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Stephen King also leaned towards fantasy than horror, in fact, ALMOST ALL OF HIS NOVELS HAPPEN IN THE SAME SHARED UNIVERSE. This leads to incredibly funny moments when you realize that the greatest enemy of the cosmic horror clown (It) is the giant turtle Jesus, Maturin.
More often than not, King writes grimdark novels, not horror ones. In fact, horror novels really don't exist for me (only ones with rather scary implications), as horror is tied to the illusion of control, but you are not the characters in the book, you just read what they are doing, however you are the character in a vidya game, and you are the person who gets jumpscared, because your primitive brain still thinks that this thing will jump out of the screen and eat your face off.
A good "horror" novel wants to ensure, that once you finish it and put it back to the shelf, the world becomes a much scarier place than what it was before, so books about the existential crisis are the best "horror" novels.
A thing to consider: We remember the killers and the monsters better than the victims, this is what kills slasher horrors. Horror is always the first layer, and under it, there's a second one (from good characters to interesting questions, it can be anything as long as executed well), and you can't use horror as the only layer because then it ceases to be good, once the first layer is inevitably washed away. Example:
Under Unfriended, there's an interesting (and possibly unintended) question about whether the revenge of Laura Barns was justified or she represents the stagnation, and the undying anger that perpetuates hatred, and the one who's rotten philosophy is opposed to the equivalently rotten (but potentially necessary) philosophy that serves as a basis for our civilization: "Some things are better left forgotten, for now".
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