Tag Archives: conflict

Keeping the Tension Ramped Up in Combat Scenes

A guest post by Doug Dandridge.

I mostly write military science fiction, and am writing military fantasy when not working on the next scifi novel.  Exodus: Empires at War is a series with very detailed and lengthy battle scenes told from multiple viewpoints.  I originally learned the main technique I used from reading the Dritzz DoUrden novels by R. A. Salvatore.  If you’re not familiar with these wonderful stories, they involve a Dark Elf who has turned his back on his evil people and now fights the darkness with his mighty companions.  There are very detailed battles in which maneuvers great and small are described, and often the companions find themselves fighting out of sight of each other.  Not only are their battles told from their viewpoints, but the point of view of their major enemies.  In my own battles, which can last for as many as eight chapters, you get the points of view of characters at different areas of the fight, on the different departments of the ships, even from both sides of the battle.  I even switch back and forth from battles going on simultaneously hundreds of light years apart.  Some people might find this a bit confusing, but my fans, military science fiction aficionados all, write rave reviews about the amount of detail.

I have seen writers who do their battle scenes from a single viewpoint, and they read like an endless description of the good guys fighting an unknown, a faceless enemy that could be anything.  They go on and on with description after description, interspersed with dialogue, until the writer has to get to the climax or totally lose his readers, in most cases much too soon.  I like to use a movie approach that switches back and forth and gives play to both sides.  For example, think of The Wrath of Khan.  First scene is Kirk watching the Reliant approach without establishing communications.  The scenes switch back and forth to Khan ordering shields raised, Spock telling Kirk; Khan ordering locking on phasers, Spock telling Kirk; Khan yelling fire.  Switch to the scene of phasers hitting the Enterprise, then a shot of the panic in engineering as everything goes to hell.  Then back up to the bridge.  The action comes in bursts from different points of view, including the omniscient one of the Reliant blasting the Enterprise.

Of course, Hollywood likes to show these kind of scenes in a manner that puts both combatants front and center, even if there are a whole bunch of them.  Witness the final two episodes of Deep Space Nine, where there were over a thousand ships, and the screen was crowded with them.  Something to do with wanting to awe the audience.  In my novels battles are fought at long range, beam weapons almost useless until units get within a light minute of each other.  Even at that range it takes time for a weapon to hit, and even ships two kilometers in length would appear tiny if on the same screen.  In a book, the screen is the mind, and as long as you can convince the reader of that immensity, they will see it.  But even here Hollywood gives an example when they want to.  The movie Midway showed the battle between American and Japanese carrier forces, a fight where the ships didn’t see each other, but launched aircraft to do the actual attack.  But with judicious switching of viewpoints they conveyed this type of fight perfectly.  And it’s much easier to do in a book.

Doing each chapter as a series of mini-scenes in this way makes almost every scene a cliff hanger.  Each installment ends with an unknown.  Missiles coming in, lasers burning through the hull and klaxons sounding, the characters on the edge of disaster.  The next scene does the same to someone else, on some other ship, then to the enemy, who is having problems of their own.  Interspersed are scenes of small victories, and, as the fight progresses, much larger ones.  After a sequence covering one part of the fight I like to change to a different area of the battle, maybe even a different star system, for the next.  In this way I move the reader through an epic battleground where they are carried from tension to tension, with some small resolutions along the way.

To me the worst way to resolve a battle is with a non-event.  I have read a lot of books where they build up to the fight, the training, the organization, the hopes and dreams of those involved.  And in the next scene, it’s all aftermath.  I feel ripped off by those stories.  People read books that promise action because they want to read about that action.  I provide that action.  The first book of my Exodus series, more of a Universe establishment tale, had limited action, maybe twenty to thirty percent, and that is the worst reviewed of the series.  After that, the action increases, until the later books have almost eighty percent action sequences.  Some people may think that too much, preferring more time for character development or background.  The thing is, I am working as a full time author by writing such, and success proves to me, at least, that the method works.

About Doug Dandridge: 11022903_860155284027899_98329783_n
Doug Dandridge is a Florida native, Army veteran and ex-professional college student who spent way too much time in the halls of academia. He has worked as a psychotherapist, drug counselor, and, most recently, for the Florida Department of Children and Families. An early reader of Heinlein, Howard, Moorcock and Asimov, he has always had a love for the fantastic in books ad movies. Doug started submitting science fiction and fantasy in 1997 and collected over four hundred rejection letters. In December of 2011 he put up his first self-publishing efforts online. Since then he had sold over 100,000 copies of his work, and has ranked in the top five on Amazon Space Opera and Military Science Fiction multiple times. He quit his day job in March 2013, and has since made a successful career as a self-published author.

Should the Socially Awkward be Professional Writers?

A guest post by David Boop.

Despite what jocks, preps and princesses might believe, not all nerds are created equal. Just like any pool of people, some rise to the surface while others languish in the shadows.

Is this fair? Heavens, no. Is it reality? You bet your sweet bippy.

Whether or not you believe all persons are the same in the eyes of God, it is a truth that we place people in mental categories within our minds. Smart – Stupid. Safe – Dangerous. Normal – Awkward. It is easy to drop those we meet into virtual file cabinets of our brain to help us determine how much effort we’ll spend on them.

I grew up a geek in small town Wisconsin. I was verbally and physically abused by my classmates for it. This is a common experience among creative types, including writers, artists, and filmmakers. (Musicians seem to get away with more, I have no idea why. You can be a dork, play the guitar and somehow still be cool.)

It started with my last name, Boop; a funny sounding, easily picked on name. When you have a name like Boop, you’re put into a category of clown, even if you’re not one. My name was used as a swear word around my school.

“I’m going to go take a Boop.”

“I’m going to Boop you up!”

“I Booped your mother last night.”

I didn’t make things any better by not growing out of comics, action figures, video games, cartoons and science-fiction novels. I found very few people to share these interests with in a school focused on athletic excellence. Dating was next to impossible. I was told by a friend on Facebook that there were warnings not to date me or risk being removed from the popular crowd. Girls called me a “goon” behind my back. But this wasn’t solely due to my nerdy proclivities.

I was and, in many ways, still am socially awkward.

I didn’t walk the walk, nor talk the talk. I wasn’t into the same things other kids were and thus didn’t have the vernacular down. Slang eluded me. I came from a conservative household. It is hard to be a “good boy” while feeling pressure to lose your virginity, drink and raise hell. I finally caught up to my peers at nineteen when I went into radio, started working nightclubs and doing stand-up comedy. I finally understood what it took to be popular and that meant being a crazier bastard than everyone else in the room.

The “good boy/crazy bastard” dichotomy has carried over into my career as a writer. Yet, thirty years later, the tables have reversed. Now the popular kids want me to be a good boy; always be politically correct, sensitive to minority and women’s rights and not to sleep around at cons.

Wait! That’s not fair! I just got this down. Filthy mouth, bad jokes and loose morals meant popularity. How and when did that change? These new rules are the same rules my parents tried to instill in me as a child. You mean they were right? (Please tell my child that someday I might be right, too. Please?)

And so I shift again, not always as quickly or effectively as I’d like. I’m still that awkward kid, trying to get the vernacular right. Still trying to prove I deserve to be one of the cool kids.

With the accessibility of publishing and the growth of the genre market, writers who may never been that socially awkward kid are finding success, and thus have no frame of reference to what we’ve been through. And they’ve been given a platform called the Internet.  There are too many watchdogs with too little compassion for people like me who don’t always “get it.” Writing used to be a solitary craft with very little exposure to either other writers and/or fans. Back then, when authors did get together, everyone was socially awkward and more forgiving. They welcomed the weird with open arms and it was a safe place to be wrong sometimes.

Now that geek is chic, some people claim ownership of all things nerdy and say that nerds shouldn’t be creepy or inept, holding themselves up as examples. Shows like The Big Bang Theory and King of the Nerds poke fun at what are very serious issues for some nerds.  People say they want a Raj or Leonard in their life until one tries to make friends with them and they’re turned away and shunned. It has been my experience that there are writers with little-to-no tolerance for those not playing at their level mentally, socially or politically. Any mistake in judgment is highlighted and waved in front of millions. If the offender does not fit into their definition of “acceptable,” then they should be attacked, banned, kept from getting published in certain circles, despite any skill they might have.

And, to be honest, in some cases they have valid reasons. They are writers who don’t know when to lower their voices, use tact, pay attention to their audience. I have been accused of many of these things, and while I’ve learned and adapted, many others haven’t. Some of these writers are not used to being around the opposite sex, or try too hard to be liked by their peers. They miss social cues, speak out of turn and don’t know when to back off. And when they find themselves in the sights of the socially adept, they have no clue why. Even when they have a light-bulb moment, they don’t know how to change. Most times the damage is already done. They lose friends, contacts and opportunities.

But don’t misinterpret what I’m saying that there aren’t dangerous people out there that need to be exposed. The predators who pretend to be what they are not. These are not socially inept people, they are sociopaths and bringing them out in the open is everyone’s responsibility.

Not all non-socially awkward people are evil and not all socially awkward  people are saints. If I’ve learned one thing, there are plenty of buttheads on both sides of any disagreement.  Heck, I know I’ve been accused of such by both sides.  But we’ve all been bound together by this need to express ourselves creatively.  Some of the most imaginative people I’ve read can barely carry on a conversation. Should they be ostracized for what may be the hardest thing in the world to them? I don’t think so.

Despite the challenges, I’ve adapted. I’ve learned to hold my tongue under most situations. I’ve developed patience and looked for deeper understanding when dealing with people in social circumstances. As I change, I’m building better relationships with other writers who understand, those who “get me.”

It’s worth it. I want to make writing work. I have to. The goal is worth the effort. Does that make me smarter than some? Does that make me better than others? No. I’m far from perfect and I still make mistakes…

And that just makes me human.

About David Boop:
writing bio picDavid Boop is a bestselling Denver-based speculative fiction author. In addition to his novels, short stories and children’s books, he’s also an award-winning essayist and screenwriter. His novel, the sci-fi/noir She Murdered Me with Science, will return to print in 2015 from WordFire Press. David has had over forty short stories published and two short films produced. While known for Weird Westerns, he’s published across several genres including media tie-ins for titles like The Green Hornet and Veronica Mars. His first Steampunk children’s book, The Three Inventors Sneebury, had a digital release in 2013 with a print release due in 2016. David tours the country regularly speaking on writing and publishing at schools, libraries and conventions.He’s a single dad, Summa Cum Laude graduate, part-time temp worker and believer. His hobbies include film noir, anime, the Blues and Mayan History. You can find out more on his fanpage, www.facebook.com/dboop.updates or Twitter @david_boop.

Physically Reacting to Conflict, Part 2: Reacting to the Threat

A guest post by Emily Godhand.

When it comes to actually reacting to the threat, there are many factors that determine if the character will Fight, Flee, Freeze, or Fawn. In his book “Violence: A Writer’s Guide”, Rory A. Miller talks about how violence is, at its simplest, a tool. He discusses how our psychosocial conditioning can heavily influence how we wield and react to violence. Essentially, we use what has worked in the past.

It’s in our nature to find a way to adapt to situations. So a character who was discouraged from solving confrontations physically might find another way to ‘fight’. Therefore fighting need not be entirely explained as a “physical confrontation” within this context.

‘Fight’ can be explained as a show of resistance:

*Physical attack/counter-attack
*Defense (block, redirect, dodge)
*Passive-Aggressive actions or words (“Whatever, do what you want.”)
*Verbal confrontation
*Willfully refusing to fight (”Turn the other cheek” )

Imagine these responses as a spectrum of difficulty; If a character has been allowed to get away with physical violence, or been encouraged to use it, they are more likely engage with violence than someone who has been conditioned to “find another way”.

…hitting people is a hard mental barrier to overcome.

Flight is avoidance of the stressor:

So if fighting is ruled out either by reason or socialization, it makes sense then that your character would want to find a way out. This could be through physically escaping or some attempt to gracefully back out of the situation without tripping over their proverbial train.

There may be situations in which your character can’t reasonably escape, such as in a child in a classroom (he can’t leave school without repercussions), a worker at the job site (they need the money), or fleeing results in negative repercussions (such as in learned helplessness).

If the body is unable to flee, the mind still may. Your character may start to disassociate from the situation, fantasize, or even turn to chemical means of escape.

Freeze is the body shutting down:

And if fighting and fleeing are both ruled out either by reason, socialization, or fear, the body may freeze. In this way, the mind may be perfectly willing to engage or flee if it’s not choked with fear, but the body itself may betray your character and refuse to move. The mind may even disassociate to spare itself from an expected horror. This “playing possum” or “deer in headlights” response is a legitimate survival tactic. Motion may draw a predator’s attention whereas stillness may go unnoticed. Our society expects some sort of active response to a threat, so people who react with ‘freeze’ aren’t likely to see it as a way they survived. Instead they may feel a sense of failure and shame.

Fawn is mitigating the situation:

So if you can’t beat ‘em, and you can’t flee’em, what can you do? You’re left with “Join’em”.
This can also be called “Tend and Befriend” but scientists have an affinity for alliteration and rhyme. This more often seen in women due to socialization within our society. However it is not inherent. Any character may find merit in feigning surrender and working for/with the threat. Other ways this may present are seeking out the social group for protective safety, focusing on tending offspring, or diffusing the situation through diplomacy.

The degree and rate to which adrenaline is released differs by psychosocial history.

Multiple influences, as addressed in the first part, factor into the degree to which we perceive something to be a threat. The more something is perceived as a threat, the stronger the adrenaline reaction tends to be. But the rate at which that adrenaline is released and processed can differ from person to person.

An anticipated threat allows for the adrenaline to “trickle out”. If the character has been trained they can use that to prepare themselves. And if they can’t, the fear can build upon itself until they are overwhelmed. If your character is overwhelmed by uncontrolled adrenaline they are more likely to freeze if they don’t have the muscle memory from training to immediately take control.
By its very nature, an ambush catches the victim without the benefits of an adrenaline rush. Without adrenaline, people are more likely to freeze.

Managing adrenaline comes from training in the environment

Characters who have any degree of training over regulating their emotions, stress, and the social rules of engagement, from school-yard play fights to trained martial operatives, are going to have an advantage over characters who haven’t had any such training.

Sometimes that training isn’t enough. In order to be effective, training needs to be continuous and as close to real world conditions as possible.

An eight-hour “self-defense” isn’t likely to develop muscle memory. A martial arts class may only teach competition fighting, with staged and willful engagement may not prepare your character for the ambush of a street fight. Police officers practice shooting at the range, allowing them relative quiet to focus on perfecting their stance and breathing. However gunfights won’t happen in well-lit rooms while wearing appropriate ear protection. While good for the basics, range work doesn’t simulate the circumstances under which an officer is likely to draw his weapon.

Adrenaline is meant to keep someone alive, but even with the best of training under the best of comparable conditions, it can still work against your character.

Dilated pupils: Good to take in more information about your environment…or give you tunnel vision. Which means you may miss your opponent’s buddies coming in from the side. This can also skew your depth perception where your enemy, 20 feet off, sudden appears right in front of you.

Selective hearing: Also known as ‘auditory exclusion’, it is much like ‘tunnel vision for your ears’; you may not hear your comrades call out to take cover from the incoming grenade.

Increased muscle tone: For increased strength and speed. Side effect? Shaking. Trembling. Lack of fine motor control. The classic movie gesture of showing a man light a cigarette was to bring attention to this hands and how much they moved as an indication of how calm he was.

Increased strength: The reason we only get the levels of strength we do in stressful situations is it has become ‘Life or Death’, and life with torn muscles from overexertion is preferable to death.

Are the risks worth the engagement?

Engaging in conflict is not a decision you can take back, you can only mitigate the repercussions. You accept the risks and sign that contract with your life.
Potential Risks:
Physical harm, of any degree. What amount of harm are they willing to accept?
Social harm, of any degree. Will the crowd turn on you? Will you lose face?
Further escalation of violence. Will it make things worse?
Risk to others. Will I put others in danger?
Ego. Will I be able to live through and with the decision I make?
So all of you writing cops, soldiers, bad-asses, urban fantasy heroines, dystopian rebels, operators, and bildungsroman coming of age beating-up-your-bully stories, keep this in mind:

Committing violence is usually hard, even for the best of us.

About Emily Godhand: Emily Godhand HeadshotEmily Godhand is a cross-genre author who lives in a book fort in Denver, CO, with nine rats who revere her as their Queen.As former psychiatric technician, she draws her inspirations from her work and the constant nightmares she’s had for 13 years. As such, her works tend to focus on an exploration of trauma, immortality, and human consciousness.  Read her latest work on Wattpad, where she is an Ambassador.

Physically Reacting to Conflict, Part 1: Perceiving a Threat

A guest post by Emily Godhand.

Growing up, health classes taught that when filled with adrenaline, the human body would react in one of two ways:

A) React with extreme violence (Fight)
— or —
B) Run away like a coward (Flight)

And of course they were phrased as such. As if the only fighting that could be done was physical, and that running away isn’t a legitimate survival tactic.

But once I moved out of the realm of elementary school sound-bites and actually evaluated the world I was raised in, I came to the sobering conclusion that the body’s reaction to a threat is much more complicated and twisted than I ever would have imagined. … And I write horror.

The month of April could be devoted to daily lessons how a person’s response to perceived physical, mental, or emotional threats develops from their psycho-social upbringing. In fact, I could probably spend the month contrasting the various different ways a character could develop Complex-PTSD based upon childhood development traumas and the way that would present as an adult. But that’s a bit much and better people have expanded further than I ever could.

For ease, I’ll split this into two parts:
1) Characters perceiving a threat, whether physical, emotional, mental, or social.
2) Characters reacting to a threat (Fight, Flight….Freeze, Fawn)

There are many factors that come into play when determining if the body will perceive a stimulus as a threat.

1) Have they experienced this before?

a) Do they have a frame of reference for what might happen?
“I’ve never met a bear but I’ve heard stories.”
“Mother taught me not to go out at night.”

b) Did it end badly for them if they have?
“Last time I asked a girl out I made a fool of myself.”
“Dont touch me. Don’t you ever touch me!”

c) Could it have ended badly, but didn’t, so they have a false sense of security?
“What’s anyone going to do about it?”
“No one cared/bothered me last time.”

2) Is there a social difference (age, class, gender, race, religion, sexuality, etc).

a) Opponent is perceived to be stronger/faster/better trained, or
aggressive/evil/corrupt.
A male vs a female, if the society discourages females from violence/fighting
An armed person/Police officer/Soldier versus a civilian
Crossing the street to avoid someone of a certain ethnicity or class

b) Opponent has more socio-political power.
Authority/Parental figure vs protagonist
Rich man vs Poor man (who will buy the better lawyer?)
“Antagonist is a respected pillar of this community, who is going to believe
you?”

c) Does your character care?
“I won’t stand for this any longer!”
“Justice!”
“I don’t play well with authority…”

3) Is the character’s perception skewed in some way?

a) History of Abuse
“The last person who hurt me was sex/race/Authority, so I’m nervous
now.”
“Every time I tried to fight, I was punished.”

b) Prejudice
“I don’t trust THOSE people….”
“What’s SHE going to do? She’s 50kg of adorable!”

c) Ignorance or self-delusion
“What? Did I say something wrong?”
“How was I supposed to know they would be hostile to outsiders!”

Each of these will paint a different lens through which your character views the world, and the perception of the power that they wield, the power the world feels they are allowed to wield, and the degree of repercussions for violating that amount of permission.

“But, Em, I’m not a (insert race/sex/gender/orientation/religion) in (insert culturally appropriate location)! How am I supposed to know how their perspective might differ?”

Simple: Ask them. If you have the opportunity and good rapport with someone who might identify with your character, ask for their opinion and feedback on the passage, and what they’d be thinking or worried about in this encounter. Sometimes we have to imagine ourselves in our character’s shoes, and it’s better to get an outside opinion from someone who would have an easier time doing so.

You might be surprised. The world can be terrifying.

About Emily Godhand: Emily Godhand HeadshotEmily Godhand is a cross-genre author who lives in a book fort in Denver, CO, with nine rats who revere her as their Queen.As former psychiatric technician, she draws her inspirations from her work and the constant nightmares she’s had for 13 years. As such, her works tend to focus on an exploration of trauma, immortality, and human consciousness.  Read her latest work on Wattpad, where she is an Ambassador.