Analog horror is a niche subgenre of horror fiction and an offshoot of the "found footage" film technique. Often cited as originating from early 2010s Internet videos, analog horror is characterized by low-fidelity graphics, cryptic messages, and visual styles reminiscent of late 20th century television and analog recordings (often set between the 1960s and 1990s). Notable analog horror works include Local 58, Gemini Home Entertainment, and The Mandela Catalogue.

Body horror or biological horror is a subgenre of horror that intentionally showcases grotesque or psychologically disturbing violations of the human body. These violations may manifest through aberrant sex, mutations, mutilation, zombification, gratuitous violence, disease, or unnatural movements of the body. Body horror was a description originally applied to an emerging subgenre of North American horror films, but has roots in early Gothic literature and has expanded to include other media.

Erotic horror, alternately called horror erotica or dark erotica, is a term applied to works of fiction in which sensual or sexual imagery are blended with horrific overtones or story elements for the sake of sexual titillation. Horror fiction of this type is most common in literature and film. Erotic horror films are a cornerstone of Spanish horror.

Fantastique is a French term for a literary and cinematic genre that overlaps with science fiction, horror, and fantasy.

A ghost story is any piece of fiction, or drama, that includes a ghost, or simply takes as a premise the possibility of ghosts or characters' belief in them. The "ghost" may appear of its own accord or be summoned by magic. Linked to the ghost is the idea of a "haunting", where a supernatural entity is tied to a place, object or person.

Grotesquerie is a literary form that became a popular genre in the early 20th century. It can be grouped with science fiction and horror. Authors such as Ambrose Bierce, Fritz Leiber, H.P. Lovecraft, H. Russell Wakefield, Seabury Quinn, Mary Elizabeth Counselman, Margaret St. Clair, Stanton A. Coblentz, Lee Brown Coye and Katherine Anne Porter have written books within this genre.

The term has also been used to describe macabre artwork and movies, and it is used in architecture.

In works of art, the adjective macabre means "having the quality of having a grim or ghastly atmosphere". The macabre works to emphasize the details and symbols of death. The term also refers to works particularly gruesome in nature.

Monster literature is a genre of literature that combines good and evil and intends to evoke a sensation of horror and terror in its readers by presenting the evil side in the form of a monster.

Psychological horror is a subgenre of horror and psychological fiction with a particular focus on mental, emotional, and psychological states to frighten, disturb, or unsettle its audience. The subgenre frequently overlaps with the related subgenre of psychological thriller, and often uses mystery elements and characters with unstable, unreliable, or disturbed psychological states to enhance the suspense, drama, action, and paranoia of the setting and plot and to provide an overall unpleasant, unsettling, or distressing atmosphere.

Splatterpunk is a movement within horror fiction originating in the 1980s, distinguished by its graphic, often gory, depiction of violence, countercultural alignment and "hyperintensive horror with no limits." The term was coined in 1986 by David J. Schow at the Twelfth World Fantasy Convention in Providence, Rhode Island. Splatterpunk is regarded as a revolt against the "traditional, meekly suggestive horror story". Splatterpunk has been defined as a "literary genre characterised by graphically described scenes of an extremely gory nature."

Techno-horror is a subgenre of horror fiction where the major source of horror is modern technology. It may be seen as a subgenre of techno-thriller, though techno-horror often relies heavily on elements of science fiction or fantasy. Techno-horror focuses on how technology can be a force of evil, either in their own right or as pawns of mad scientists/engineers. Another form of techno-horror is inclusion of technology into otherwise classical horror narratives.