Tag Archives: Battle

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 - 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 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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Way of the Warrior: Conduct

Art Work by Eric Guerrero
Art Work by Eric Guerrero

Interesting fact: The longest bronze-age sword measured out at seventeen inches. Longer swords used on foot left the  warrior open to attack in close quarters.  DC

Way of the Warrior
: Code of Conduct  (Author Unknown)

Way of the Warrior: Content - If these sound like the Boy Scout Rules of Conduct, you wouldn't be far wrong. If the warrior in your novel has no flaws, he or she wouldn't be very interesting. Bring depth to your character by giving the warrior failings to overcome. While the warrior may strive to improve, he or she may not. DC

HONESTY AND JUSTICE

Be acutely honest throughout your dealings with all people. Believe in justice, not from other people, but from yourself. To the true Warrior, there are no shades of gray in the question of honesty and justice. There is only right and wrong.

POLITE COURTESY

A Warrior has no reason to be cruel. They do not need to prove their strength. A Warrior is courteous even to his enemies. Without this outward show of respect, we are nothing more than animals.

HEROIC COURAGE

Rise up above the masses of people who are afraid to act. Hiding like a turtle in a shell is not living at all. A Warrior must have heroic courage. It is absolutely risky, It is dangerous. It is living life completely, fully, and wonderfully. Heroic courage is not blind; it is intelligent and strong.

HONOR

A true Warrior has only one judge of honor, and this is himself. Decisions you make and how these decisions are carried out are a reflection of whom you truly are. You cannot hide from yourself.

COMPASSION

Through intense training the Warrior becomes quick and strong. He is not as other men. He develops a power that must be used for the good of all. He has compassion. He helps his fellow man at every opportunity. If an opportunity does not arise, he goes out of his way to find one.

COMPLETE SINCERITY

When a Warrior has said he will perform an action, it is as good as done. Nothing will stop him from completing what he has said he will do. He does not have to "give his word." He does not have to "promise."

DUTY AND LOYALTY

For the Warrior, having done some "thing" or said some "thing," he knows he owns that "thing." He is responsible for it, and all the consequences that follow. A Warrior is immensely loyal to those in his care; to those he is responsible for, he remains fiercely true.

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