Women in horror are often reduced to simplistic tropes that fail to capture the complexities of women's experiences. Stereotypes such as "the final girl", "the monstrous-feminine", "the innocent victim" and "the femme fatale" are used within the horror genre to categorize female characters and indicate their narrative role. This essay will critically analyze the female protagonists from the novels Carrie (1974) and White Pines (2020) to examine how the novels engage with the tropes "the innocent victim", "the femme fatale", "the monstrous-feminine" and "the final girl". Specifically, this essay investigates how these protagonists exist within a gray area, where they neither fully adhere to nor fully reject these stereotypical representations, thus providing examples of nuanced female characters that redefine female agency and complexity within the horror genre. Through close textual analysis of these two novels, this thesis demonstrates how King (1974) and Amor (2020) have crafted female characters that are not confined to stereoypical representation, which reveals how the horror genre can serve as a framework for questioning broader societal anxieties around gender. Both Carrie (1974) and White Pines (2020) demonstrate the evolution of female representation in horror literature, where they contribute to a more inclusive and nuanced portrayal of women in horror fiction.