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queenninaross-blog · 4 years

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This is gold! Thank you!

I took some historical sword-ighting lessons to make the fight scenes in my novel more realistic - here’s what I learned.

To make the fighting scenes in my low fantasy novel more realistic, I went to see a trainer for historical sword-fighting last week, both to barrage her with questions and to develop realistic choreographies for the fight scenes in the novel. Since I figured some of what she told me might be useful for you too, I put together a small list for you. Big thanks to Gladiatores Munich and Jeanne for making time! (Here are some more pictures if you’re interested.)

Caveat: I’m by no means a sword-fighting expert myself, so take these nuggets with a grain of salt – I might have misremembered or misinterpreted some of the things Jeanne told me. If I did, feel free to tell me.

1.) Weapon choices need to make sense

Let’s start with a truism: always ensure your character’s weapons make sense for a.) their profession, b.) their cultural background and c.) the environment they’re going to fight in. A farmer probably couldn’t afford a sword and might use a knife or threshing flail instead, and someone who doesn’t want to be noticed probably wouldn’t be milling about sporting a glaive or another large weapon. Also, soldiers native to a country with wide open plains would be more likely to carry long-range melee weapons such as spears or large swords, than those from a country consisting of mostly jungle or dense forests. The same applies to situations: if your character is going to be fighting in close quarters (even just a normal house), he’d get little value out of a spear or even a longsword, as there’d be no space to swing it effectively.

2.) Boldness often beats skill

In real swordfights, recklessness was often more important than skill. The fighter who was less afraid of getting hurt or wounded would often push harder, allowing them to overpower even more skilled enemies.

3.) Even a skilled fighter rarely stands a chance when outnumbered

While a skilled (or lucky) fighter might win a two-versus-one, it’d be extremely unlikely for even a single master swordsman to win against superior numbers, even just three and if they’re below his skill level. The only way to plausibly pull this off would be to split the opponents up, perhaps by luring them into a confined space where you could take them on one by one. The moment you’re surrounded, you’re probably done for – because, unlike in Hollywood, they wouldn’t take turns attacking but come at you all at once.

4.) Dual wielding was a thing

… at least in some cultures. I often heard people say that people using a weapon in each hand is an invention of fiction. And while my instructor confirmed that she knew of no European schools doing this—if they did, it’s not well-documented—she said it was a thing in other cultures. Example of this include the dual wakizashi in Japan or tomahawk and knife in North America. However, one of the biggest problems with the depiction of dual wielding in novels/movies/games are the “windmill”-type attacks where the fighter swings their weapons independently, hitting in succession rather than simultaneously. Normally you’d always try hitting with both weapons at once, as you’d otherwise lose your advantage.

5.) Longswords were amazing

Longswords might seem boring in comparison to other weapons, but they were incredibly effective, especially in combat situations outside the battlefield. The crossguard allowed for effective blocking of almost any kind of attack (well, maybe not an overhead strike of a Mordaxt, but still), the pommel was also used as a powerful “blunt” weapon of its own that could crack skulls. Though they were somewhat less effective against armored opponents, the long, two-handed hilt allowed for precise thrusts at uncovered body parts that made up for it.

6.) “Zweihänder” were only used for very specific combat situations

Zweihänder—massive two-handed swords—were only used for specific purposes and usually not in one-on-one combat as is often seen in movies or games. One of these purposes was using their reach to break up enemy formations. In fact, one type of two-handed sword even owed its name to that purpose: Gassenhauer (German, Gasse = alley, Hauer = striker)—the fighters literally used it to strike “alleys” into an enemy formation with wide, powerful swings.

7.) It’s all about distance

While I was subconsciously aware of this, it might be helpful to remember that distance was an incredibly important element in fights. The moment your opponent got past your weapons ideal range, it was common to either switch to a different weapon or just drop your weapon and resort to punching/choking. A good example of this are spears or polearms—very powerful as long as you maintain a certain range between you and your opponent, but the moment they get too close, your weapon is practically useless. That’s also why combatants almost always brought a second weapon into battle to fall back one.

8.) Real fights rarely lasted over a minute

Another truism, but still useful to remember: real fights didn’t last long. Usually they were over within less than a minute, sometimes only seconds – the moment your opponent landed a hit (or your weapon broke or you were disarmed), you were done for.

9.) Stop the pirouettes

Unfortunately, the spinning around and pirouetting that makes many fight scenes so enjoyable to watch (or read) is completely asinine. Unless it’s a showfight, fighters would never expose their backs to their opponent or even turn their weapon away from them.

10.) It still looks amazing

If your concern is that making your fight scenes realistic will make them less aesthetic, don’t worry. Apart from the fact that the blocks, swings and thrusts still look impressive when executed correctly, I personally felt that my fights get a lot more gripping and visceral if I respect the rules. To a certain extent, unrealistic and flashy combat is plot armor. If your characters can spin and somersault to their heart’s content and no one ever shoves a spear into their backs as they would have in real life, who survives and who doesn’t noticeably becomes arbitrary. If, on the other hand, even one slip-up can result in a combatant’s death, the stakes become really palpable.

That’s about it! I hope this post is as helpful to some of you as the lessons were to me. Again, if anything I wrote here is bollocks, it’s probably my fault and not Jeanne’s. I’ll try to post more stuff like this in the future.

Cheers,

Nicolas

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queenninaross-blog · 5 years

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NO LIES TOLD!

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queenninaross-blog · 5 years

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Neil Gaiman’s 8 Rules of Writing, a remake of this post. Source.

Want more writerly content? Make sure to follow maxkirin.tumblr.com for your daily dose of writer positivity, advice, and prompts!

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queenninaross-blog · 5 years

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Biology

Creating a Race (2)

Creating Animals (2)

Disease (2)

Ecosystems (2)

Evolution (and Space)

Flora and Fauna

Genetics

Inventing Species

List of Legendary Creatures

Night Vision/Color Vision

People

Constructed Language (Conlang)

Basics/Phonology (2) (3)

Conlang

Conlang Guide

Conlang vs. English

Creating a Language (Revised)

Culture + Language

Curse Words

How to Create Your Own Language

How to Create a Language

IPA Pronunciation

Making Up Words

Culture Guides

7 Deadly Sins

Alien Cultures (2)

Alternative Medieval

Avoiding Cultural Appropriation

Avoiding Medieval Fantasy (2)

Avoiding One-Note Worlds

Avoiding Utopia

Change (2)

Class/Caste System (2)

Culture

Designing Intellectual Movements

Everything (2) (3)

Fantasy

Gender-Equal Societies

Historical Background for Ideas (2)

History

Matriarchy (2)

Nationalism

Nations

Slavery

Static World

Structure

Wandering Peoples

Economy

Basic Economics

Capitalism

Currency (2) (3)

Current Global Economies

Economic Systems

Economics (1500-1800 AD)

Economics and Government

Economics for Dummies

Economy

Inflation

International Trade (2)

Marxist Communism

Medieval Economics

Schools of Economic Thought

Socialism (2)

Types of Economic Systems

World Economy (2)

Everyday Life

Art

Ceremonies

Clothing

Clothing Terminology (2) (3) (4)

Clothing Reference

Demographics

Disease

Drugs

Education (2)

Fame and Infamy

Family

Food (2)

Food Timeline

Immigration/Emigration

Literature

Marriage

Months

Music

Sex

Slang

Stories

Travel

Government

Collective/Traditionalist Societies

Creating a Government

Diplomacy

Empire (2)

Fancy Latin Names for Government

History and Politics

International Relations (2)

Justice System

Lawlessness

Non-monarchical (2) (3)

Oppressive Government

Political Ideologies

Propaganda

Republic

Rise and Fall of Civilizations

Secret Societies

Shapeshifter Society

Totalitarianism, Atmosphere Necessary For

Tribal Society

Types of Government

Utopia

Writing Politics

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queenninaross-blog · 6 years

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Facts

You don’t need to tell people about your dreams and goals, they’ll see once you achieve them

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queenninaross-blog · 6 years

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The Importance of Side Plots

A Guest Post by Cait

In every story, we have the main (A) plot; the detective is trying to find the jewel thief

AND

The side (B) plot; the detective is going through a divorce

Most stories contain more than one side plot. There can be as many as you like. What is the purpose of them, you say? I’ll tell you!

Side plots make the story more dynamic. They give ‘screen time’ to your minor characters, offer relief from the main tension and allow your protagonist to shine in different areas. You know what your detective is like at work, what are they like at home?

Side plots will begin after the main plot is introduced and are resolved before the main plot ends. They introduce storylines that are important, but secondary to the main plot.

How do you write side plots?

Think about:

Who are your minor characters? What role do they play in your story? Who are they in relation to your protagonist/antagonist? Do they have their own arc?

Do they have a love interest? – Common side plots involve your protagonist’s relationships. Unless you’re writing a romance story, a romance arc often belongs to a side plot. The romance doesn’t always have to work out, but it is important that your love interest is a fully dimensional, fleshed-out character. Give your readers a reason to root for, or alternatively, boo for them.

What does your protagonist’s life look like? Who are they in different environments? What’s important to them? What are their hobbies? What is their daily, mundane routine?

Where has your protagonist/antagonist been? What is in their past? How has it impacted their present self? Are they harbouring secrets? Are they holding on to something? Where do their strengths and weaknesses come from?

Where else is the conflict? You have your main conflict; catching the villain. What else is going on in their life? Are they struggling to pay rent? Do they miss their ex? Is their mother unwell?

How can all this add to the story? Do these scenes reveal important information? Do they develop your character? Do they develop relationships? Do they relate to the overall plot? Do they build the tone and message of your story?

Without any side plots, your story can become one-dimensional. Your readers may get bored, or be overwhelmed by the main arc. Give your baby dimension!

Your side plots can be whatever you like. They should add to the story as a whole, even if it is something as simple as a silly prank war between your protagonist and their neighbour. Simple things can add meaning if written well. As long as it fits your vision, write away!

-Cait

Interested in being a guest blogger? Go here and fill out our short form :)

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queenninaross-blog · 6 years

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I love when a man only desires you, craves your body, soul & heart and no one else’s.

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queenninaross-blog · 6 years

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bitch everything about me is gold from brain to pussy, i deserve the best

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queenninaross-blog · 6 years

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Words to describe someone's voice

adenoidal: if someone’s voice is adenoidal, some of the sound seems to come through their nose

appealing: an appealing look, voice etc shows that you want help, approval, or agreement

breathy: with loud breathing noises

brittle: if you speak in a brittle voice, you sound as if you are about to cry

croaky: if someone’s voice sounds croaky, they speak in a low rough voice that sounds as if they have a sore throat

dead: if someone’s eyes are dead, or if their voice is dead, they feel or show no emotion

disembodied: a disembodied voice comes from someone who you cannot see

flat: spoken in a voice that does not go up and down. This word is often used for describing the speech of people from a particular region.

fruity: a fruity voice or laugh is deep and strong in a pleasant way

grating: a grating voice, laugh, or sound is unpleasant and annoying

gravelly: a gravelly voice sounds low and rough

gruff: a gruff voice has a rough low sound

guttural: a guttural sound is deep and made at the back of your throat

high-pitched: a high-pitched voice or sound is very high

hoarse: someone who is hoarse or has a hoarse voice speaks in a low rough voice, usually because their throat is sore

honeyed: honeyed words or a honeyed voice sound very nice but you cannot trust the person who is speaking

husky: a husky voice is deep and sounds hoarse (=as if you have a sore throat), often in an attractive way

low adjective: a low voice or sound is quiet and difficult to hear

low adverb: in a deep voice, or with a deep sound

matter-of-fact: used about someone’s behaviour or voice

modulated: a modulated voice is controlled and pleasant to listen to

monotonous: a monotonous sound or voice is boring and unpleasant because it does not change in loudness or become higher or lower

nasal: someone with a nasal voice sounds as if they are speaking through their nose

orotund: an orotund voice is loud and clear

penetrating: a penetrating voice or sound is so high or loud that it makes you slightly uncomfortable

plummy: a plummy voice or way of speaking is considered to be typical of an English person of a high social class. This word shows that you dislike people who speak like this.

quietly: in a quiet voice

raucous: a raucous voice or noise is loud and sounds rough

ringing: a ringing sound or voice is very loud and clear

rough: a rough voice is not soft and is unpleasant to listen to

shrill: a shrill noise or voice is very loud, high, and unpleasant

silvery: a silvery voice or sound is clear, light, and pleasant

singsong: if you speak in a singsong voice, your voice rises and falls in a musical way

small: a small voice or sound is quiet

smoky: a smoky voice or smoky eyes are sexually attractive in a slightly mysterious way

softly spoken: someone who is softly spoken has a quiet gentle voice

sotto voce adjective, adverb: in a very quiet voice

stentorian: a stentorian voice sounds very loud and severe

strangled: a strangled sound is one that someone stops before they finish making it

strangulated: strangled

strident: a strident voice or sound is loud and unpleasant

taut: used about something such as a voice or expression that shows someone is nervous or angry

thick: if your voice is thick with an emotion, it sounds less clear than usual because of the emotion

thickly: with a low voice that comes mostly from your throat

thin: a thin voice or sound is high and unpleasant to listen to

throaty: a throaty sound is low and seems to come from deep in your throat

tight: a tight voice or expression shows that you are nervous or annoyed

toneless: a toneless voice does not express any emotion

tremulous: if something such as your voice or smile is tremulous, it is not steady, for example because you are afraid or excited

wheezy: a wheezy noise sounds as if it is made by someone who has difficulty breathing

wobbly: if your voice is wobbly, it goes up and down, usually because you are frightened, not confident, or are going to cry

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queenninaross-blog · 6 years

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Outlining and Organizing Master Post

The words “pantser” and “planner” get thrown around a lot within the various virtual writing communities, especially those who participate in National Novel Writing Month. November has come and gone, but writers do not let the changing of the seasons stop their craft. If one is a planner, they find planning out their novel in advance to be most productive. Some people plan their stories for months in advance before starting to write. Conversely, if one is a pantser, they prefer to take a more freeform approach to their writing projects. In a way, the stories of a pantser write themselves because the author is not afraid to take a concept and run with it.

I am a scientist by trade. My entire life revolves around meticulous planning in order to get the accurate and precise results I need. A byproduct of that is that I seem to not be able to do anything without creating a game plan first. If I don’t, writer’s block sets in and nothing gets done, or I get so focused on one certain detail that the rest of the work falls short. So, I’ve put together a master post of resources to help other planners (and people who want to be planners) organize their thoughts for a productive writing project.

As always, the links I find to be especially apt will be in bold.

Outlining

7 Steps to Creating a Flexible Outline for Any Story

How to Outline a Novel (Even If You’re Not an Outliner)

Outlining Your Novel: Why and How

How to Outline a Novel Chapter by Chapter

5 Steps to Outline a Story

Plot Outline Creation: 7 Smart Methods

How to Write a Character-Driven Plot Outline

Organization

How to Organize and Develop Ideas for Your Novel

How a Scene List Can Change Your Novel-Writing Life

Planning, Outlining, and Organizing Your Novel – Or Not!

A Novel Strategy: How to Organize Big Writign Projects

Organize Your Novel with Excel

Novel Structure Diagram [Image]

Planning

Everything You Need to Know About Planning Your Novel

Planning a Novel in Ten Steps

Your Novel Blueprint

25 Ways to Plot, Plan, and Prep Your Story

The Ultimate 10 Step Guide to Plan and Write Your Book

How to Create a Special Snowflake (No, Really! Creating Fiction Through the Snowflake Method)

How To Write A Novel Outline (Like the #WriteBoss You Are!)

Miscellaneous

The Story Map [Educational Tool][Flash]

Character Outline [1][2]

xx Sarah

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queenninaross-blog · 6 years

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A soul mate’s purpose is to shake you up, tear apart your ego a little bit, show you your obstacles and addictions, break your heart open so new light can get in, make you so desperate and out of control that you have to transform your life.

Elizabeth Gilbert, Eat, Pray, Love (via books-n-quotes)

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queenninaross-blog · 6 years

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May the tears I cried in 2017 be the nourishment to the soil of 2018 🌹

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queenninaross-blog · 6 years

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You Are Going To Have So Much Success In 2018 (pass it on)

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queenninaross-blog · 6 years

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Marry a man who loves you more than you love him. A woman will always give more than what is necessary to her lover. It is ingrained into her, like maternity. But even when a man loves you more, he will still only be able to meet you halfway.

Rihanna (relaying advice given to her by her deceased grandmother)

Church

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queenninaross-blog · 6 years

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Man, you better preach 🙏🏾

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queenninaross-blog · 7 years

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queenninaross-blog · 7 years

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You can avoid reality, but you cannot avoid the consequences of avoiding reality.

Ayn Rand (via quotemadness)

Boom!!!

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