Review: Mind Over Psyche, by Karina Fabian

Some days, it feels like Karina Fabian is being reviewed on this blog every three months. It's not entirely accurate, but close enough for government work.  Especially government right now.

So, if you remember Mind Over Mind, you don't need much of an introduction.  If not....

Deryl isn’t crazy; he’s psychic.  Desperate to escape the insane asylum, Deryl  teleports to Kanaan, a world of telepaths who regard him as an oracle.  But freedom comes at a price.  The Kanaan expect their oracle to teach them to use their powers to wage war.  Meanwhile, he’s falling in love, but to be with her means to share his psyche, which could drive her insane.  Most dangerous of all, he hasn’t escaped the Call of the Master, enemy of the Kanaan, whose telepathic manipulations were why Deryl was committed in the first place.  Now, the Master will forge Deryl’s powers into a weapon to kill all he loves or destroy his mind trying.

First, I must say that I like this world she's created.  It's one of the most comprehensive scifi worlds I've seen in a while -- one of the better planet-as-character routine I've seen since Dune, and possibly one of the better Christian science fiction premises I've seen in print since C.S. Lewis penned Perelandra.  We've got flora, exotic fauna, aliens who mate for live, like wolves or Catholics, and did we mention that there's a war coming?

At the end of the day, one of the more interesting threats is Deryl himself.  Sorry, I've got a thing for where the hero is one's own worst enemy. And in his case, if he's not careful, he's going to develop psychokinetic abilities and level Tokyo....

Oh, wait, he already has telekinetic abilities.

Yes, everyone's in trouble.

We also have an interesting introduction to the Twilight Zone. Season 1 to be precise. Literally, there's a section narrated by Rod Serling. And it's quite awesome.  Not to mention that there's a large segment of the novel that looks like The Last Temptation of Christ meets The Prisoner.

The book can be broken down into three sections, so much so that they're almost like vignettes strung together.  First, there's the incident that precipitates the accidental teleportation to an alien world.  Next, we have the Oz effect -- as in "we ain't in Kansas no more" -- complete with your standard writing conflicts of man vs. nature, man vs. self, and a man vs. society, all to varying degrees along the way. Much of it is interesting, though there are moments you might want to take Deryl and smack some sense into him. The book's strengths lay in the exploration of the alien world via the two "sidekicks," Joshua (Deryl's friend/shrink in the last book), and Tasmae, the local alien contact.

Then, part three, we actually have man vs. man .... if "the man" in this case is an alien who can kill you with his brain and throw you into a nice, ready- made nightmare. So, fun.

I like the world, I like the characters ... though there are some scenes that were exceptionally drawn out. I liked The Prisoner as much as the next guy -- maybe more than the next guy -- but when we, the readers, already know what is and isn't real, hallucinations can get tedious.

Thankfully, by the end of the day Mind Over Psyche is the payoff we wanted from Mind Over Mind.  Round three should be interesting.

Interview with Karina Fabian of Mind Over Psyche.

If you don't remember Karina Fabian ... that's too long a story to get into here, just click on "Fabian" keyword below, and you'll find her quick enough.

If you don't remember the first book in this series, Mind Over Mind, you can see my review of it here.

Now for a look at Mind Over Psyche.

Deryl isn’t crazy; he’s psychic.  Desperate to escape the insane asylum, Deryl  teleports to Kanaan, a world of telepaths who regard him as an oracle.  But freedom comes at a price.  The Kanaan expect their oracle to teach them to use their powers to wage war.  Meanwhile, he’s falling in love, but to be with her means to share his psyche, which could drive her insane.  Most dangerous of all, he hasn't escaped the Call of the Master, enemy of the Kanaan, whose telepathic manipulations were why Deryl was committed in the first place.  Now, the Master will forge Deryl’s powers into a weapon to kill all he loves or destroy his mind trying.

Interview Questions for Mind Over Psyche by Karina Fabian

1.  In Mind Over Mind, you had a romance between Joshua and Sachiko.  Will we see more of that in Mind Over Psyche?

No.  It’s Deryl’s turn to fall in love, and it will be a very different experience from Joshua’s.  For one, Tasmae is an alien.  Kanaan mate for life and when they meet their soul mate, it’s usually a compulsion.  They know, on a biological and telepathic level, that this is their soul mate, and they figure out the rest later.  Of course, Deryl being human makes things a little confusing for both him and Tasmae.  There’s more danger involved, as one or the other could drive each other insane in the literal sense.  Kanaan bonding is more than joining hearts or bodies.  They link minds.  Readers of Mind Over Mind know that’s traumatic enough for Deryl even with limited human contact.  What’s worse, however, is that Tasmae is under the psychic influence of her ancestor’s memories—her ancestor who had gone mad.  Add to that the fact that some of the Kanaan close to Tasmae see Deryl as a threat, not an oracle, and you can understand why Joshua is really worries about Deryl and Tasmae ever having the chance to be alone together.

2.  Joshua practices a form of psychiatry called neuro linguistic programming.  He used it extensively in Mind Over Mind.  Will he use it in Mind Over Psyche?

Some, but it really doesn’t work with aliens.  He will, however, save a child’s life with it, and will use some techniques to help Deryl and Tasmae out of danger.  This book, he also gets to exercise his musical talents.

3.  What is your favorite scene?

Tasmae is deeply under the influence of her ancestor’s memories and the pain and confusion have made her violent.  They’re causing Deryl pain a well, and he begs Joshua to help her.  He’s a psychiatric prodigy, right?  Never mind that he’s 19, an intern, has no drugs or orderlies as backup and oh, yeah, is dealing with aliens.  I loved imagining what Joshua, Deryl, and especially Tasmae were thinking and doing.  Crazy can be a lot of fun…when it’s not real.

4.  What’s the challenge about writing about a psychic people?

They don’t communicate just in words, but also images, emotions, and simple knowing.  For example, why have a name for a person when you can pass on the knowledge of who that person is?  Ditto for places.  However, to reach a reader, I have to use words.  No one wants to read “the captain of the Kanaan guard” ten times a page, so some characters needed names, and I needed a reason for them to have one.  In the end, humans and the Barin (who also have verbal language) name certain things.  This will be fun in Mind Over All, because Joshua will joking name a young boy who clings to him, “Axel,” and it sticks, to Sachiko’s ire.

Also, with no written language, there needs to be a way to preserve history.  This is vital in Mind Over Psyche, as memories are stored in psychic plants.  You experience things as the person experienced them—no sanitizing, no skimming, no skipping the yucky parts (unless the plant allows it.)

5.  Tell us about the everyn.  They’re more than just small dragons, right?

Oh, yes.  The everyn are part of the sentient animals species called Bondfriends.  They have a symbiotic psychic relationship with certain Kanaan (also called Bondfriends).  Without this psychic bonding, an everyn reverts to a fully animal state, while a Kanaan will ignore their physical state until they die before they reach puberty.  Bondfriends life separate from “regular” Kanaan, who don’t’ really understand their psychic relationship.  Also, because they are an animal/person mind, so to speak, they are a bit wilder than the Kanaan.

6. Where do you get your ideas? 

All over—from TV, from conversations with friends, from something on the news (or Facebook), from another book I’ve read, from a call for submissions for an anthology… There’s actually a psychological term for it: cognitive disinhibition. People with CD do not organize/file away information as well as people who don’t have it. As a result, we have a lot of stuff floating around in our minds, synapses snapping around until they link up with something else, and BOOM! Idea! Interestingly, schizophrenics also have CD, but on a more extreme level. So to all the people in college who thought I was inhibited—HA!


7. What’s a common mistake new writers make?

Following “rules” too closely. Really, there aren’t rules, just guidelines. For example, I had a friend who tried to remove every single adverb in her novel because “the rules” say “No –ly words.” Those words are a legitimate part of the English language and used judiciously (Look! -ly word), they can have an impact.

8.  You write a lot of different stuff—horror, fantasy, science fiction, comedy, devotionals…  What won’t you write?

Erotica, for one, or anything with an excess of gratuitous sex or violence. I have a rule for writing: If I’m not comfortable reading it aloud to my kids, I won’t write it. I've put aside novels because the characters want to share more than I’m comfortable writing.

Also, I won’t write something deliberately hurtful or insulting. I don’t hold back my opinions, nor do I resist a good joke just because it might offend someone. People are too prone these days to take the most innocuous stuff personally—or “personally” on behalf of someone else or some particular demographic. I spent too much of my childhood with a thin skin; life is more fun when you realize a joke is a joke.

I sometimes take on controversial subjects. The Mind Over series has a subplot concerning abortion, for example. I try to put myself aside and stay true to my characters’ feelings and attitudes. I won’t go so far as to say I’m always balanced; again, I write what I’d want my kids to read. So, while I won’t write a pro-abortion story I also don’t cast the woman who had one as the obvious villain. Life is complex, but there is a right and wrong.

9. You often decry on Facebook that you have too many ideas. How do you decide which to write first?

 

I have a rubric:
1. Will I get paid? (as in right away)
2. Am I on deadline?
3. Do I have a contract or an expectation from a publisher?
4. Will it sell more books?
5. Has the story grabbed me?

Sometimes, these blur, and once in a while, they go out the window. For example, I had an idea for a flash piece that I sent to a friend’s website. It will earn me nothing, and no one was expecting it, but the idea did not want to let go.

10. Is there a world of another writer you’d like to write in?

Madeleine L’ Engle’s Time Trilogy. Daydreaming up stories about Charles Wallance is what got me started. In fact, Mind Over Mind started in high school about Charles Wallace as an adult. Of course, it has radically changed! Deryl is nothing like Charles Wallace now, and the worlds are totally different. However, I still have one story that would work best with Charles Wallace. It takes place when he’s in his seventies and must again go in and out of people like he did in Swiftly Tilting Planet. One day, I plan to write it and use technology instead of withining—unless, of course Madeleine L’Engles’ estate wants to contact me about it!

I have been invited to write a novel in another author’s universe, incidentally. I don’t want to say more, though, until we have something more concrete. Let me just say, it’s a very interesting world premise and potentially a lot of fun.

Review: I Left My Brains In San Francisco

Neeta Lyffe, Zombie Exterminator, is back in Neeta Lyffe 2:  I Left My Brains In San Francisco.  After hosting the show Zombie Death Extreme (which has spun off more copies of the franchise than anyone in the book can count), Neeta is back to her job Re-killing the undead.  However, for this book, she's off to a Zombie conference in San Francisco. There will be scientists, government researchers, fellow re-killing experts, as well as enough vendors to outfit a small armory.

Also tagging along is her business partner and sort-of/maybe boyfriend Ted, who had been a cameraman on Zombie Death Extreme, and has joined her as an exterminator with a penchant for setting things on fire. Usually zombies.

But there's something out in the dark waters of the bay that is restless, cold, and dark, and hungry.  And Neeta is about to have a busman's holiday from hell....

No, that's not the summary from the back of the book, that's the short version of my own summary.

Now, let's start with all of the good things about this book.

The details put into this world is impressive, and even reminds of me of early Laurell K. Hamilton (when the books were dedicated to building up her character's world, not her list of sex partners).  The global politics are well put together, the various legal systems regarding zombies, etc (and, sadly, I can see some idiot passing a "no eco-profiling" act). I liked the shots she took at the Occupy movement, and creating degrees in professional protesting (since anyone who read my self defense columns knows my opinion there), and, once the book gets started, they have a solid, amusing running gag involving a group of eco-terrorists.

There is also a ton of details and thought put into the development of anti-zombie weapons systems, from monofilament swords (model such as "the Buffy," or "The Highlander", and, of course, the "Inigo Montoya"), to specialized squirtguns, and flamethrowers.  There is a talking GPS named Majel (Star Trek joke), and a whole bunch of little moments that make this book quite enjoyable. And, of course, having recently been to DragonCon, I could easily believe some of the panels at this particular convention.

And, frankly, Madam Fabian may have already spoiled the best scene in the book for you the other day in her own guest post. [more below the break]

Interview with Karina Fabian, author of "I Left My Brains In San Francisco"

So, round two. Yesterday was the guest blog for Karina Fabian as part of her virtual book tour for I Left My Brains In San Francisco.

The premise?

 Zombie problem? Call Neeta Lyffe, Zombie Exterminator--but not this weekend.
On vacation at an exterminator’s convention, she's looking to relax, have fun, and enjoy a little romance. Too bad the zombies have a different idea. When they rise from their watery graves to take over the City by the Bay, it looks like it'll be a working vacation after all.
Enjoy the thrill of re-kill with Neeta Lyffe, Zombie Exterminator.

Q: The first NL was a great satire of reality shows, with just the occasional shot at politicians. What made you go to a Zombie Exterminator Convention in San Francisco? Why San Francisco?

I’d just gone to World Fantasy Con in San Francisco, and my brother-in-law worked at a refinery in Richmond, and thought it’d make an awesome location for a zombie attack. (He’s been promoted and lives in LA now; no connection to the book). Plus, my publisher lives in San Jose, and she loves San Francisco, so it was an easy choice.

Q So it wasn’t just an easy way to slip in more political shots along the way? If that's the case, was DC taken?
California is an easy target, but it was the thought of zombies at the famous tourist sites that I enjoyed, although I didn’t get in as many as I’d expected. The story demanded other locations. Still, there are some great vignettes at famous spots. Maybe someday, I’ll write some short stories of the other sightings that didn’t get in the book.

Q: In the first NL, the EPA was going after detergents that Neeta thought was most effective about fighting zombies. Did you throw that in to imply the EPA would go after it *because* it could fight zombies, or was it just for fun?

They didn’t go after it because it would fight zombies, but because they’re hard on the environment. That was kind of the point—never mind that they’re our best defense against zombies; in large quantities they might affect the Spotted Peeing Mouse or somesuch. Of course, the whole idea of bleach being an effective zombie repellant is pretty ridiculous, so the real point is fun.

Q: The Neeta books seem to be your most political. They take swipes at the EPA, trial lawyers, eco-terrorists, the Occupy movement, and I'm sure a few other political targets that I'm missing.
I should have a contest to see how many things I poke fun at in these books.

Q Why Zombies? Were vampires taken?
Zombies were not my idea, actually. Kim Richards founded Damnation Books and asked folks to write stories for an anthology called *The Zombie Cookbook* to kick off the publishing company. So I wrote a funny one called “Wokking Dead,” which was more food puns and silliness than anything, but people loved Neeta and she asked me to write some novels.

Q: In the last book, the main adversary of the book seemed to be general stupidity -- be it of reality show producers, or everyone who seems to think they know better. In this, it seems to be eco-terrorists of the group called TREE. What made you decide to focus on them as a primary bad guy?

I needed a reason for zombies to attack a fuel refinery, and by the logic I’d already set up in Neeta Lyffe, Zombie Exterminator, it couldn’t be random coincidence. They had to have a reason to make the effort to go there, and to do damage once there. Eco-terrorism just made sense.

Q: This blog's latest release has been about a murder mystery at a science fiction convention -- essentially, humor via culture shock. What's your approach to it?
To humor? Twist cliché’s, take a trend to ridiculous extremes, puns, and generally amusing myself as I strive to amuse others.

Q: Did you have to work VERY hard on all of the in-jokes? The GPS voice named Majel? The monofilament sword called "The Buffy"? That sort of thing.

Oh, no! That’s the easy part. Those come to me as I write, but I (and my family) crack those kind of jokes all the time, so I have lots of practice. Ditto with puns. We used to reward our kids for coming up with puns. Rob and I actually fell in love during a pun war while eating pizza and watching Looney Tunes cartoons at a Shakey’s in San Angelo, TX. Humor is important in our house.

Q: What's next for Neeta? A. Zombie for Presidential candidate?
Zombies are not considered persons—there was a lot of debate and work on that, and even in the 2040s, there are still some who try to get them registered to vote. (And some that rise from the dead in hopes of completing their civic duty—amazing, I know!)

The next thing for Neeta and Ted is a ski vacation in Utah. Unfortunately, when a ski team killed in an avalanche returns from the dead to finish the competition, it turns into a working vacation. “Shambling in a Winter Wonderland” will be a story written in serial to raise money for Operation Homestead. Folks will find it in mid-November at http://skizombies.karinafabian.com

Q So, what's next for you?

Right now, the serial story. When that is finished, I’ll probably finish Gapman, a super-hero spoof in my DragonEye, PI universe. I’m also toying with publishing some of my novellas via Kindle.

Q: What've you been reading lately? In fiction, or non-fiction, or politics?

I just finished *Monster Hunters: Legion* by Larry Correia, which was an awesome book—definitely “popcorn” reading, but fun! I also have been reading a lot on the space industry, so Space News, Nations Space Society, etc. I’m blogging about it at http://fabianspace101.blogspot.com , Rocket Science for the Rest of Us. I get enough “politics” via Facebook. I’ll be glad for November!

Guest post: Karina Fabian on Zombies

So, when Karina Fabian offered to write a guest post for the blog, I figured I'd take her up on it. After all, I was slowing down after all of the DragonCon posts.

The topic I gave her? I wanted to know why the heck anyone wanted to be bothered with zombies.

She sent me the following.

Keep in mind, I think the following includes the best scene in her latest novel, Neeta Lyffe 2: I Left My Brains In San Francisco.

Why Zombies? Using the absurd in fiction to show the absurd in life.

Survival Hardware hadn’t seen such a rush of customers since the last Armageddon prediction coincided with Black Friday.
Manager Clint Sanders rubbed his hands with glee. Oh, Marley, if only you hadn’t gotten drunk and decided to go zombie hunting. Was it only last Christmas?
He hurried to Customer Service, crafting an announcement in his mind. “You want to live! We want to live! That’s why you are going to file calmly to the back if you need a suit.”
Yeah. Sense of urgency, plus that “We’re in this together” crap.
He got to the counter and nodded at Bitsy, who had rung up a chainsaw and a half-crate of bleach.
God bless survivors. Clint continued to the back. Out of habit, he checked the exit door, even though it was always locked from the outside. He needed to delete Marley's old code from it.
He cleared his throat. “Listen up! You want to live! We want to live!”
The exit door clicked.
“That’s impossible!” he declared. The store fell silent.
“Boss?” Bitsy’s voice ended in a squeak.
“That’s not what I meant! Security team to customer service!”
He reached under the counter for a shotgun. Bitsy grabbed the chainsaw. They had filled them that morning—another example of the excellent service at Survival Hardware.
The door swung open, and the zombiefied remains of his late business partner, Marley, staggered through.
Clint to blasted him with the shotgun. The impact knocked the Marley out the door.
Clint used the gunsight to scan the parking lot. “He brought friends! Call Nine-One-One. I’m putting this place on shutdown.”
“Screw that! I’ve been prepping all my life for this!” With a howl of challenge, Bitsy dashed out the door. She swung low and decapitated her former boss before moving on.
Thundering footsteps signaled the customers following in her wake.
He gaped at the carnage while Dirk called 9-1-1. It’d be too late by the time they got there. All that’d be left was to clean up the zombie parts and get the customers back in to pay.
God bless survivors.

---From I Left My Brains in San Francisco, by Karina Fabian

In the 2040s, zombies have become a reality. They rise from the grave, intent on eating brains or sometimes completing something that they didn't finish in life--even if it's a beer and a TV show. And, true to so many phenomenon in life, we are caught unprepared and unaware. That's how I started the world premise, and I let the story take me from there: People want to understand them, defend them, study them, use them--but above all, they want those vermin out of their yard! Thus, the hero of the story--Neeta Lyffe, Zombie Exterminator.

It's an age-old science fiction writers' trick--use the future to discuss an issue of today. In my case, the zombies are just part of a world gone a little loopier than it is now. You’ll find a great example of government waste and bureaucratic infighting in the Broken Bridge, started as a cooperative effort and halted with 120 feet to finish—and one side 60 feet lower than the other—because neither side communicated with the other. Video blog sites have exclusives on banned videos of a gruesome carnage—but only for members. California has subsidized protesting; and everyone gets an Adult Starter Allowance until they’re 25, as long as they aren’t working, of course. The newest environmental theory is Global Fattening, and the hot new protestors, the undead!

All of this makes a delightful mishmash of insanity into which to drop one woman who just wants to protect people by rekilling the undead--and hopefully making a little money and having some kind of social life while she's at it.

I hope you’ll enjoy I Left My Brains in San Francisco. It’s all in good fun, but if any of it comes true, I’ll be back in 30 years to say “I told you so!”

Bio On The Author

If there’s such a thing as ADD of the imagination, Karina Fabian has it—in spades. Craft books, devotionals, serious science fiction, comedic horror and chilling fantasy—she follows her interests and the characters that tell her their stories. 

Even before she could write, Karina strung tall tales about everything from making human pyramids in Kindergarten to visiting alien worlds. Her first attempt at novel writing was in fourth grade; she completed her first novel in college. However, her first published work was an anthology of Christian science fiction, Leaps of Faith, an EPPIE finalist for best anthology in 2006. Her next anthology, Infinite Space, Infinite God, featured Catholic characters and themes and won the EPPIE for science fiction. The second Infinite Space, Infinite God anthology came out in 2010. 

Watching the comedy improv show, Whose Line Is It, Anyway, inspired her noir-style dragon detective, Vern. Vern and his partner, Sister Grace, have solved mysteries and saved the Faerie and Mundane worlds numerous numerous times in the DragonEye, PI stories and novels. Their serial story, World Gathering, won a Mensa Owl; and the novel, Magic, Mensa and Mayhem (Fabian’s first published novel), won the INDIE for best fantasy in 2010. The second DragonEye book, Live and Let Fly, came out in April 2012. 

At a friend’s request, Karina wrote a funny story about a zombie exterminator, which grew into the Neeta Lyffe, Zombie Exterminator novels. The first, Neeta Lyffe, Zombie Exterminator, won the 2011 Global E-Book award for best horror, and was runner-up in the eFestival of Words for best YA. 

She also writes serious science fiction. Her SF novels, Discovery and The Old Man and the Void, are currently under consideration, and she’s working on the next DragonEye novel, a superhero spoof, Gapman. 

Karina has a strong faith, which she explored in her devotional, Why God Matters: How to Recognize Him in Daily Life, which she wrote with her father Steve Lumbert, and which won the 2011 Christian Small Press Publisher Award. She also writes Catholic school calendars and has written three craft books for the Little Flowers/Blue Knights clubs. 

Fabian is married to Colonel Robert A. Fabian of the USAF, and they are currently enjoying a long distance relationship while he’s stationed in Iraq. They have four children, an overgrown pup, and a harried cat. When not writing, teaching writing, or chatting about writing, she’s hanging out with her kids or swinging a sword in haidong gumbdo. 

Forget Sparta. I! AM! PUBLISHED!!!!!

I waited three hundred posts just so I can use that headline. Really....

...

Okay. No, not really. It just turned out that way.

But it's true. I'm published.  It Was Only On Stun! is available on Amazon.com.  Buy it here, now.  And you can also buy a kindle copy, right here. And a schedule for a virtual book tour, and maybe even a real life book tour, will be forthcoming .....

But I'm going to take a moment here.

I'm not sure you know what this means to me.

It's been fourteen years.

Two million words. Dozens of rewrites. Entire novels spiked. Two agents. A dead economy, "the end of publishing," and every negative thing about the business of publishing you've ever read in The New York Times.

There have been bridges burned with people whom I have deeply loved. There are people that I owe this to who are no longer talking to me. People who cared just enough to encourage me, but not enough to stay. There have been people I, admittedly, drove away while I was being driven insane by the thorns of this world.

It's been a long road, with a lot of work. I want to thank all of you who stayed around to read what I've had to say.

And, of course, there are specific people who have stuck with me that I need to thank, like: Jason Bieber, Karina Fabian, Kelly Garcia, Ester Lamm, Matthew "Funtime" Pryce, Allan and Annie Yoskowitz, Ann Margaret Lewis, various and sundry people from the Catholic Writer's Organization (Ellen Gable Hrkach, Jacqueline Vickers, Ann Seeton, and, of course, Walter Staples (who can now compare writer's notes with The Great Author). And, of course, there is my family, including my sister Margaret, who helped me with her editing services of Just Write! Ink (on Facebook).

I owe all of you. And I only hope I remembered you all in the acknowledgments. It's all been kind of a blur, so if I missed you, my aim will improve next time around.

Hopefully, you'll like It Was Only On Stun! to a ridiculous degree. You'll want to gift copies to all your friends, and insist that they do the same. Unlikely, but I've been living on hope and Red Bull for so long, I'm shooting for Mars (because the moon is just not ambitious enough). It's also a fairly kick-ass action, mystery, and comedy.

And, if by some chance you don't like it, well, I've got a dozen more books, each with a different flavor and style. The next book will be A Pius Man.  One way or another, it will be published.  Will it be by Amazon.com? Maybe. If that's the case, I'm going to have to find a way to pay Matt for his cover art.

Winston Churchill (everything interesting said in World War II is attributed to him), after the battle of El Alamein, said, "This is not the end. This is not the beginning of the end.  This is, pray God, the end of the beginning."

This is my beginning.

Thank God.

And thank you, too.

But, enough sentiment: here's a fun video with epic music, and weapons.




By the way, while this is an aside -- I also have a new website. Enjoy, all.

Review: Karina Fabian's "Neeta Lyffe: Zombie Exterminator"

You might remember that, a while back, I had been involved in a Catholic Writer's Guild online conference. I ran a workshop on fight scenes, and ran a discussion on creating a villain. During the course of that latter chat, I mentioned that it helped if the villain had the brain. Mindless, shambling zombies were not really that much fun, as villains go … Then I remembered that one of the people in the chat was Karina Fabian … who had written – surprise – a book about a Zombie Exterminator.

Now, if I had had my wits about me, I would have noted how, in zombie films, zombies are generally NOT the main bad guys. They set the scene, they act as cannon fodder (for an action franchise like Resident Evil, where the real villains are the Evil Corporation du jour), but most zombie movies are more about the people in the Zombie Apocalypse du jour rather than about the zombies. The zombies are window dressing.

Instead, my witless wonder moment had me hasten to add "Though I can't speak for every zombie storyline, I have yet to read Karina Fabian's." I think I inserted a smiley and went on from there.

Within two minutes, I heard an email click. I had just received an e-copy of Karina Fabian's Neeta Lyffe: Zombie Exterminator.

See, when I shoot from the lip, I have no idea what'll happen.

Neeta Lyffe: Zombie Exterminator, takes place in the 2040s, several decades after the zombie outbreaks started. There are no zombie apocalypses here.  It never happened. However, the undead can be annoying, so exterminators have to be called in -- exterminators with chainsaws.  Zombies are attracted to certain strong smells, and they don't like standard household cleaners.... don't ask.

Neeta Lyffe, a second-generation exterminator (motto: "I want to be buried like my mother, with my head cradled in my arms") is sued after an extermination call went into property damage. Now, in order to generate income, she's agreed to do the most terrifying thing in her life..... host a reality show.

Yes, you read that right. The reality show Zombie Death Extreme, where Neeta is stuck with a handful of exterminator wannabes, training them to re-kill the occasional nests of undead that threaten LA (then again, if parts of LA were turned into shambling mindless hordes, would anyone notice?). Also included: re-grief training ... for when you have to mourn for loved ones a second time, when they come back; and flash cards to tell the difference between a stroke victim, a drunk, and a zombie.  And you can probably guess, this has a sense of humor, unlike most zombie films ("We throw the grenades on the count of 3. 1, 2, 3."  Second person shouts "Five," and throws the grenade ... sorry, Monty Python joke.).

The cast looks like it should be stocked with the standard cliches: an ex-marine, a farm boy with a stutter, an African-American woman from an urban environment, an Afghan emigre who's first language isn't English (he speaks it perfectly well, but the producers want him so speak more like Hasan from a Bugs Bunny Cartoon). The Producer of the show is the standard two-dimension cardboard cutout, which means he's drawn very accurately -- however, he's never had to negotiate with someone who carries a chainsaw on a daily basis, including the occasional brainstorming session for the show.

All of the characters are vivid and brightly drawn ... and heavily mocked, in some cases. Everything you have ever hated about reality television is skewered ruthlesly, and wonderfully.

Possibly one of the best parts of this book (and there are plenty to choose from), use the running excerpts from a documentary on the rise of zombies, detailing a somewhat funny look on the matter, down to and including Darwin Award winners who tried to play tag with a zombie. That was fun.

In short, it's one part satire, one part action, and all parts fun.

Coming Soon, Netta Lyffe: I Left My Brains in San Francisco.

Blog in review, March / April 2012

First, February knocked me out.  The whole month sucked, and you can probably guess why.

Then in March, I started getting pulled down -- first with bouts of depression, then I was busy with video games, girlfriends, and a new job.  And since then, let's face it, I haven't been that great at keeping to schedule. So, sorry about that.

I started March with a character generation chart, for those people who want an easy way to create characters.  WARNING: characters make develop minds of their own in short order.  To follow up on that, there is a more advanced version with the psychology of characters, with real psychology, if you don't consider that an oxymoron.

In April, I had an interview with Karina Fabian about her new book Live and Let Fly, which I also reviewed.

And, I made a quick study of Writer's Block.  And, to go along with it, I explained my current situation in getting published: it's situation normal.

In music, I posted a blog for Simple Gifts ... just go with it. It works.  And, if you don't know Loreena McKinnett ... have a sample, I can recommend her work.  We also had a return to the awesome Lindsay Stirling, and her tribute to Skyrim.

But what about the Catholic Writer's Guild conference? That was covered in March!  Well, that was so self contained, I did that as a separate entry.

Be well, all.

Review: Live and Let Fly.

Karina Fabian has done some novels that could only be qualified as interesting. She's written theology, Catholic science fiction, rescue nuns, zombie exterminators, and those are just the ones that we'e taken a brief look at here.

And then there's Vern, the Dragon Private investigator.

Welcome to Los Lagos, Colorado, home of the Gap; in this case, the Gap is an inter-dimensional hole in time and space, and we can be grateful that this one isn't set in Cardiff.  The Gap has made Los Lagos home of plenty of interesting species from the Faerie dimension, a realm that is quite Catholic, and the original home to Vern, who was a dragon of some repute even before he had an encounter with a knight named George.

Now, banished to our world by the Duke of Pebbles-on-Tweed, Vern has made his living as a PI, along with his sidekick, the Vatican Mage Sister Grace.

Like every good PI story from Dashel Hammet to Jim Butcher, the story starts small, and spirals out of control quickly. What starts as the search for a missing ring after an assault, quickly turns into a murder mystery, with a kidnapping for a side dish, and it turns into race to stop the end of the world, dun dun dunnnnnnnn.....

But how do you stop a killer that leaves no trace? Not even a scent a dragon can follow?

Overall, the story is fun. There are some nice shots at Hollywood along the way(let's start with the chapter titles "Murky but Present Dangers," or "Gapraker").  And it includes the best take on Disney animatronics that I've seen since Peter David's Psi-Man series. The chapter titles were something else ("Seven Habits of Highly Defective Henchmen.")  In fact, the humor that works best is when Vern narrates events in term of cliche (see: excerpts here).  The satirical elements are possibly the funniest parts of the novel. I'm not sure if one of the villains was supposed to resemble Dilbert's Pointy-Haired-Boss, but it works.

Also along for the ride is the Bureau of Interdimensional Law Enforcement. ("BILE?" Vern thinks. "There's a name that must have been made in committee.")  With some entertaining parodies of James Bond thrown in, as well as one character who should be played by Marvel's Agent Coulson.

And, seriously, who can argue with a book where Shiva is a war correspondent?  Or where the Vatican has its own SpecOps team, giving a whole new meaning to the term "church militant"? It's right up there with John Ringo's Princess of Wands novel, that was based in the real world, with a little more strangeness attached.

There is also a wonderful sequence of negotiating with the kidnappers. It's only two pages long, but it's truly entertaining.

Live and Let Fly has some good solid action sequences. Like the attack of the killer animatronics, or a scene with an airship that was a cross between Final Fantasy VI and a John Nance novel.

And then, there's the line "I wanted the Holy Hand Grenades on standby in case all Hell did break loose."

Yeah, this was fun.

Interview with author Karina Fabian on "Live and Let Fly."

We've had a few interviews with Karina Fabian before.  She's appeared as a guest blogger once or twice. She's tolerated interviews from here for at least two of her books -- ISIG II, and Mind Over Mind.

And, now, we're on her novel Live and Let Fly.

What I'm going to do is simple.  This interview will not appear on the blog, but on my Examiner.com page.  Since the word count on the articles is supposed to cap at only about 500 words, it's been broken up into a four part article.

I asked how she came up with a dragon and a magic-wielding nun as a heroic duo.

I asked her about writing the novel, in part 2

World building was much of part three

And part four was on being Catholic and writing this book.

However, I'm not going to let you, loyal reader, and newcomer, leave here empty handed. No.  For coming here today, I'm giving you excerpts from the novel.

First, some background.

For a dragon detective with a magic-slinging nun as a partner, saving the worlds gets routine. So, when the US government hires Vern and Sister Grace to recover stolen secrets for creating a new Interdimensional Gap--secrets the US would like to keep to itself, thank you—Vern sees a chance to play Dragon-Oh-Seven.

No human spy, however, ever went up against a Norse goddess determined to exploit those secrets to rescue her husband. Sigyn will move heaven and earth to get Loki—and use the best and worst of our world against anyone who tries to stop her.

It's super-spy spoofing at its best with exotic locations (Idaho--exotic?), maniacal middle-managers, secret agent men, teen rock stars in trouble, man-eating animatronics, evil overlords and more!

And now, some snippets, and extra data.

Short:

Festival was Friday. We had two days to stop a Nordic demigod evil overlord—overlady, overbeing, whatever—from blowing up a nuclear power plant, possibly destroying half an island full of revelers in the process, and creating an Interdimensional Gap through which she can bring the rest of her giant relatives to set up housekeeping where the Faerie Catholic Church didn't have the power to control them. In other words, two days until Hel broke loose.

I've had worse deadlines. I could afford a long bath in our whirlpool tub and a good meal first.

Long:

Charlie started to close the door behind us, his other hand gripping the handle of his dagger so tightly I could hear the leather wrap on the handle strain, as we listened to the footsteps coming our way, slow, bored. My predator's instincts rose; then I had a great idea. I shook my head at Charlie and winked, and he shuffled out of my way, leaving the door ajar. I settled myself with my back to the door, just inside the shadows and let the script play itself out:

CLUELESS MINION enters Stage Left. He pauses, hearing a noise, but does not report it. Instead, he fondles the stars on his nametag and moves toward the empty hallway, his mind on adding another. (Probably saying, "I was proactive today!")

CLUELESS pauses at door, hesitating. He stands and, back to the door, reaches for his walkie-talkie.

Suddenly, a well-muscled and gorgeously scaled tail whips out from the crack in the door and wraps itself around his neck. He only has time to grab ineffectively at the tail before he's drawn into the darkness. The door shuts behind him.

Pan shot of the empty hallway.

FADE TO BLACK

I slammed my victim on the floor and pinned him with my forelegs, then I leaned my face in nice and slow, making sure he got a good look at my fangs before he saw my eyes. "Where's the girl?" I growled low and menacingly.

"Wh-What g-g-girl?"

Charlie crouched down by Stutterboy and glanced at his nametag. "Look, Philip, we're in a bit of a hurry. We know Rhoda Dakota's being held captive somewhere nearby. Now you can be a good survivor and tell us where…or you can be dinner."

"I-I don't—"

"Phil A. Minion." I mused and drooled a bit for effect. I live for these moments, I really do. I licked his cheek and asked Charlie, "Can I have fries with that?"

"Why not? This is Idaho."

Fighting and writing workshop, day 5 and 6: military fight scenes

This is the online workshop in writing fight scenes that I did for the Catholic Writer's Conference.  Karina Fabian had managed to draft me ... or I volunteered, I'm not entirely certain.  Either way, it was an interesting little experience.

Since most of you folks have been with me for a while, I'm going to give it to you.

Don't worry, I wasn't paid for this, so giving this away for free will hurt no one. And, few to no people wanted to show up and play with my workshop, even though there were over 25 viewers for each post.  But, I've been told few people showed up anyway for the forums, something to do with schedule confusion.

So, here is day five and six.... Day five was merely an assignment. Day six was more interesting.

 Day Five: Putting It Together

At this point, you should have an idea of what you're doing. Take assignments three and four, and put them together. Whether you start from a weapon and go to hand-to-hand, or vice versa, is up to you. This is the assignment.

Like with most writing, practice makes perfect. So don't be discouraged if you're not writing full-scale battle choreography by now.

Day Six: Writing For Military Fights

Writing a military fight scene is no different from any other, when you get down to it. Do some research on terms, maneuvers, etc., but don't overstress that part. It's mostly just a matter of vocabulary.

But, seriously, there's little difference from warfare fighting.

Character: In describing filming for Lord of the Rings, and the Battle of Helm's Deep, director Peter Jackson discovered a basic law of fight scenes – Jackson had hours upon hours of stuntmen beating each other to a pulp, but the battle was boring when the camera was not on the primary characters.

The important thing you need to know is, no matter what, you need to focus on the individuals involved. The more modern your setting, the more things are done by groups of individuals, squads and fire teams, and not massive lines of fire, one against another.

However, no matter how many people you have fighting whatever enemy, you need to have individuals the audience can focus on and care about. Writing about a line of tanks is boring. Writing about someone the audience has met, and is invested in, is much, much better.

For great examples of this, read the Richard Sharpe series by Bernard Cornwell – he has, on average, about six players in any battle that he focuses on, as well as a massive, historical battle taking place.

Setting: If you want to focus on a full-scale battle, in whatever age and setting, one thing you'll want to focus on is the field of battle. You're going to want to focus on the sounds, and the sights, perhaps even the smells. You want to recreate it as though the battlefield is a character. A loud, monstrous, messy, rampaging character, with lots of property damage.

The best I've ever seen of this type of recreation is John Keegan's The Face of Battle, where he recreated the battlefields of Agincourt, Waterloo, and Verdun.

Hand-to-hand combat and weapons: Depending on the scenario, military battles do not start with close combat, unless it's a type of covert infiltration, where getting in close and killing people silently is important. And, let's face it, the use of weapons will vary wildly depending on what time period and setting you're using. For the most part, it boils down to individuals.

Fighting and writing workshop, Day 4: Guns in Fighting.

This is the online workshop in writing fight scenes that I did for the Catholic Writer's Conference.  Karina Fabian had managed to draft me ... or I volunteered, I'm not entirely certain.  Either way, it was an interesting little experience.

Since most of you folks have been with me for a while, I'm going to give it to you.

Don't worry, I wasn't paid for this, so giving this away for free will hurt no one. And, few to no people wanted to show up and play with my workshop, even though there were over 25 viewers for each post.  But, I've been told few people showed up anyway for the forums, something to do with schedule confusion.

So, here is day four.

***

Day 4: Guns in Fighting.

There are more weapons in Heaven and Earth than there are in Thomistic philosophy. However, guns seem to be the magic weapon that everyone uses, and uses badly. With any weapon you decide to use, make certain that you have a basic knowledge of these weapons, even if it's merely researching them online. This day will also assume that you've never even seen a gun up close and personal – perhaps an erroneous presumption, but I'm not going to assume everyone knows guns. If you have do know things about guns, please bring it up.

Weapons are tools. Knives do more than stab people. Lead pipes do more than club people over the head. And guns do more than shoot people. Don't get me wrong, guns are great. But if you're writing for someplace like New York, guns are not readily available to the general populace.

Remember Day One, writing the rules for the culture on fighting? Now you know why we bothered.

Everything in a fight has to feel fast-paced, as we said before. But when you introduce a weapon into any scenario, the characters and the writing have to move fast. Or at least intelligently. What do I mean by this? I mean that no one is going to outrun a bullet – the best they can do is be faster than the trigger finger of the person targeting them – but finding cover, providing distractions, and shooting elements of the setting or other uses of the gun.

In actuality, gunfights are not like an Arnold Schwarzenegger movie – if someone is moving in a straight line, a smart gunman will lead the target. However, smart gunmen do not use fully-automatic fire in extended bursts. Firing a full magazine of ammunition on full automatic will not lead to a stream of bullets that come out in a straight line, but will cause the muzzle of the gun to jerk around like a spastic mime having an epileptic fit. In a gun battle, at a distance, even slight deviations of the gun's barrel will cause bullets to go wildly off course.

Then again, stupid things happen with guns. The average shootout with the police takes place at a distance of nine feet, but three out of every four bullets will miss, mainly because everyone is popping in and out of cover, snapping off shots and hoping they'll hit something.

Again, now is not the time for technical terms. If you're writing for a medieval setting, or a fantasy setting, if specific parts of specific weapons are going to come into play, you may want to introduce them before the fight even begins. And, if you're using a technical detail of a gun that only people who field-strip their own weapons would know, don't discuss it in the middle of a fight. A previous example has been the Lee Child model, where his character Jack Reacher describes how a fight will turn out and why, before the first punch was even thrown. You can have such discussion then, but when the bullets start flying, try not to dwell too much on the pieces and parts.

You can, however, have a technical analysis as the hero/ine is taking cover, and thinking about what to do next. If the pieces of the gun are important to the solution, and you can provide a “lull” in combat (if that's how one can describe taking cover while being shot at), then by all means, make it relevant. However, you do not want to give the vital statistics on a gun in mid-battle. In fact, you might not want to go into it at all.

The most anyone needs to know about most guns might include:

Ammunition capacity: Do not use Hollywood forever shooters. You will want to reload – if only because it's more thrilling to have a count of how many bullets your hero/ine doesn't have. (Would the end of Die Hard work at all if John McClane had had a full magazine left, instead of just two bullets?)

Type of ammunition: This only matters for level of impact, and penetration. If it's a .22-caliber from a handbag pistol, you can stop if with a pocket Bible. If it's a .45-caliber, you will stop someone if only from the shock value (no one takes an impact from a .45, rolls into a doorway, and returns fire. It's gonna suck to be that person). If it's a .50-caliber handgun, you can disable engine blocks and amputate limbs. If you're writing science fiction, ammunition type is doubly important.

Type of gun: Revolvers, pistols, assault weapons, submachine guns, hunting rifles, and machine guns all have different strengths, ranges, weaknesses, and abilities inherent in the type of gun. You will not put a bayonet on a pistol, and no one should try to rob someone with a sniper rifle.

Length of weapon (optional): many handguns make for great blunt-force weapons.

Appearance: I'm a very visual reader. There are some guns that are very visually distinct: a FAMAS assault rifle looks nothing like an M-16, which looks nothing like an Uzi, which looks nothing like an H&K G-11, which looks nothing like an AK-47. However, there are a lot of knockoffs that resemble M-16s, AK-47s, and Uzis. You don't need make, model, and serial number; just say “it looked like X, Y, or Z” gun, unless you want to go into more detail.

In essence, you can boil down someone's handgun to “short-barreled .22-caliber revolver,” or “a semi-automatic that looked more like a hand cannon” (for an example of this, look up the image of a “Desert Eagle” .50 caliber.)

Note: Please remember that Kevlar is not a magic shield. At best, it will take that small metal object going at hundreds of feet per second, and redistribute its force so that your character will essentially feel like s/he's being slapped with sheet metal at ten miles an hour.

Assignment #4: Choose Your Weapon.

Take your setting, hero/ine and the enemy from assignment #3. Pick a weapon and put it into a fight between the two. It does not have to be a gun (for thoughts on weapons, and improvised weapons, check the “How To” article link in the initial documents packet). It doesn't matter if your hero has the weapon, or your villain does. It doesn't matter if the weapon was found at the fight location, or if it was brought.

If your hero does not have a weapon to start with, they will need to disarm the bad guy and/or find their own weapon.

Youcan check the how-to article again to at least get the principles for gun and knife disarms, though the principle is mostly based in common sense – don't get in the way of the weapon.

Remember, you do not need to have anyone killed, even if you're using a gun in the scene. Guns can shoot the environment, make people flinch, duck, or buy the characters time.

Fighting and writing workshop, day 3: Writing Fight Technique

This is my online workshop in writing fight scenes that I did for the Catholic Writer's Conference.  Karina Fabian had managed to draft me ... or I volunteered, I'm not entirely certain.  Either way, it was an interesting little experience.

Since most of you folks have been with me for a while, I'm going to give it to you.

Don't worry, I wasn't paid for this, so giving this away for free will hurt no one. And, few to no people wanted to show up and play with my workshop, even though there were over 25 viewers for each post.  But, I've been told few people showed up anyway for the forums, something to do with schedule confusion.

So, here is day three.

****

 Day Three: Now, Let's Talk About Writing Fight Technique.

There are a lot of basic moves that you don't need to describe too much. Most kicks and punches are like that, for example. You don't necessarily require a full description on a “forward vertical defensive kick” (as seen in the article on how to throw a stop kick) – you can just write “X kicked Y in the chest the way a fireman would kick down a door.” It's the same kick, just a less technical way of writing it.

Speed of attack: keep in mind that most fights don't even last for five seconds. A kick to the groin, a punch to the throat, and it's game over. Even a fight with a weapon can only last so long. Fighting over a knife will ensure that all sides get cut, and someone will be hurt in short order.

And, keep in mind, fighting is hard work. Even something as simple as punching is going to take a lot out of someone. If you don't believe me, go hit a punching bag for a minute. Punch it, kick it, headbutt it if you like, but do it at full speed, as hard as you can. You're going to find that it is very, very hard work. After the initial burst of energy, you're going to slow down after thirty seconds. Stamina should not be important in a fight, because most fights shouldn't last very long.

Another element to keep in mind: the enemy is also reacting. We don't need three-dimensional chess with hand-to-hand combat, but we also have to remember that (for example) kicking someone between the legs (even if they're feeling no pain), will still force the body to lean forward, and that opens up possibilities. If we punch someone, their head will go back. If we feint, they become defensive, preferably where we don't want them to be.

If you're going to have a long fight scene, it should be for a good reason. Either it's a war—in which case it's perfectly understandable—or there are multiple attackers, or both participants are very, very well-trained.

Yes, you can have a half-page of description for something that takes only a split second. You can have all of the technical details down cold, but you must at least convey to the audience the speed. And, even if you don't go into exacting, excruciating detail for your audience, you should at least know the mechanics, so you know what you're doing. Don't be insulted – trust me, I used to do that a lot.

If you like, look at the fights scenes of Lee Child's character Jack Reacher. He'll give a half-page dissertation on something like the tactical usefulness of a headbutt, or he will work out a fight, chess-like, before the first punch is thrown. He then does it, writes a few lines of the enemy's reaction, and keeps going.

Note: If you have formal training, or have practical experience in a self-defense system or martial art, realize that high kicks, spin kicks, or any kick that goes above the hip can pose a danger in a real fight. In a real close-combat situation, there are no rules, and there is no tapping out. This may sound patronizing, but trust me, there are plenty of people who try to use fancy moves they learn on a gym mat and try to use the same moves on concrete. It doesn't end well, sometimes.

Assignment #3: Writing Hand-to-Hand Technique

Look at the various articles assigned here: http://shar.es/giQgA. Choose at least one technique. Do not worry about plagiarizing; there are only so many ways to describe some moves. All that I require is that you use one element of one described technique over the course of your fight scene.

Step 1: Set up the fight, be it a mugging, or something with a minor villain, what have you. Write out a full technical description of what your character will do – not only with the technique, but most importantly with what comes next. (Continue to fight, to run, et al). How does the other combatant react/reply?

Step 2: Give reasons for their actions, and how it fits with your character.

Step 3. Repeat step one, only take the entire technique and condense it. Boil the technique into only a paragraph, at most. Now that you know what your character is doing, there's no reason to belabor the point for your audience. You can go into great detail, if it's an obscure method, or if you have a style similar to Lee Child, described above. You don't have to do one or the other in your writing, but you should at least be able to do both.

Please note: when writing your fight scene, be certain that you, and your readers, can keep track of what side everyone is on. Even professional writers of military fiction, like Bernard Cornwell, will occasionally leave out details like “Character Y is blocking with the sword and hitting with the empty hand, and kicking someone else …. what direction are all of these people coming from!!!”

Fighting and writing workshop, day 2, Setting the Chessboard

This is my online workshop in writing fight scenes that I did for the Catholic Writer's Conference.  Karina Fabian had managed to draft me ... or I volunteered, I'm not entirely certain.  Either way, it was an interesting little experience.

Since most of you folks have been with me for a while, I'm going to give it to you.

Don't worry, I wasn't paid for this, so giving this away for free will hurt no one. And, few to no people wanted to show up and play with my workshop, even though there were over 25 viewers for each post.  But, I've been told few people showed up anyway for the forums, something to do with schedule confusion.

So, here is day two.... see you next week.

***

 Day Two: Setting the Chessboard

Before even beginning a fight scene, you should know where it is, what happens to be lying around, and what is or is not available.

Keep in mind that you're going to have different rules of engagement for each fight, depending on the setting and the bad guy. If you're in the middle of a fantasy universe, where the technology is pre-atomic, the moment that some random adversary pulls a weapon, your hero/ine can immediately counterattack – be it a full disarm or a quick kick where it hurts – if only because the likelihood of your character being arrested for defending him/herself will be nonexistent (and you thought day one was a waste of time, didn't you? Heh.).

Obviously, the method and manner of the counterattack will be dictated by your character, and the situation. A civilian who knows Krav Maga will have different instincts than, say, a police officer with a gun.

Step one, of course, is your players. What is the physical condition of your character? How tall? How fat? How many protagonists vs. how many antagonists? If your hero/ine is seven feet tall, or three feet wide, it would be difficult to hide. An athlete can, at the very least, run or hide. Are either or both armed? With what?

Step two is knowing where your players are in relation to one another, and in relation to the environment. Fights do not take place in a vacuum. Pick a setting for your fight. Set it up in your own home, or someplace you know well, or someplace you've created out of thin air. Is it a place rich with weaponry? (See the improvised weapons article.) Or is it a place rich with hiding places?

Important note: consider that while your paper is two-dimensional, your setting need not be. In fact, unless you're on a stretch of highway in one of the flatter parts of Ohio, or in a strange part of a desert without sand dunes, you're going to have three-dimensional elements to it. Just something to think about.

Step three: Where is your hero(es)/heroine(s)? Where is your bad guy? This will dictate many of the choices for your main character. Is it easier to run, fight or hide? Does your character need to take cover? Can s/he get to a weapon, or will s/he have to work for it?

Assignment #2: Setting the Chessboard

Create a setting for your battle, keeping in mind everything discussed in the reading. Go as big or as small as you want. And keep in mind while your page is two-dimensional, your setting is three-dimensional.

What weapons areavailable to each character involved? What hiding spaces or cover is there? What would your hero/ine notice? What would the enemy notice?

In short: describe a room with a tactical eye. Can you characters run? Hide? What can they fight with? Throw?

For more ideas on the matter, I recommend looking at the http://shar.es/giQg reference link, mainly for some basic ideas on being aware.

Fighting and writing workshop, Day 1: fighting, your characters, and your world

As I mentioned, two weeks ago I said I was going to host an online forum workshop in writing fight scenes -- it was loosely based on one of my own blog posts. It just spun out of control.  Karina Fabian had managed to draft me ... or I volunteered, I'm not entirely certain.  Either way, it was an interesting little experience.

Since most of you folks have been with me for a while, I'm going to give it to you.

Don't worry, I wasn't paid for this, so giving this away for free will hurt no one. And, few to no people wanted to show up and play with my workshop, even though there were over 25 viewers for each post.  But, I've been told few people showed up anyway for the forums, something to do with schedule confusion.

So, since this workshop screwed over my blog posts last week, I figure that I should get some use out of it.

This was the first day.

***

Day One: Fighting, Your Characters, and Your World.

Before one even gets to writing a fight scene, you have to answer multiple questions, not only about you character, but about the world s/he inhabits.

For example: if your main character is a civilian in the modern world, not only do you have laws to contend with, but a question of training.

Start with a situation. Your character is mugged. Some strung-out druggie who needs a fix wants your character's money. This character has a feeling that things are going to end badly no matter what s/he does. It is time to resist.

But then you have a problem before you even get to the technical aspects of writing a fight. Why would your character know how to fight?

Family – is fighting in the family business? Mercenary, samurai, knight, military family?

Culture – does your world resemble Sparta 2.0? Are there laws against fighting? For fighting? Is dueling outlawed or celebrated?

Profession – is your character a SEAL? An enthusiastic reservist?

Sports: Does your character like MMA? Wrestling? Target shooting? Hockey? Soccer? Any of these can be adapted to create the realities of a fight scene.

Hobbies: Your character may be nothing more than a smart, reasonable person who believes in self defense. S/he may also be a ballerina who can launch a nasty spin kick because that's what s/he did in Swan Lake – don't laugh, it works for actresses Jennifer Gardner and Summer Glau. S/he may have taken capoeira because s/he thought it was only a dance class. If s/he likes to fire off a hundred rounds a week at the local shooting range, why not? Even the basics of handling a gun can be useful.

As an example, you can check outseveral characters from one of my books.

Now, fight scenes do not necessarily require fisticuffs. Running away is a good, reliable tactical maneuver. Your character can always run.

Why does this matter? Establishing your character's own style of fighting is perfectly reasonable, otherwise, you have fight scenes that you've stolen from action movies … Yes, I've done that. Then I took a real self defense system, and I'vesince rewritten every last one scene.

Assignment #1

1) What are the cultural rules/legalities of your world when it comes to fighting? In modern settings, these laws vary by country, and even by state. In New York, if you defend yourself against an armed mugger, laws can be used to prosecute you. In Texas, if you defend yourself, you get a medal.

2) If your character had to fight, how would they do it? What is the style of fighting your character uses? It can be straight up punching and kicking, or furious punching and gouging, or something more informal like Krav Maga, or much more formal, like Tae Kwan Do. Does your character fight with improvised weapons, or instead use traps and trickery to dispose of the adversary? Or (also acceptable) do they run away until they can find a solid position to fight from?

3) Why does your character know that system of fighting? If you're writing the character of a Navy SEAL, that's one thing. If it's the civilian offspring of a military family, that's another. Does a family member teach the fight system? Was it something they thought was cool when they were twelve? Did they read too many thrillers growing up? Did they take ballet, or soccer, or football – something with a lot of kicking?