izzy for this, if you'd like!), and he and the crew have a supernatural or monstrous terror to deal with. A sea monster? A ghost ship? An eldritch horror? Do they sail into the Bermuda Triangle and find reality itself getting slippery on them?



Slow Horses

Solo: Jackson Lamb

Body Horror, Comedic Horror, Cosmic Horror, Dark Fantasy, Institutional Horror, Paranormal Horror, Supernatural Horror

Optional ships: Lamb/River, Lamb/Catherine, Lamb/Catherine/River. Plus any and all platonic relationships: delighted with Lamb & Anyone in Slough House and/or Lamb & Anyone at the Park.

I'm fine with endings involving character death or serious, permanent injury, but I'd like any feelings between Lamb and the canonical Slow Horses (or between the Slow Horses more generally) to not be noticeably worse at the end of a story than at the beginning.

* Make this man literally rather than metaphorically haunted. He's seen (and caused) a lot of death, and now he has trouble shaking his ghosts. Does he often see Charles Partner in his bathroom? (Is that part of why he doesn't bathe all that often?) Is he followed around by lost joes? I love any variation on this, whether the ghosts are vengeful, disturbing, or just a melancholy reminder of everybody he's lost. Also very happy to see Young Lamb haunting Old Lamb: what would it be like if he suddenly started seeing a younger, less disillusioned version of himself? What if other people start seeing any of these ghosts too? What if the ghosts are having an effect on the world of the living?

* Variation on the above: the ghosts of Lamb's dead joes start possessing his new joes, and look, yes, generally this makes the new bunch all a bit more competent, but he still can't let it stand and has to protect his current crop of losers. I could see this going comedic or dark (or both!), whatever you choose. If it's darker, I'd love it if the dead joes aren't quite themselves, as if they've become more bitter and vengeful in death—there can be a pathos to Lamb having to lose a version of them yet again, even if he knows this isn't exactly who they were. If they're menacing, are they taunting him with this possession by giving subtle hints of it at first? Enjoying making him question everything? What's it like for him to suddenly watch people he knows (against his will, he'd undoubtedly argue) behaving very much out of character for no apparent reason?

* I see Lamb's feet at the end of S5, and I raise you all the body horror of damage done by a lifetime of spying in an organization that doesn't always care how it uses people. Give me all the weird, fucked-up body changes, whether they're from science fictional/magical torture or messed-up "enhancements" to make him a better field operative. Or psychological trauma manifesting as physical trauma, like the names of dead joes tattooing themselves on his skin or him waking up with physical attributes of people he's lost or killed.

* Any kind of horror-inflected casefic/missionfic, or any injection of horror or dark fantasy into canon-style events. Surveillance conducted with far-watching spells or remote viewing? Shapeshifting to go undercover? Staying on top of your agents by sharing their nightmares? Interviews via seance? How badly can the Slow Horses bungle what should be a routine clear-out of a haunted safehouse? Are Lamb's agents all one-time psychics whose powers have become faulty (or were never that great to start with)? Are their gifts ever dangerous? What about his own? Also very down for using the Park's control of any supernatural resources for horror.

* Unearthing a cosmic horror that's just one more thing that they can discover but don't have much power to do anything about, so they have to live in the shadow of knowing the rational world is just a thin veneer over some chaotic darkness. Are they monitoring someone who turns out to be in a Lovecraftian-style cult, and the investigation makes them aware of some grim underlying truth? Is reality itself deteriorating and sliding into unreliable incoherence, and the Slow Horses discover this because all their makework starts turning out to have a high percentage of gibberish in it?

* Slough House is actually where you go when you die on the job—but in a way where you can still be resurrected to a kind of unsettling but still potentially semi-useful half-life. ("You're in charge of the zombies." "They don't like being called that." "What do you call them?" "The zombies.") What do they need from him? Do they ever need to drink blood or eat flesh? Can they not eat at all? Are they physically decaying? What kinds of things do they get used for, in this universe, and what does Lamb allow vs. object to? Why did he wind up choosing to be in charge of them, and what was happening to the resurrected agents before he took over?