Workshop

How to Build a Jacob's Ladder
Nathaniel Speece-Moyer

Materials Needed:

1 - high voltage transformer (15kV neon sign transformer is recommended)
2 - 8' pieces of 1"x 8" pine board
4 - pieces of 2"x 1/4" x 1/8" wood (to be used as spacers when joining the brass tubes to the plastic with epoxy)
2 - pieces of 5 1/2 inch x 1 3/4 inch x 1 1/2 inch wood
1 - 36"x48"x 1/8" sheet of Plexiglas
1 - 18"x24"x1/8" sheet of Plexiglas
2 - 1/4 inch bolts
2 - 1/4 inch nuts
1 - box of 2 inch wood screws
6 - 1 1/4 inch wood screws (to secure the inner shelf in place)
4 - 3/4 inch wood screws
4 - 1/4 inch washers to secure the transformer.
2 - 36 inch sections of 1/4 inch brass tubing
2 - 2 inch sections of 1/2 inch outside diameter glass tubing. This can be found at a neon sign shop
1 - tube of 5 minute two-part epoxy
1 - cutting board or 7/16 inch thick plastic approximately 19x 7 inches
1 - 3 ft. section of solid 12 gauge copper wire, insulation removed
1 - three prong cord with plug
1 - 4 ft. section of 1 to 2 inch PVC to help with adjusting the electrodes
1 - wire staple

Remember the mad scientists' lab in old black and white horror films? With sizzling, crackling, high voltage equipment in the background? Most likely, one of those devices was a 'Jacob's Ladder,' in which an electrical spark travels between two rods shaped into a 'V.' The spark forms at the narrow gap and climbs upward, until it cannot reach across, only to break and start again. A Jacob's Ladder is fairly quick and simple to build, and while a level of caution must be exercised since one is dealing with potentially lethal high voltage, a Jacob's Ladder will create great atmosphere in your mad scientist's lab this October. 

Safety Issues

Due to the high voltage and potential fire hazard, this is a fairly dangerous prop. You should have a good understanding of the workings of high voltage before building this project. When the transformer is turned on, do not touch or come close to the high voltage wires, or the metal rods. Keep the Jacob's Ladder out of the reach of patrons and well away from flammable materials. Keep a fire extinguisher nearby that is rated for electrical fires. Use the Jacob's Ladder only in a well ventilated area, as the spark produces ozone, a sharp, bleach-like smell which is extremely irritating to the lungs and respiratory system. It is not advised to use this device on the same circuit as computers or other expensive electronic equipment. It is not recommend to run the Jacob's Ladder for over 20 minutes without allowing a cool down period. Since every Jacob's Ladder is not the same, be familiar with how fast yours heats up. Neither the author of this article nor Haunted Attraction Magazine assumes any responsibility for the use of this information. 

The Transformer

First, you need to obtain a high voltage transformer, which will drive the device. Several types of high voltage transformers exist, but the most easily found and most suited to the task are oil burner transformers or neon sign transformers. Generally, used transformers cost much less than new ones, so call around, explain your project, and ask if they have any used transformers that they would be willing to sell. Oil burner transformers can be found at places that do furnace repair. They cost about $40 new, and their voltage is usually 10,000 volts (10kV). Neon sign transformers can be found at places that do neon sign work and repair. They cost about $70-$120 new, but it may be possible to find a used one for $15 to $40, depending on the sign shop. Ask for used neon sign transformers that are either 12kV or 15kV. The 15kV transformer is recommended for this project, since it will create a larger spark than those with lesser voltages. 

Wiring the Transformer

When you first get your transformer, check to see that it works. A 120VAC power cord may or may not already be attached. The transformer should have four bolts protruding from ceramic insulators. Two of the insulators should have a single bolt each and be much bigger and farther spaced out than the other two. These are the high voltage terminals. There should be two smaller bolts protruding from a ceramic insulator. These are the 120VAC connections. There also should be a bolt somewhere on the side or end of the transformer to connect to the ground. If not, ground the transformer case itself. It is extremely important that the transformer be connected to a ground. Take two sections of 12 gauge wire, attach one to each of the high voltage terminals, and bend them so they meet above, but not touching, the transformer case with about an 1/8 inch gap between them. Next, connect the power cord to the two smaller bolts, and ground the transformer. 

Place the transformer on a block of wood on a cement floor, and have the four foot section of PVC piping in hand. Stand several feet away from the transformer, and plug in the power cord. A spark should jump between the two high voltage wires. If not, re-check connections and try again. It is possible to move the wires using the section of PVC when the transformer is on. If there is any doubt on how to wire the transformer, ask the people where it was purchased. Now that you have a working transformer, you can proceed with the rest of the project. 

The Electrodes

The first step is to construct a support for the two brass tubes that will form the electrodes. The sections of tube are joined with epoxy to 7/16 inch thick plastic sections, and the plastic is bolted onto wooden blocks on top of the inner shelf. You can use pieces from a plastic cutting board, (approximately 19x 7 inches) which is inexpensive and easy to find. Set the table saw blade so that it cuts at 90 degrees and cut ¼ inch off of the end of the plastic cutting board, eliminating the rounded edges and insuring that the cutting board is square. About 3 degrees from perpendicular will produce enough of a "V" for the spark to travel up the Jacob's Ladder, but some final adjusting will have to be done to get it to work as desired. So set the miter gauge to cut the cutting board at 87 degrees, and cut the plastic starting 2 inches from the end of the cutting board. Set the miter gauge back to 90 degrees and make a second cut, also two inches from the end. Now you have two identical pieces of plastic that will support the brass electrodes. Additional cuts will be needed to reduce the length of each plastic piece to about 4 inches long. 

Set the pieces of plastic down on the table so that they form a 'V.' Later, the electrodes will be attached to the sloped edges of the plastic. Now drill a ¼ inch hole, ¾ of an inch from the outer edge and 1 ½ inches from the bottom edge on each piece. These holes will be used to attach the plastic pieces to the wooden support blocks. Rough the ends of the plastic using coarse sandpaper where the brass rods will be attached and about a half an inch up the sides, so as to give the epoxy more surface area with which to bond. Lay the plastic pieces and brass rods down on wax paper over a completely flat workspace. Set the brass tubing on 1/8 inch thick by ¼ inch wide pieces of wood which will act as spacers to get the tubing closer to the center of the plastic. Now, mix the epoxy and apply it to the edge of one of the plastic pieces. Slide the plastic onto the rod, making sure to keep epoxy off of the front 50% where the spark will travel and to leave ¼ inch of the tubing extending below the bottom edge of the plastic. 

Repeat this for the second rod, and allow the epoxy to cure. Apply epoxy from the freshly cured epoxy down the length of the plastic and ½ inch in on either side. This will help anchor the rod under the high operating temperatures. Allow the epoxy to harden, and scrape off any that would be obscuring the path of the spark on the electrodes. Allow the epoxy to cure 24 hours before operating the Jacob's Ladder. 

The Enclosure

An enclosure is needed to encase the transformer and to hold the two electrodes in place. The transformer you purchase for this project may have slightly different dimensions than the 15kV, 30ma one which was used in these plans, however, this enclosure should work for most transformers. 

For the sides of the enclosure, cut two 56 inch sections of the 1 x 8 x 3/4 inch pine. Using a table saw blade with teeth that are slightly larger than 1/8 inch wide, make a ¼ inch deep groove, running the length of the two boards, ¼ inch in from the side. Make another one on the opposite side. The Plexiglas sheets will fit inside of these grooves when the box is assembled. Draw a line, which will help in the placement of the inner shelf, 9 5/8 inches from the bottom of the board. The bottom of the inner shelf will be placed with the two plastic panels will meet in the middle of the wood at 10 inches. Next, cut a 17 ½ inch section of 1x 8 x 3/4 inch pine, and using the table saw, form grooves down each of the 17 ½ inch sides in the same manner listed above. This piece will form the bottom of the box. 

Now cut a second piece of 1 x 8 pine, 17 ½ inches long, and using a table saw, rip cut off 3/4 of an inch from the width. Drill a ½ inch diameter hole centered 4 inches from each end of the board. This piece forms an inner platform that supports the electrodes, with the holes used to run the wires from the transformer. The Plexiglas sheets will slide past this inner shelf. 

Cut the final 17 ½ inch long piece of 1x8 x3/4 pine to form the top of the box and rip cut 5/8" from its width. Using the same procedure as above, make a groove down one of the 17 ½ inch sides. Once in place, the groove will accept the front sheet of Plexiglas, leaving a slit in the back between the Plexiglas and the wood. This gap will allow the back Plexiglas sheet to slide easily out for maintenance and help vent both heat and ozone. 

Leave the plastic protective covering on the Plexiglas until the project is complete. Using a table saw with a fine tooth blade, cut out one sheet of Plexiglas 45 ½ inches by 18 inches, and another 46 inches by 18 inches. Then cut two more sheets of Plexiglas, 18 inches by 9 ½ inches, each. The front of the enclosure will consist of an 18 by 9 ½ inch and a 45 1/2 by 18 inch section of Plexiglas. The back will consist of an 18 by 9 ½ inch section and a 46 by 18 inch section. 

Using an 1/8 inch drill bit for plastics, carefully drill vents holes spaced 1/2 inch apart in the Plexiglas sheets. Be sure to locate the vents as far away from the high voltage wires as possible. Drill a 5 by 7 block of holes in each of the corners of the large Plexiglas sheets (18 by 45 ½ inch and 46 inches by 18 inches). In the top center of both lower 18 inch by 9 ½ inch sheets of Plexiglas, drill an 11 by 4 inch block of holes, and then a 3 by 13 block of holes in the bottom center of the sheet. 

With the vent holes drilled, it is time to assemble the box. Making sure that the Plexiglas slides into the grooves, clamp the pieces of wood tightly in place around the Plexiglas, forming the box. The lower edge of the inner shelf is 9 5/8 inches from the base, so that the Plexiglas sheets meet in the center. It is essential to make sure the wood is not warped, so as the sheets of Plexiglas fit. If it does not fit together, check the measurements and trim to size. Using three 1 1/4 inch long wood screws per joint, assemble the enclosure. 

Slide out the back Plexiglas sheet to access the inner shelf and remove the protective plastic from the inside of the Plexiglas sheets. Epoxy the two 2 inch long pieces of ½ inch outside diameter glass tubing into the ½ inch holes which have been drilled into the inner shelf. 

Securely fasten the transformer to the inside bottom of the housing using ¾ inch screws and washers. Keep the high voltage terminals as far away from the sides of the enclosure and the Plexiglas front panels as possible. Drill a 1/2 inch hole in one side of the enclosure and feed the three prong electrical power cord in through the hole. Connect the power cord to the transformer, and secure it to the enclosure with a wire staple. Make sure that the transformer is grounded through the power cord. Securely connect an 18 inch long bare piece of solid 12 gauge copper wire to each of the two high voltage terminals, and feed each piece through one of the glass insulated holes leaving about a foot to work with on top. Make sure that the wire does not ground out on the transformer case. 

Connecting the Electrodes 

Cut two wooden support blocks, 5 ½ inches by 1 ¾ inches by 1 ½ inches each. On the 1 1/2inch face, drill a ¼ inch hole 1 ¾ inches from the top and 3/4 of an inch from the side in each block. This will line up with the hole in each of the plastic electrode supports. Attach the plastic and electrode assembly to each block using ¼ inch bolts and wing nuts. The tubing needs to be close to the center of the shelf, with approximately a ¼ inch gap between the brass tubes at the bottom of the "V" and a 2 1/2 inch gap at the top. Clamp down one of the wood blocks, drill pilot holes, and secure it to the base with 2 inch screws. Clamp the other one down, leaving the proper gaps, but do not screw it down just yet. Bend over the last half of an inch of 12 gauge wire sections back on themselves, and push each wire all the way up into the ends of the brass tubes. Make sure that the tubes are closer to each other at the bottom than the wires are, since the spark will jump at the closest point. 

Adjusting the Jacob's Ladder

Check all electrical connections and the spacing of the electrodes. Make sure that nothing is touching the brass tubes, and that they are not touching the sides of the enclosure. Make sure that all high voltage wires are as far as possible from the sides and front of the case and that they are not touching anything but the glass tubes which they are passing through. Stand back several feet, with the section of PVC in hand, and plug in the power cord. 

A spark should form at the 1/4inch gap at the bottom of the 'V.' If the spark does not climb up, either the angle of the tubes is too great, or more likely, the space between the brass tubes at the bottom is too small. Unplug the Jacob's ladder and adjust the distance between brass rods. Stand back, and plug it in again. Experiment with the spacing of the electrodes to get the type of spark desired. It is possible to use the 4 ft section of PVC to move the brass electrodes slightly when the unit is on. Once the distances have been established, screw down the second block of wood, and tighten down the pieces of plastic. Remove the protective plastic covering on the remaining Plexiglas and slide the back panels onto the enclosure. Place the assembly in a well ventilated location in the scene and secure the base down to the shelf or table to prevent it from falling over. Plug it in and listen to the oohs and aahs from your patrons as they watch the spark climb, break, and climb again. 

A Jacob's Ladder is a spectacular, simple, low-cost project that is fun to build. It requires only a basic knowledge of wood working, electrical know-how and some safety precautions to provide your mad scientist's lab with authentic atmosphere for years to come. Remember not to operate the Jacob's Ladder for more than an hour at a time, and a timer in line with the power cord is recommended. 20-30 minutes at a time with a cool down period should be fine. 

Nathaniel Speece-Moyer is a home haunter in South Carolina. He can be reached at cosmos098@mindspring.com

Keeping Good Actors
Doug Wolfe

Today's booming economy has caused a labor shortage for businesses of all sizes, and the Haunted Attraction in no exception. Keeping good quality employees will be one of the biggest problems that we as a nation will face in the coming century. The keys to happy employees are rewards for a job well done, letting them know you care enough to listen, and to be willing to get in the trenches and help out in a pinch. 

Perks

Everyone knows that an actor will not retire with a pension from working at a haunted house, but just like any other job employees want to feel appreciated. Small perks for a job well done, can go a long way. Free tickets to other attractions, restaurant gift certificates, movie passes, etc. are a great pick me up to an employee who feels unappreciated, and these items can usually be picked up at little or know cost by trading out tickets for your own attraction passes. You will be surprised what other businesses are willing to trade for tickets to you attraction. Do not be afraid to ask! You will never know unless you try. We have traded tickets for things from custom contact lenses to just recently, a computer. Pulling an individual aside, thanking them personally for the job they are doing and handing them a token of your appreciation will go further toward building a long term employee than any thing else you could do. 

Staff Party

I am not talking about limos and caviar here. Simply a gathering of employees and management on a social level, to break down the perceived barriers and let your crew know that they are working for a nice down to earth group of people. Showing your appreciation for their hard work by throwing a staff party is a great way to end your season and make your employees want to come back year after year. A small get together at the beginning of the season can also build a sense of camaraderie with your team, and provide for a less problematic operation. 

Open Door Policy

In many companies, the ability for an employee to speak directly with the owner is discouraged. A manger or actor coordinator is their only source of contact with the ownership. This can cause the feeling that their suggestions fall on deaf ears. An open door policy gives each employee the feeling that their opinion is important, and that there is someone above their supervisor that they can bring a problem or suggestion to. If management is too busy dealing with other issues, then an actor liaison could be hired to act as a surrogate. The old idea of a suggestion box just does not fill the need, as it still gives a sense of separation between the staff and ownership. Even if nothing is done about their concerns, the fact that an actor feels that their opinion matters goes a long way. At least someone is there to listen and give reasons behind decisions that may seem illogical on the surface. When my office door is open, the employees know that they may come in and voice their concerns directly to me, and when my door is closed then they know I do not want to be disturbed. 

Get Your Hands Dirty

If you ever want to pump up your staff, throw a mask on and help out. If acting is not your thing then give your ticket takers a break or help load some hay wagons. The important thing here is to mean it! Do not jump in and help for thirty seconds and then leave. That would be worse than not helping out at all. The staff understands that you are real busy doing other things and if you get down in the trenches with them two things will happen. The cast will gain a great deal of respect for you and you will gain more of an understanding of the cast goes through. There is nothing worse than making a decision about an acting position when you have never seen or done it. 

Keeping good quality employees is difficult now, and it will not get any easier in the future, but by rewarding employees with perks for a job well done, by opening up communication and letting them know you care enough to listen, and by getting your hands dirty and being willing to work side by side with your employees, you will keep the troop morale high and your employees will come back year after year. 

I have been in the haunted house business for a little over 11 years now and I still learn something every day. If you love your job like I do, the best piece of advice I can give you, is allow it to show! Your excitement will trickle down to everyone you deal with. 

Doug Wolfe is the Operations Director of Skull Kingdom in Orlando, Florida. He can be reached at (407)354-1564 or via email at RIPDW7@AOL.COM.

The Menu of Fear
Rick Maue

The instinct of Fear is basic to all humans. Although some people do not wish to admit it, we all fear something. While some of these feelings are universal, others are deeply personal. It is fun to be afraid, at least to a certain extent. In a controlled environment, where personal safety is not really in jeopardy, being afraid can create a sense of fun and excitement that is almost unexplainable. This is apparent by the popularity of Haunted Attractions, roller coasters, and horror films. As haunters, it is our mission to trigger these emotions in each patron. To reach inside their minds and recreate the uncomfortable rush that accompanies fear. It is possible, with a little thought, to break the molds of the average haunt and take your guests to a new level of terror. To create an assault on their minds, as well as their eyes and take your visitors inside themselves where the real fears dwell. When you do this, you stand out from the crowd, and your attraction will be flooded with customers, all wanting to see what their friends have been raving about. 

Typical Scares

The most common and basic type of scare in most Haunted Attractions is the "jump-out" or "startle" scare. Most haunts and most horror films for that matter are filled with this type of scare. The experience of someone or something, unexpectedly coming at us is a fear that we all have. This can even occur in everyday life when someone catches you off guard and makes you jump. You lose your breath, your heart races and you must take a moment or two to compose yourself. One of the main elements involved here is the fear of the unknown, a common ingredient in many types of fright. Unfortunately, the "startle" is used so often and with such predictability that in many cases, it looses it's true effectiveness. 

Example 

You find yourself entering a dimly lit room that contains a number of strange-looking items, but it is the large coffin against the far wall that draws your attention. You are apprehensive to approach it, but slowly you creep forward. Your heart is pounding so hard that you can hear it. Just as you get close enough to the coffin that you could almost reach out and touch it, the lid flies open and a creature jumps up. Although you tried to brace yourself, you hear your own screams as you instinctively react to the startle. This is an effective use of the setting and a successful scare, but can we take it one step further?

At least 90% of the patrons are expecting something to be inside of the coffin and that it will jump out at them. Although they are startled when the payoff is delivered, are they truly filled with fear, or are they simply reacting on impulse, and is there a way to increase the intensity and the lasting-power of that effect? The answer may simply be to not give them what they expect. A more effective approach would be to lighten the initial startle, the one they are expecting and then attack from an unexpected direction. In this case, your guests approach the same coffin; however, it never opens to reveal its contents. Instead, as they file past it, there is a sudden banging noise that comes from inside. The startle is still effective, but you also intensify their sense of the unknown, because the creature is out of sight, and most importantly, all attention shifts to the coffin. Thus leaving your guests highly vulnerable to a well-timed scare from another part of the room. This method jerks their fear from place to place and it sends them on an unexpected path that not only increases the fright level, but it also breaks the mold of what they expected to see. From this point on, they are less likely to trust their instincts because their fears were assaulted, literally from another direction. 

Taking the same coffin room, this time upon entering, your guests find the coffin lid open and they can see a well-preserved body lying motionless inside. They are anxious about approaching it because he just might be real. Unexpectedly, with their peripheral vision, they catch a glimpse of a figure slowly coming towards them from the far corner of the room. They freeze because another variable has been introduced and their minds must now address this new threat. The shadowy figure hands one of the patrons a small bell and instructs them to place it on the chest of the deceased. With apprehension, the person approaches the corpse and slowly places the bell in the center of his chest, between his crossed hands. With all eyes fixed upon the bell, the shadowy figure begins to speak, calling for the spirit of the deceased to make his presence known. The eerie silence is shattered as suddenly, with no movement from the corpse, the bell begins to ring. Their stomach muscles begin to tighten. Paralyzed with terror "Is this a trick?" they ask themselves, as their minds races for answers. 

This is a slow, "cerebral" type of scare; a technique that is highly effective when presented properly. It requires the combination of proper atmosphere, good acting, a well-written script, and an eerie effect for the final payoff, and it is more work, which is probably why most haunts stick with the jump-outs. It is also time consuming, which may not work many attractions that have to rush people through to keep the line outside moving. 

Menu of Fear

These are a few of the many ways to invoke terror and exploit the phobias that people carry around with them everyday. Each attraction should have various entrées from the "menu" to satisfy the hunger of just about any patron, and many of the entries should be combined to increase their intensity. 

STARTLE: A suddenly visual or sound that makes the patron jump. Depending on the intent of the haunter, this scare can be either unexpected, as in an unseen creature jumping out from a darkened corner, or anticipated as in walking past an open coffin. 

ANXIETY: The feeling that something is about to happen. Although most haunt patrons feel anxiety throughout an entire attraction, it is increased to greater levels at certain moments. The longer your guests wait before delivering the final payoff to a scare, the higher the anxiety. This is due to the fact that the anxiety in their minds will, in many cases, be worse than anything you could do to them. When the fear is in their mind, it touches on their own personal emotions, which can be more realistic and longer lasting. So try to keep them hanging as long as possible. The final scare may make them jump, but it also lets them off the hook. 

UNREVEALED: The fear of the unknown is a common thread that should be woven throughout your attraction. Around every corner, behind every door, in fact in all directions, should be the unknown. One of the most common failures in Haunted Attractions comes from telegraphing, letting the patrons know what is going to happen in advance of the scare. Someone popping out of a coffin is a common type of telegraphing in a haunt. Most people would expect a person to be in the coffin, and they would be correct. There is no real element of surprise. The patrons may react to the startle, but they expected it, decreasing its potential effectiveness. 

LEADING: In some cases, a small amount of "positive telegraphing" can send the patrons down the proper path to a more powerful payoff. This is called "leading" and it basically sets them up for the kill. Having the patrons handle the bell and then place it on the corpse leads them down a path head long in to the terror as the bell rings. The payoff follows a logical path and it delivers a strong sense of fear without relying on a startle. 

CONDITIONING: The act of repeatedly presenting something scary until people automatically associate it with fear. Conditioning is a heavy, non-stop dose, of "leading." The perfect example of this is the chainsaw; it works as well as it does because people are conditioned to fear the guy swinging the logging implement. It is also possible and desirable; to do effective conditioning that is based on the original content of your attraction. Use of storyline and the creation of a legend, you can put your guests into the proper frame of mind and set them up for intense scares that are based on your own unique situation. 

AVOIDANCE: The desire to not have to deal with something. Patrons want to avoid the guy with the chainsaw. They know that they are not going to be killed, but conditioning has told them that they should be frightened. And even though the actor gives them the rush that they came for, they dread it, and would rather avoid him by running away when he actually appears. 

DISORIENTATION: The anxiety of not knowing where to go, and/or what to do next. This is typical in total darkness and in many types of mazes. Once again, it ties in with the fear of the unknown. When people are unsure of themselves, they can become disoriented, which leaves them very vulnerable. There is no better time to effect the startle than this, but do not act too quickly, let them simmer for awhile. Coupling disorientation with other elements will create even higher anxiety. 

SEPARATION: The anxiety of being left alone. This can be done by separating several members from the group, separating the entire group one by one, or even simply removing the group from their "guide." Separation is one of the most instinctive fears and when executed properly, it creates terror that is unmatched. By far the most intense, genuine fear that I have ever witnessed was generated by separating one person from the group, and leaving that person alone in separate room. 

TEASE: Giving the patron just a taste of the fear. This is similar to leading, but the payoff does not always follow a logical path. One of the keys here is to keep them guessing. Give them a hint that something is going to happen but do not spell it out for them. 

UNDEFINED: Keeping the patron off balance with unrelated, unexplained or random elements. Such as a shadowy figure that repeatedly appears far ahead of the group, constantly moving further ahead but never revealing itself would be "undefined." The patrons never know if, or when, they may confront it again. This plays on their minds because after seeing it, their curiosity has a need to feel closure. They desire to bring the scare full-circle and unfulfilled anticipation is sheer torture. The occurrence of catching something with peripheral vision is very unsettling and the technique can be a strong tool in the hands of a haunter. A brief unrelated flash of light in a darkened maze out of the direct line of sight will get their attention, but they do not know what it means or what to expect from it. Give them glimpses, but do not show them everything. Let the personal fears that are buried deep inside of each patron take over and a large part of your job for you. 

MISDIRECTION: A classic tool of the magician used to divert the attention of the audience. When you need to do a tricky move with your right hand, simply call attention to your left hand. In a haunt environment, misdirection can set the patrons up for a very strong scare by turning their attention away from something that is about to happen, and causing them to drop their guard, leaving them vulnerable. 

DIRECTION: The opposite of misdirection, it calls attention to something that you want the patrons to look at. Both direction and misdirection are key elements in building a proper multiple scare, where the patrons react to one thing after another in planned succession. With proper timing, directing and then misdirecting the patron's attention can bounce them back and forth. 

FRENZY: Multiple, well-timed scares in rapid succession, as an all out assault on the senses. In rapid succession, the lights go out, the sudden roar of a chainsaw, a bright spotlight suddenly blinds the patrons, with the lunatic in full view and the patrons are plunged into darkness again, all of this within three seconds. Making it seem that all hell is breaking loose. 

CEREBRAL: Slow, unsettling occurrences that play on the minds of the patrons. This is type of fear that you would expect during a séance, or from being alone in an actual haunted house. Creating eerie, creepy, and unsettling thoughts that "This could be real?" Stimulate the patrons into bringing their innermost fears to the surface, and then exploit them. This type of fear does not end when the patron leaves the attraction. It goes home with them like a souvenir that they cannot throw away, no matter how much they want to. Fear is basic to all humans and we each have deeply personal fears. In the controlled environment of the Haunted Attraction, being afraid creates a sense of fun and excitement that drives people to our doors. Using the tools from the "Menu of Fear" can trigger these emotions. Reaching inside their minds, the haunter can take their guests to a new level of terror. By experimenting with these "entrees," you create an assault on their minds where the real fears dwell, and you separate yourself from what other attractions do. Separating yourself from the crowd and flooding your attraction with customers all wanting to see what their friends have been raving about. If your attraction is like everyone else's, then there is no real reason for patrons to spend their time and their money, on something that they have seen over and over. Rick Maue is the owner of Deceptions Unlimited and producer of "Haunted Magick: The Video" He can be reached at hauntedchamber@yahoo.com