blairmacg: (FeatherFlow)

uSince I’ve just gutted the middle of Stone because the plot was moving with all the grace of a square-wheeled locomotive chugging over the Rockies, you get a Sunday blog post so I can clear my head before I resume stitching the innards back together.*

So here it is: As I mentioned on Twitter, discussion forums for MMA and other fighting sports are a goldmine of writerly information.

There are bunches of little guides out there on how fantasy writers can realistically and vibrantly portray combat.  Information on everything from edged weapons and individual duels to archery and battle formations is fairly easy to find.  But not as much hoopla surrounds the aftermath of those fights—the small injuries, the crippling injuries, and the physical/emotional life-long consequences.  It’s simple to Google for “broken leg” and come up with a pile of guidance from modern medical sites.  But that’s only part of the story.

From a storytelling perspective, it’s a mere sliver of the story.

The fun part—the part that makes plot and character development real—is what happens after the injury is sustained.

Modern medical sites will give you extensive information on trauma, treatments, and expected outcomes.  But they are based on modern interventions coupled with assumed accessibility to food, water, shelter, cleanliness, temperature control, and rest.  In my stories, it isn’t unusual for some, most, or all of those things to be missing.  And that, my darlings, changes everything.

These days, most folks head to the doctor when they or their kids are injured.  Bumps on the head, twisted ankles, sprained wrists, possibly broken bones, blistering burns, busted noses—all prompt immediate doctor visits, extensive testing, and scheduled follow-ups with specialists.

But for a number of present-day fighters—especially those who love it but aren’t making a circuit/tournament career out of it— the doctor’s office isn’t the immediate stop.  Unless the pain from an injury is debilitating—and sometimes, not even that is enough—some fighters take a ton of convincing and failed self-care before they’ll show up in an emergency room or urgent care center.  I’ve gone days with a dislocated elbow and partially torn ligaments.  A friend ended up with stress fractures in both feet.  A training partner waited out the pain of a dislocated shoulder.  And I’ve seen folks finish belt tests with a blown-out knee, or a broken hand, or busted ribs, or a swollen-shut eye.

For a few, it’s a matter of ego, certainly.  But in my personal experience fighting and being around fighters for more than a decade, ego is secondary to expectation and experience.

Y’see, fighters expect to get hurt in a fight, they expect to hurt for awhile after the fight, and they’d really rather not be treated as fragile or stupid or both.  Experience tells them they can work through most hurts, and many of those hurts can be treated without professional medical intervention.

Why go to the doctor for bruised ribs?  Wrap ’em up, take it easy, deal with the pain, watch out for secondary infections, and move on.  They’ll be better in a couple months either way.  Why rush out to have a sprained wrist checked when you know the answer will be, “Rest it, ice it, elevate it, come see me in a week if it isn’t better?”  Yes, there will be times more serious injuries are missed.  But most fighters learn to tell the difference between something that hurts badly and something that’s badly hurt.

This is where those discussion forums come in.

Sure, I can look up all sorts of technical information on tissue damage done when a person is strangled, or the recovery prospects for a person with torn quads, or the lasting effects of a concussion, and all of that is useful to me. But understand those medical sources exist to provide information on how best to care for and heal an injury. That's not always the most pressing goal in the story, though. That's... not always what the writer wants, either.

It’s the discussion forums that’ll tell me the experience and consequences of those injuries when limited (or no) medical attention is gained, and what it feels like to keep training and fighting despite those injuries.  I learn how different people describe the sensation of being choked out, how the throat felt while eating and drinking over the next few days, how it felt and sounded to speak after the injury, and at what point those symptoms shifted from getting better to better see a doctor.

If you’re not a fighter, or have limited martial arts experience, you’ll also gain a glimpse into a different mindset.  Spend a little time, you’ll be able to tell the difference between the “indestructible” youths and the more wise and experienced by the way an injury is described.  Dig a bit more, you’ll read a few journeys undertaken by fantastic and powerful fighters who come to terms with injuries that forever change how—and sometimes if—they can continue doing what they love.

For some things, I can call on my personal experience: broken nose, torn tendons, dislocations, foot fractures, bruised ribs… even the experience of giving up a large part of my training due to ongoing physical challenges that can’t be mended.  The forums, though, expand knowledge and understanding, and give insight into injuries I’d rather not experience myself.  I’ve been choked to gray-out, but I don’t want to discover first-hand what it feels like to have my throat punched, thank you.  And I really don’t want to find out how long it takes for one’s ability to breathe and swallow without pain, or what my voice would sound like once scar tissue hardens.

But the knowledge is good for stories we want to stick in the mind and heart of a reader.

So.  There’s your writerly tip for the day.  I suppose I’ll now resume the revisions that simply shouldn’t be this difficult, yet are somehow even more difficult than difficult.  Alas, I’ve vented my frustration on as many characters as I can without killing them off.

I promise I won’t kill them all.

But no one is reaching the end without scars.

*Next time I mention squishing two very long novels into one long-ish novel under the assumption it’ll be easier, just smack me, mmkay?  I mean, it had to be done, and the story will be better for it, but there has been nothing “easy” about the squishing process.

#SFWApro

blairmacg: (FeatherFlow)

Half of my first summer as a teenager was spent in a compact car, driving back and forth from Southern California to New Orleans with my mother and nine-year-old sister. I was torn between huge curiosity and excitement, and the nagging certainty spending so much time with my ultra-extroverted mother and sister would cause my head to explode. I remember we argued daily, but remember more clearly all the places we saw along the way.

It was the first trip I took after deciding I could, just maybe, write a novel someday. Every part of me was primed to store experiences and research with the intention of one day using it in a book. One excursion in particular made a huge impact: Carlsbad Caverns.

Read more... )
blairmacg: (FeatherFlow)

Sand of Bone heads off to its editor and final reader tonight, so I'm taking a little break in order to let me brain think about something else for a bit.

I am not a structured worldbuilder. Before writing, I do not sit down to answer a hundred questions about culture, religion, navigation, textiles, government, livestock, gender relations, history, trade, exploration, child-rearing, and economics. That's not my process. (For that, check out this post, wherein I discuss altering my worldbuilding to fit the plot rather than the other way around.)

That doesn't mean I don't care. I deeply care. I don't expect to get everything right, but I want it to be right enough to keep the reader with me.

There's a great deal of writerly talk about educating ourselves on history, government, economics, and culture. That's absolutely necessary. But what hangs me up more often than not is geology and botany. Certainly I could just make everything up, but constructing properly integrated flora and fauna and climate and geography from the ground up is beyond my ken. So I do what most of us do: attempt to match my world and plot needs to a Real World equivalent, and adapt within parameters broad enough to be flexible yet narrow enough to avoid (as much as possible) Flying Snowmen.

Read more... )
blairmacg: (FeatherFlow)

Now that Serpent Heart is up, my attention turns back to final revisions for Sand of Bone.

Celebrations—when, how, and why—are fantastic worldbuilding tools that can give depth to a culture, move the plot, and reveal character.  The longevity of the celebrations, and how the celebrations have evolved over the years, inform us of the culture's values.  Whether characters partake in, shun, or are indifferent to the festivals tells us how well characters are integrated into the larger culture.

In the desert and delta of SheyKhala, where the upcoming novel Sand of Bone takes place, festivals mark the turning of seasons primarily through focus on close kin, neighbors, and the greater community.

The year ends and begins with the Feast of Kin -- the midwinter festival of family. Though jokes are often made about the different ways one could serve one's family members at a feast, the festival is critical for maintaining good will among kinship groups as they head into that time of year when close quarters and limited food supplies can raise tensions. For the days leading up to the feast, family members do favors for one another, and the most secret favors are considered to be the ones performed with the deepest love and respect. The feast itself, though, is geared toward indulging the children in all possible ways. Grandparents say the focus on children ensures young adults consider carefully what their nighttime cold-weather activities might engender.

Promise Days happen in the spring, when the seasonal rains provide the low desert just enough moisture to coax short and spiky grass to cover the sands between brush that blooms but once a year. The notion of promise-keeping is incorporated into the river levels as well, since the season's rains promise to flood the delta once the water rushes down from the high desert. It's also the time of year consorts decide to make new vows, renew their existing ones, or part ways. It's one of two festivals that include the ceremony to brand women and men as full Blades in service to the ruling Velshaan. (The other branding takes place during Shades.)

In midsummer, everyone takes part in Givings, which the cold-hearted and tight-fisted call the Mis-givings. Able-bodied folk provide service and work for the neighbors, preferably those less fortunate. (As you can imagine, there can be a snark-fest in determining who among one's competing 'friends' is more or less fortunate.) In larger settlements, Givings is the day set aside for civic duties such as field maintenance, road and wall repair, and sewage care. Moreover, every person must pass their evening meal to someone less fortunate, and will not eat unless someone more fortunate takes pity on them. The two groups most likely to go without an evening meal are the middling poor and the ruling Velshaan bloodkin. In fact, the Velshaan absolutely refuse to eat on Givings Day because they have only the gods above them.  Why the gods don't provide the Velshaan with their own meals is a subject of speculation only among those who wish to live a life of hard labor in Salt Hold.

Lastly, the welcome cooling of autumn leads up to Shades -- three days and nights of honoring and remembering the dead, and (supposedly) spiritual visits from dead ancestors or notable figures. It's understood ghosts don't really show up every year to everybody, just like we understand Santa Claus doesn't really visit every child's home on Christmas Eve. Shades is instead a time to reflect on past losses. It's considered wise to think of what you'd say to loved ones if you were a mere ghost able to communicate but once a year, and wiser still to say those things while living. But, as with our Christmas traditions, parents take advantage of the festival to instill behaviors and beliefs in their children. Parents will sometimes leave small notes or symbolic gifts from "ghosts" for children to find, and the final night of Shades is marked by costumed folk going door-to-door masquerading as prominent figures from SheyKhala's history dispensing advice and warnings.

In addition to the large festivals, smaller celebrations are more often either observed within families or smaller groups, or confined to certain occupations and such. There are feasts on the Dark Moon, when the nightsighted folk see the undimmed beauty of the stars. (It's a favorite among young people looking for excuses to spend the night away from family.) More ritualistic celebrations occur around the first pressing of olives for oil, the training of horses, the welcoming of new Blades into the ranks, and thanksgivings for salt and iron.

In more recent years, remembrances for the Woes have been added to the festival calendar. Officially, they are held to acknowledge the losses and destruction caused when the Velshaan warred among themselves. But they are really intended to both remind the people of what power the Velshaan can (or, more accurately, could once) wield, and remind the Velshaan bloodkin of what fate they could meet if they stand against the wishes of their family.

How much of this will make it into the final version of Sand of Bone? Only bits and pieces mentioned mostly in passing. Half the story takes place in settings removed from the usual cultural constructs. The sequel, Breath of Stone, more tightly entwines the cycle of celebration and remembrance, and the third (yet unnamed) novel downright depends upon them to trigger... well, to trigger happenings. (Shh, can't tell!)

But I know the festivals are there -- why some people choose to ignore them, why others anticipate them, and why still others will seek ways to use them. It's another valuable tool in this writer's Swiss Army Knife.

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