Next up is terror, which I initially described as "perceived vulnerability in the presence of uncertain fears". This is clearly related to dread in that both fundamentally rest on ambiguity and fear of the unknown; where they differ is in the sense of threat, and in the powerlessness of the subject in the face of that threat.
The difference can be difficult to fully tease out, but I think that it is worth trying to differentiate the two, as they have slightly different roles to play within what one might refer to as the methodology of fear. Where dread might be considered the unsettling backdrop, a kind of emotional ambiance, terror provides a more acute emotional effect - the !!! to the ??? of dread.
As with dread, less is frequently more. The exact nature of the threat need not be specified in order for it to be effective, so long as there is a clear sense of threat. The monster that is only glimpsed as a silhouette against the window is often more effective that the one that can be seen in the light - and, on a pragmatic level, this kind of obfuscation hides a multitude of sins when it comes to physrepping.
There are various that increase vulnerability, and thus susceptibility to terror; as with dread, feelings of disorientation serve to be a useful driver of this effect. Disorientation inherently messes with threat perception by putting one on edge; when you cannot trust your perceptions or knowledge of your surroundings, then vulnerability is an entirely predictable feeling.
In considering discontinuity as a driver of terror, it is worth mentioning the use of "bait and switch" techniques. An effective method is to provide a source of dread which leads players towards certain assumptions, followed by a countervailing shock - the signalling of a high-threat event that is in conflict with those assumptions. Consider, for example, following a mysterious trail of blood down a twisting, poorly lit corridor (dread), then reaching a dead end only to suddenly hear a the noise of a slamming door far behind you (shock).
More potent even that this disorientation is the effect of isolation. By forcing a small number of characters, or a lone individual, to face the terror alone, the feeling of vulnerability is heightened. This ties into something quite deep and ingrained in the human psyche, the childhood fear of abandonment which never fully goes away even in adulthood - even in the absence of other sources of fear, it is something that people tend to find profoundly unnerving. Whilst isolation need not be physical, this is often the easiest kind to achieve; in general, the feeling that should be aimed for is that others are either unaware, unable, or unwilling to provide aid in some manner.
As final point on the subject of terror, it is worth mentioning that, unlike dread, terror is a difficult emotion to keep up for an extended period of time. This is where the tension-release cycle comes back into play - periods of fearfulness should be interspersed with calmer periods, if only to prevent players from burning out. In this schema, terror should come at the climax of several tension-release cycles, across which there is a slow but steady ratcheting up of the perceived threat. One could consider it to be something like this:
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