Category Archives: Warfare

Warfare for Writers: Blogged by permission from Timon Esaias on warfare from ancient to modern eras

Warfare for Writers - Irregular Warfare

Warfare for Writers - Irregular Warfare.

In the last post, I looked at the Fog of War and previously discussed Open and Close Units of soldiers. Formal Warfare, the familiar wars, like WWII have been depicted in various media. Also, Irregular Warfare has been popular: Tom Clancy's works are a good example. So, how does Warfare for Writers - Irregular Warfare affect the writer?

These types of units are rarely under efficient direct control of a military commander, which can lead to CHAOS!

Many times, these units of irregular forces come from cultures where  men go armed, all the time and are made up of:

Privateers (navy) with letters of Marque and Reprisal.

Mercenaries are paid units from elsewhere.

Guerrilla Warfare are in support of war, especially by part-timers: The Arab revolt that made T. E. Lawrence famous. (Yes, Lawerence of Arabia was a real person!)

Private units and armies, like Muqtada Al-Sadr's Mehdi Army in Iraq.

Spies and Assassins500_F_83589920_YIvAC7PwAT21PwR1UfDd2u3z8EFDa5ny-1

What does this mean for a writer?

If your characters are engaged in irregular warfare, what tensions does it cause for military commanders and the characters themselves? How well are they fitting in?

Note: this information was taken from lectures by Timons Esaias with his permission.

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Warfare for Writers - Fog of War

Warfare for Writers - Fog of War

Unfortunately, Hollywood, TV, and yes, a few authors have privates and sergeants knowing the overall situation of a battle. Audie Murphy who played himself in the movie To Hell and Back won the Congressional Metal of Honor and was the most decorated soldier in WWII. He didn't know what was happening a mile away in most cases and such is Warfare for Writers - Fog of War.  Have this uncertainty effect your characters and the plot! Have it get on their nerves, and in some cases they may  become irrational. It is definitely a good plot device.

Soldier Deployment:

Historically, soldiers and troopers have been put on the battle field in one of two ways: Close Order or Open Order.

Close Order:images

Close order is where warriors are more or less shoulder to shoulder and within an arm's reach of the warrior ahead or behind.

Benefit:

Soldiers are psychologically supported by direct, even physical peer pressure. Your "buddy" is helping with his actions and words to lead you forward.

It puts a lot of power in one place and ready to strike.

The warriors in the trenches during WWI would be considered in close order as would warriors in columns or lines.

Cons:

Projectiles or artillery would kill more warriors when rained down on the warriors head or even nearby in a hard-to-miss target. A lot more people would die.

Open Order:unequal-battle-18937280

A formation which is spread out in either groups of two or three men, if not, singly.

Benefits:

There will be reduced casualties.

Cons:

Psychologically, the warrior is on his own to face the fears and indecisions of the situation.

Communications with the leaders may break down and with other groups of men.

It requires more training.

Summary:

If you have a warrior in battle, you should have some sense of what formation they are in, what they can and can't do, along with what they can see. Also, the unit's purpose must be clear. These factors will effect the warrior psychologically.

Note: This information was taken from a lecture by Timions Esaias with his permission.

 

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Warfare for Writers - Officers

Warfare for Writers - Officers covers commissioned and non-commissioned officers, different from the days when one could buy a rank. From a Timons Esaias lecture.

Non-commissioned officers - sergeants and corporals and rarely sergeant-majors - are the foreman of the military.

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Commissioned officers lead companies, or their equivalent, and up. Officers are the quarterbacks of the team, they tell everybody else what to do and are responsible if they don't get it done. If officers work well together, they combine their strengths. If they squabble, they make their weaknesses prominent. Think plot conflicts!

An overwhelming concern for officers in most armies in history, is seniority. Armies, since ancient Rome, have had strict rules on who gets what job based on seniority down to minutes and seconds. If a higher ranking officer shows up, based on seniority, even in the middle of a battle, he assumes command and he can change the battle orders. If your character is an officer in a civilized military, this needs to be on their mind. If your character is a knight in a feudal military, then he is concerned about honor and precedence becoming more important, more complex, and more vexing.

Confusion for writers - in addition to names and official ranks there are positions and brevets. Positions are the jobs officers do, adding meanings to their rank with titles such as: executive officer, quartermaster, master, commander, first mate, officer of the day, and so on. Brevets or field commissions are acting ranks usually awarded doing wartime, giving the power of the rank without postwar privileges and pensions.

The one absolute SIN of an officer in the field, if he commands a unit, is not to reconnoiter his position. (Which is, to find out where other units are, and the nature of the surrounding terrain.) This sin is all too common and is utterly inexcusable!

If you find this post useful, please share and add to your social media platform(s). Thanks, Dameon

 

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Warfare for Writers - Fortifications

Warfare for Writers - Fortifications -- another in the series by Iimons Easisa' lectures with his permission.

There are nine things that tend to be missing when you visit fortifications:

  • The surface
  • The Glacis -- . . . the glacis prevents attacking cannons from having a clear shot at the walls of a fortress, as one usually cannot even see the walls until the glacis is crossed and the ditch, bounded on either side by the smooth, masoned scarp and counterscarp, is reached. Wikipedia
  • Top structures
  • Firing steps
  • Moats
  • Full gate structures
  • Barbicans -- A barbican is a fortified outpost or gateway, such as an outer defense to a city or castle, or any tower situated over a gate or bridge which was used for defensive purposes. Usually barbicans were situated outside the main line of defences and connected to the city walls with a walled road called the neck. In the 15th century, with the improvement in siege tactics and artillery, barbicans lost their significance. However, several barbicans were built even in the 16th century.Fortified or mock-fortified gatehouses remained a feature of ambitious French and English residences into the 17th century.

    Fortifications in East Asia also featured similar structures. In particular, gates in Chinese city walls were often defended by an additional "archery tower" in front of the main gatehouse, with the two towers connected by walls extending out from the main fortification. Called literally "jar walls", they are often referred to as "barbicans" in English.

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  • Original approach roads
  • Firing slit stoppers --
    From Wikipedia, the free encyclopedia

    An arrowslit at Corfe Castle. This shows the inside - where the archer would have stood.

    An arrowslit at Cité de Carcassonne. The wall thickness is reduced to 0.7 m to accommodate the niche and the embrasure widens at an angle of 35º.

    An arrowslit (often also referred to as an arrow loop, loophole or loop hole, and sometimes a balistraria) is a thin vertical aperture in a fortificationthrough which an archer can launch arrows.

    The interior walls behind an arrow loop are often cut away at an oblique angle so that the archer has a wide field of view and field of fire. Arrow slits come in a remarkable variety. A common and recognizable form is the cross. The thin vertical aperture permits the archer large degrees of freedom to vary the elevation and direction of his bowshot but makes it difficult for attackers to harm the archer since there is only a small target to aim at.

    Balistraria can often be found in the curtain walls of medieval battlements beneath the crenellations.

    ...more to come!

 

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Warfare for Writers -

This is the 6th installment of WARFARE FOR WRITERS - 6 Fog of War graciously permitted by Timons Esaias.

Warfare or Writers 6 deals with common mistakes writers make when writing about war, battles and et cetera.

The thing that is screwed up the most, is having warriors know too much, too accurately and too quickly. The truth of war is that nobody knows what's happening and half what they think is wrong. There are few truth commissions sorting through the facts while war is happening, so ignorance of what happens accumulates over time. One example: The American public didn't know what happened at Pearl Harbor for the entire war. We still aren't quite sure.

SO WHAT DOES THIS MEAN FOR YOUR WRITING?

Don't do that

Have the uncertainty of the situation get on your characters' nerves

Use it as a plot device.images

 

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Tasty Things - 2 Kill You

Note: In this series, I've pulled information from various providers. These came from Wikipedia.

Tasty Things - 2 Kill You - I write fantasy and that gives me license to make up stuff. That's not always a good practice. It's best to have kernels of truth in even fantasy work the reader can identify with having seen or heard of in passing. Some of these poisons come from exotic parts of the world, but there is always a way to work them into your story, i.e., the nice little man at the corner apothecary. So, fantasy or non fantasy, see if some of these can flavor your story.

Cerbera odollam (commonly known as the suicide tree). The seeds contain cerberin, a potent toxin related to digoxin. The poison blocks the calcium ion channels in heart muscle, causing disruption of the heart beat. This is typically fatal and can result from ingesting a single seed. and its taste can be masked with strong spices, such as a curry. It is often used in homicide and suicide in India; Kerala's suicide rate is about three times the Indian average. Now, you know there are a lot of Indian spice shops around the world!

Consolida(commonly known as larkspur).  Young plants and seeds are poisonous, causing nausea, muscle twitches, paralysis. Often fatal. Tea, anyone?

Digitalis purpurea(commonly known as foxglove). The leaves, seeds, and flowers are poisonous, containing cardiac or other steroid glycosides. These cause irregular heartbeat, general digestive upset, and confusion. Can be fatal. You might need lots of tea for this one!

Phytolacca(commonly known as pokeweed). Leaves, berries and roots contain phytolaccatoxin and phytolaccigenin. Toxin in young leaves is reduced with repeated boiling and draining. Ingestion of poisonous parts of the plant may cause severe stomach cramping, persistent diarrhoea, nausea, vomiting (sometimes bloody), slow and difficult breathing, weakness, spasms, hypertension, severe convulsions, and death. Not a pleasant way to go!

Ricinus communis (commonly known as castor oil plant or Palma Christi). The seeds contain ricin, an extremely toxic water-soluble protein. Also present are ricinine, an alkaloid, and an irritant oil. According to the 2007 edition of the Guinness Book of World Records, this plant is the most poisonous in the world. The lethal dose in adults is considered to be 4 to 8 seeds, but reports of actual poisoning are relatively rare. If ingested, symptoms may be delayed by up to 36 hours but commonly begin within 2–4 hours. These include a burning sensation in mouth and throat, abdominal pain, purging and bloody diarrhea. Within several days there is severe dehydration, a drop in blood pressure and a decrease in urine. Unless treated, death can be expected to occur within 3–5 days; if victims have not succumbed after this time, they often recover. Toxicity varies among animal species: 4 seeds will kill a rabbit, 5 a sheep, 6 an ox or horse, 7 a pig, and 11 a dog. Poisoning occurs when animals ingest broken seeds or break the seed by chewing; intact seeds may pass through the digestive tract without releasing the toxin. Ducks have shown substantial resistance to the seeds: it takes an average of 80 to kill them. Gee, mama, do I have to drink that; it's yucky!

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Warfare for Writers - 5

NOTE: As those who follow my blog know, I don't use it to self promote my novels. Nonetheless, like all authors, a little help is needed. If you enjoy my blog and find it useful, please follow and like me on the social media platforms you use. I'm on Google+, Twitter, Facebook, Pinterest, GoodReads and Linkedin. Thanks for the help, Dameon

Warfare for Writers - 5 is another in the series graciously permitted by Timons Esaias for distribution by me from his lectures.military cloumn

What is a "line" ? 

In army terms, a line is a formation in which each soldier, or artillery piece, or horse or chariot is facing forward, and the other members of the unit are side-by-side. If a second line of soldiers/horses/guns is behind the first, this is called a double line or a two-man line. There can be triple lines, and so forth, but the nature of a line is that it is wider than it is deep. In the old days, when most military vessels were oared (galleys) and their major ship-to-ship weapon was the ram, a naval line was the same as an army line, vessels shoulder-to-shoulder, facing forward. We now call this formation line abreast. With the invention of the cannon, however, the business end of the ship was actually its sides, so the "battle line" got turned 90°, and ships moved nose to tail. So now a line on land is the opposite of a line at sea.

What is a "column" ??

The column is the "opposite" formation from a line, and can be created simply by having everyone in a line formation turn 90° to the right or left, in place. In the part-wrestling-match that is close combat, this formation is used to break through the enemy, or at least push them around, by piling up against them. If people in the front are killed, they can be replaced by folks immediately behind, without stopping to reorganize.  A column is generally deeper than it is wide, though starting in a solid square was quite common. The column also applies more "peer pressure" on the troops in it to stay in formation. (It takes more discipline to stand steady in a line than it does in a column, because there are fewer folks behind you to make you stay.) Each line in a column or in a multiple-line formation is called a rank, and the rows of guys from front to back are called files. Since these formations are made up of the most common soldiers, this is where our expression "rank-and-file" (meaning the grunts who do the real work) comes from.

Which flank is which?

The "right" and "left" of a unit is judged as you would a person, as they face forward. When arrayed for battle one generally faces the enemy. Your right will be to your right, and opposite your right will be the enemy left.

Enemy Right              Enemy Center                        Enemy Left

Your Left                    Your Center                             Your Right

 

 

 

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Warfare for Writers - 4

Warfare for Writers - 4 is the latest update from the Timons Esaias' workshop. These comments go from medieval to modern times.

You can see arrows and crossbow bolts flying through the air, likewise trebuchet loads. And you can figure out pretty much where they were fired from, as a result. Also, you can hear them. Likewise with musket balls and cannonballs free-vector-download-medieval-weapons-icons-design-by-Utopiaand artillery shells. You can see them, and you can hear them, and because they are subsonic you can hear the shot before the projectile gets to you. If it's close enough you can also probably see the muzzle flash of the gun, not to mention the smoke, and tell where it came from.

This all changed with the modern rifle, though. Modern bullets travel quite a distance at supersonic speed, so you actually hear the sonic boom of the bullet before you hear the shot, if you hear the shot at all. Oh, and the bullet will hit you, or go past you, before you hear it. And you generally can't see the bullet, ever. Because the sonic boom is the main sound you hear, and the bullet is past you before you hear it, the sound cues (unless you're VERY used to this) tell you the opposite of the truth. You will think the bullet came from where it actually went, or 180-degrees from the correct solution. When people hear modern gunshots, they almost always start looking in the wrong direction.

The reason we can be pretty sure there were no shots from the "grassy knoll," is because so many untrained people heard shots coming from the grassy knoll.

So unless your character is very close to the weapon when it discharges, don't have them figure out where the shots are coming from by the sound.

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Dystopian Fiction

This discussion is reprinted with the author, Roderick Vincent's permission. It was first published in Writer's Digest. I would like to thank Mr. Vincent. Also, thanks go to Julia Drake of Julia Drake, PR who worked with me to obtain Mr. Vincent's okay.

In most cases, the dystopian genre explores a fictional future, tapping into present fears about the path society currently travels.   The art is in imagery of the not yet invented but easily imagined. It’s not a surprise the dystopian genre is often lumped together with science fiction (check out Amazon’s browse categories) whermaxresdefaulte technology plays a crucial role. Robotics, nanotechnology, advanced artificial intelligence, cloning, and all other derivatives of advanced, imaginable technology are often used as colors on the canvass painted into a reader’s mind. In George Orwell’s 1984, the all-seeing Big Brother uses the telescreen. In Aldous Huxley’s Brave New World, reproductive factories of the future are used to produce a limited number of citizens preordained to a caste-world void of pain.

  1. As you’re writing dystopian fiction, think about how to take current technologies and extrapolate. When you have a vision of what that might look like, ask yourself how it changes the society that does not yet exist.

Other dystopian novels avoid the technological aspect, but drive one forward with a central theme (book burning with Fahrenheit 451, ultraviolence with A Clockwork Orange, and the cycle of revolution to despotism in Animal Farm).

  1. Discover what the central theme is and then explore it with indefatigable passion.

Better dystopian novels have two things in common:

  1. The narrative pushes internal events to an extreme. Drive the plot forward so that at the climax, there is a big sense of doom. How are the characters taking us there? In dystopian, a lot of times resolution of the central conflict comes in death (The Road, 1984), but before that a force exists inside the story driving the reader towards the second crucial element:
  2. The inherent message within closely associated with a burning fire inside the author’s stomach. In Margaret Atwood’s Oryx and Crake, corporate domination led by biotech companies pushing the envelope of manufactured microorganisms (the theme) causes the inevitable collapse of mankind. The message: man is too smart for his own good; unfettered technological advancement without ethical consideration will have disastrous consequences. In The Hunger Games by Suzanne Collins, reality TV is pushed to a violent extreme (the theme). The message: gladiator games appealing to the masses distract from the true nature of the world within the thirteen districts. The Surveillance State in George Orwell’s 1984 is all pervasive (the theme). History is rewritten to suite Big Brother’s needs, and the nation is in a perpetual state of war (any of that sound familiar). The whole book is one big message warning us about the nature of totalitarianism.

Why do readers latch on to such pessimistic, futuristic novels instead of utopian works? Why are we dystopian downer dudes/dudettes? Perhaps the reason lies in what Nietzsche said, “If you wish to strive for peace of soul and pleasure, then believe; if you wish to be a devotee of truth, then inquire.”

  1. Dystopia seeks to uncover truth in the morass of the present by projecting the problems of today into the future and amplifying them. When the author is successful at doing this, the writing immediately becomes more relevant.

Let’s face it, utopia is a bore. As readers, we sense utopia as innately unachievable. Humans aren’t wired for stories without conflict, and perfect-world scenarios are a bigger lie than the leap of faith it takes to jump us into dystopian futures. Likewise, we’ve lived the horrors of dystopia through two world wars. We’ve seen the gas chambers smoking, the walking skeletons griping barbed wire fences clinging for their lives, the groupthink and fascism, the thought control.

  1. When writing in a dystopian genre where the future usually isn’t so bright, one can draw on horrific examples of the past for macabre imagery. Keep in mind, almost all dystopian fiction uses stark, depressing imagery within the prose. What is crucial is to create something unique that will stick in reader’s minds.

Much more based in the reality we know and understand, dystopia magnetizes a reader’s sense of fatalism when we speak of hopelessly deadlocked politics and looming social and economic problems we all see habitually. The battlefield spreads itself wide and far in dystopian novels, where the imagination can dive into futuristic minefields. Considering the current political landscape and where we seem to be headed, a resurgence of the adult dystopian theme is inevitable (young adult seems to be already saturated and lacks a certain tie to the present in most cases).

  1. The key to writing great dystopian fiction is to entrench yourself in current affairs. Does it piss you off? If so, then the fire in the belly will help you create great prose. Can you transfer it to paper? After each passing day, the narrative lie becomes the inkling of truth. Militarization of the police force, Ferguson, Edward Snowden and his NSA revelations, BigDogs, Petman and advanced robotics, crony capitalism and a ballooning kleptocracy in a perpetual state of war are all spicy ingredients for the next dystopian stew. Will you be the one to write it? I don’t know, but you as the author have a chance to say something, to slam home a point, so don’t let the opportunity slip away. How do you see the world differently and how can you express that through your characters without writing a diatribe on your beliefs? Therein lies the art of dystopian fiction. (Note: Of course, this works well in medieval/ancient fantasy, too. DC)
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Warfare for Writers 3 - Don'ts!

 Warfare for Writers 3 - Don'ts! Stuff Not To Screw Up!

In this post, Warfare for Writers 3 - Don'ts!, Timons Esaias debunks things that don't happen in the real world and shouldn't happen in your books.???????????????????????????????????????????????????????????????????

You cannot pour gunpowder along the ground to use as a slow fuse. I know you've seen it in the movies and on television, but if you pour a trail of gunpowder for a hundred feet and put a match to it, you'll have about two seconds before it all burns.

One cannot close the eyes on a corpse simply by pushing them closed. They go back to whichever way they want to be. They used to put heavy gold coins on eyelids to keep them in place, now we just sew them closed (generally after removing the eyeball). Most readers don't know this, so you can get away with it, but if my wife finds out you've screwed this up she may come hurt you. And she's a physician, so she knows how.

Speaking of medical things, unless you're describing magical creatures or superheroes, resist the urge to knock characters out by blows to the head and then have them regain consciousness with no aftereffects. The typical result of such a blow is nausea, vomiting, dizziness, headache, vision problems, stability problems, and the utter inability to swing a battle-ax with any authority.

There have been, in history, a number of short swords that were made to be drawn over the shoulder, usually by people who fought on horseback. These swords have only one edge, so you don't cut off your ear or slit your own throat; and they are very short, because you simply can't draw a long sword from your back. Now you will see, in the literature, swords called "back swords," and you'll think these are the ones you draw from your back. No, they are usually swords you wear on your back while riding around the countryside, but then hang from your waist if you actually get into a battle.

Don't have people drawing katanas or longswords over their shoulders, or I'll have to come hurt you.

Please avoid another favorite Hollywood bullpuckey device, which is the baton-twirling change of grip on a sword. It looks way cool, but it's the stupidest move on the planet. All somebody has to do is touch that sword while you're not holding it, and presto, you're unarmed. Oh, by the way, that's when they can hit you, too.

Now folks have reversed grip on swords and daggers all through history, it's a common and useful move, but it's almost always done by gripping the blade in your off hand, and then reversing. Folks gripped their own blades a lot, especially when wearing leather or armored gloves. I bet you do it in the kitchen, sometimes, when cutting with a large knife. You can get really wicked action on a sword by holding it in front of you like staff, and suddenly sweeping right or left, with the blade out. You can roll an opponent off your blade and club him with the grip, or go the other way and roll him off, and sweep the point into him, with your arm right on it. If you're quick, you can trap his shield arm.

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