Hospitals and injury are always such a staple of angst fics, but 9 times out of 10 the author has clearly never been in an emergency situation and the scenes always come off as over-dramatized and completely unbelievable. So here’s a crash course on hospital life and emergencies for people who want authenticity. By someone who spends 85% of her time in a hospital.
Emergency Departments/Ambulances.
Lights and sirens are usually reserved for the actively dying. Unless the person is receiving CPR, having a prolonged seizure or has an obstructed airway, the ambulance is not going to have lights and sirens blaring. I have, however, seen an ambulance throw their lights on just so they can get back to the station faster once. Fuckers made me late for work.
Defibrillators don’t do that. You know, that. People don’t go flying off the bed when they get shocked. But we do scream “CLEAR!!” before we shock the patient. Makes it fun.
A broken limb, surprisingly, is not a high priority for emergency personnel. Not unless said break is open and displaced enough that blood isn’t reaching a limb. And usually when it’s that bad, the person will have other injuries to go with it.
Visitors are not generally allowed to visit a patient who is unstable. Not even family. It’s far more likely that the family will be stuck outside settling in for a good long wait until they get the bad news or the marginally better news. Unless it’s a child. But if you’re writing dying children in your fics for the angst factor, I question you sir.
Unstable means ‘not quite actively dying, but getting there’. A broken limb, again, is not unstable. Someone who came off their motorbike at 40mph and threw themselves across the bitumen is.
CPR is rarely successful if someone needs it outside of hospital. And it is hard fucking work. Unless someone nearby is certified in advanced life support, someone who needs CPR is probably halfway down the golden tunnel moving towards the light.
Emergency personnel ask questions. A lot of questions. So many fucking questions. They don’t just take their next victim and rush off behind the big white doors into the unknown with just a vague ‘WHAT HAPPENED? SHE HIT HER HEAD?? DON’T WORRY SIR!!!’ They’re going to get the sir and ask him so many questions about what happened that he’s going to go cross eyed. And then he’s going to have to repeat it to the doctor. And then the ICU consultant. And the police probably.
In a trauma situation (aka multiple injuries (aka car accident, motorbike accident, falling off a cliff, falling off a horse, having a piano land on their head idfk you get the idea)) there are a lot of people involved. Alot. I can’t be fucked to go through them all, but there’s at least four doctors, the paramedics, five or six nurses, radiographers, surgeons, ICU consultants, students, and any other specialities that might be needed (midwives, neonatal transport, critical retrieval teams etc etc etc). There ain’t gonna be room to breathe almost when it comes to keeping someone alive.
Emergency departments are a life of their own so you should probably do a bit of research into what might happen to your character if they present there with some kind of illness or injury before you go ahead and scribble it down.
Wards
Nurses run them. No seriously. The patient will see the doctor for five minutes in their day. The nurse will do the rest. Unless the patient codes.
There is never a defibrillator just sitting nearby if a patient codes.
And we don’t defibrillate every single code.
If the code does need a defibrillator, they need CPR.
And ICU.
They shouldn’t be on a ward.
There are other people who work there too. Physiotherapists will always see patients who need rehab after breaking a limb. Usually legs, because they need to be shown how to use crutches properly.
Wards are separated depending on what the patient’s needs are. Hospitals aren’t separated into ICU, ER and Ward. It’s usually orthopaedic, cardiac, neuro, paediatric, maternity, neonatal ICU, gen surg, short stay surg, geriatric, palliative…figure out where your patient is gonna be. The care they get is different depending on where they are.
ICU.
A patient is only in ICU if they’re at risk of active dying. I swear to god if I see one more broken limb going into ICU in a fic to rank up the angst factor I’m gonna shit. It doesn’t happen. Stop being lazy.
Tubed patients can be awake. True story. They can communicate too. Usually by writing, since having a dirty great tube down the windpipe tends to impede ones ability to talk.
The nursing care is 1:1 on an intubated patient. Awake or not, the nurse is not gonna leave that room. No, not even to give your stricken lover a chance to say goodbye in private. There is no privacy. Honestly, that nurse has probably seen it all before anyway.
ICU isn’t just reserved for intubated patients either. Major surgeries sometimes go here post-op to get intensive care before they’re stepped down. And by major I mean like, grandpa joe is getting his bladder removed because it’s full of cancer.
Palliative patients and patients who are terminalwill not go to ICU. Not unless they became terminally ill after hitting ICU. Usually those ones are unexpected deaths. Someone suffering from a long, slow, gradually life draining illness will probably go to a general ward for end of life care. They don’t need the kind of intensive care an ICU provides because…well..they’re not going to get it??
Operations.
No one gets rushed to theatre for a broken limb. Please stop. They can wait for several days before they get surgery on it.
Honestly? No one gets ‘rushed’ to theatre at all. Not unless they are, again, actively dying, and surgery is needed to stop them from actively dying.
Except emergency caesarians. Them babies will always get priority over old mate with the broken hip. A kid stuck in a birth canal and at risk of death by pelvis is a tad more urgent than a gall stone. And the midwives will run. I’ve never seen anyone run as fast as a midwife with a labouring woman on the bed heading to theatres for an emergency caesar.
Surgery doesn’t take as long as you think it does. Repairing a broken limb? Two hours, maybe three tops. Including time spent in recovery. Burst appendix? Half an hour on the table max, maybe an hour in recovery. Caesarian? Forty minutes or so. Major surgeries (organs like kidneys, liver and heart transplants, and major bowel surgeries) take longer.
You’re never going to see the theatre nurses. Ever. They’re like their own little community of fabled myth who get to come to work in their sweatpants and only deal with unconscious people. It’s the ward nurse who does the pick up and drop offs.
Anyway there’s probably way, way more that I’m forgetting to add but this is getting too long to keep writing shit. The moral of the story is do some research so you don’t look like an idiot when you’re writing your characters getting injured or having to be in hospital. It’s not Greys Anatomy in the real world and the angst isn’t going to be any more intense just because you’re writing shit like it is.
Here are some scientific facts about blood loss for all you psychopaths writers out there.
This is actually very nice. I like the soda bottles as reference. (I remember when I was writing ‘Wizards of Ceres’ how I had to do a similar soda-bottle conversion to try to work out how much blood Fai could drink from Kurogane without killing him.)
On the topic of vampires incidentally, this basically means that there is no reason why feeding from someone should necessitate killing them, unless the vamp can chug two soda bottles worth of liquid in one go or carelessly leaves the bottle open when they’re done
@fieldofclover thought this might come in handy for, you know, vampirey things
Ooh, I like this! The bottles as a reference makes it quite easy to picture mentally - especially since, having previously experienced just how much mess a litre-bottle spilt on the floor actually makes, it gives a better idea of volume etc.
Incidentally, as a frequent blood donor myself (thank you, haemochromatosis), and thus being more aware of the volume of blood donated at each session (the average appears to be 450ml, or 0.45 litres per blood bag filled) and needing to know how long it takes red blood cells and plasma to recover after donation–
about 24 hours for plasma, and up to 8 weeks for red blood cells themselves, which is why the average length between donations is 12 weeks, to ensure the body is well recovered by the next donation (which is also why I was so fucking tired after having to donate once a month for the first three months of my treatment)
– I ended up doing a bit of reading re: blood loss, but this really is the best imagery for it I’ve seen without bogging down into too much science stuff.
Other crucially important facts relevant to vampire porn I have learned:
yes, you can get an erection after donating blood, as the body generally maintains blood pressure equilibrium even if the volume of red blood cells per liquid ml is lower, though if you lose anything more than half a litre you’re probably gonna find it a bit difficult;
erythropoietin is a funky chemical involved in converting stem cells to red blood cells which your body produces when you need more of ‘em, so if we’re going with the standard ‘vampire saliva is an anticoagulant and narcotic stimulant, and/or induces arousal’ conceit, it probably makes sense that said saliva introduces a similar compound into the human blood stream in the post-feeding stage to encourage their food to recover quickly for a repeat feeding, usually while licking the wounds left behind;
your vamp is probably gonna have a reallyfull belly if they try and drink more than the average 450ml or so in one sitting. Blood is quite a bit thicker than water or soft drink; it’s more like drinking a hearty broth or soup. Can you imagine attempting to chug a litre of pressurised soup as it squirts into your mouth with considerable force? No thanks!
tl;dr the science behind blood loss is fascinating, especially in a vampire context, and the government agencies monitoring my search history probably think I’m a serial killer
AND while I was trying to find that video, I also came across these visual aids:
And this shirt, which only has 250ml (¼th a liter) of fake blood on it:
They also say that even paramedics have a difficult time guessing how much blood was lost, and many of them will say they probably got it wrong. For people used to having our blood be on the inside, it can be startling to see so much of it on the outside- even when ‘so much’ turns out to be actually not as much as we thought.
On a scale of “is occasionally forced to bathe” to “Instagram model with sponsors to hoe for” how involved is your OC’s Skincare routine?
What are your OC’s food preferences (flavors/textures/spiciness/calories/ when and how they eat) and how did they get that way?
What’s something pointless/petty/unimportant that IRRATIONALLY ANNOYS THE HELL out of your OC?
What’s your OC’s response to being asked for money by a homeless person?
Does your OC get lost easily? What do they do when they do get lost?
What would STOP your OC from Doing The Right Thing in a tense situation?
Realistically, could your OC (in their normal circumstances- i.e. at thier own house/battlecamp/spaceship etc.) keep a small child alive for a week if they had to? A Dog? A Houseplant? A rock with a smiley face painted on?
If your OC had to take the S.A.T. tomorrow with one night to prep, how would they do? both emotionally and academically.
What would cause your OC to chose to do something petty/pointlessly cruel?
On a scale of “Complete and Justified nervous breakdown” to “Conquer The Entire Galaxy and become an Immortal God-Emperor”, how well would your OC handle being abducted by Aliens?
What song is 100% garunteed to get your OC beyond turnt and will be sung loudly and emabarrasingly, either in public or the shower?
What perfectly-normal-to-them-thing does your OC do that confuses/pisses off/terrifies thier neighbors?
Under what circumstances would your OC appear naked in public?
What thing did your OC’s parents do that your OC wishes they had a better explanation for?
How often does your OC “zone out” or do things on autopilot and how severe have the problems that have arisen from that been?
How strong or weak is your OC’s Impulse control? What’s the worst thing that happened becuase of thier Impulsivity or inability to be so?
How does your OC sabotage themselves?
What’s the trashiest item in your OC’s wardrobe, when was the last time they wore it and why do they still have it?
How Dehydrated is your OC right now? Are they going to fix this?
What’s your OC smell like? no, not that “Vanilla and Anxiety” evocative stuff, realistically. Body odor? what have they been touching all day? When was thier last shower? Did they put on any kind of artificial scent?
When it comes to assigning personality types to characters there are a lot of methods to choose from. There’s Briggs Myers 16 personality types. There are the character archetypes that are found across all genre’s of literature. This is about a different scale. It’s less about assigning a name or role to the characters personality and more about developing the characters personality based on a handful of traits in varying degrees.
Robert McCrae and Paul Costa later developed the Five factor mode for personality study. They summarized that there are 5 basic aspects of personality. The aspects fall on a sliding scale rather than a binary, and the character’s reaction to events and other characters can change their scale when dealing with that specific character.
Each character in a story will have its own personality made of the same traits in differing amounts. You can create the same “Character” and utterly change their personality by adjusting where they fall on each scale.
Extroversion
The more extroverted a character is the more focused they are on the world outside of themselves. Most main characters are extroverted because they must be to move the story forward. That doesn’t mean your character can’t be an introvert. It just means the stakes of the catalyst event will have to personally affect them to pull them into the story.
Agreeableness
An agreeable character will get along with others easily. They are more willing to do things to help others and have a sunnier disposition. The more likely a character is to do someone a favor just because they ask the more agreeable that character may be.
Openness
How many secrets is your character keeping? Who do they let into their inner life? Who do they trust? An open character has few secrets. A secretive character doesn’t necessarily mean that it’s keeping a lot of secrets. Secretive characters can be perceived as mysterious, when they may have no secrets other than they don’t talk about themselves much.
Conscientiousness
How careful is your character? How much attention do they pay to what they are doing? How impulsive are they? Conscientiousness is a trait that is broad, there’s a lot about the trait that still needs to be studied, but for the sake of writing characters the more conscientious a character is the more they are aware of how their actions affect other. A conscientious character is unlikely to do something illegal simply because it would benefit them.
Neuroticism
The more neurotic a character is the more emotionally unstable they are. Highly Neurotic characters are more likely to be anxious and afraid, to have unpredictable mood swings and to react off emotion driven impulses.
I’ve seen a lot of fanfic writers ask for tips to write Deaf characters so I thought I would write some out to help make authentic. Also feel free to send ask for any questions!
Deaf characters exist on a spectrum- it’s rare to have no residual hearing.
Deaf characters can’t magically hear perfect with assistive devices. Hearing aids are in the name- an aid. They make it easier to pick up some sounds. They are also expensive and a lot of insurance won’t cover.
ASL- American Sign Language. Deaf characters raised by hearing family might not have access to ASL until later in life. Percentage of Deaf kids educated in fluent ASL is low.
ASL has own grammar and syntax totally different from English, But! It is okay to write ASL in spoken English grammar, especially if you don’t know ASL. We know what you mean!
Avoid Deaf and hearing characters signing and speaking long sentences at the same time. It’s called Sim-Com and ASL users who can do it are rare because sentence structures are totally different. It would be like trying to write a sentence in English at the exact same time (word for word) as someone speaks it in French. Sim-com usually used with SEE and still hard for fluent ASL Deaf to follow.
Deaf characters can be dizzy! Many many Deaf have tinnitus and vertigo. Comes with many hearing loss conditions. Vertigo can also be triggered by flashing lights, heavy bass sounds. (very annoying in the car when driving and someone has loud, shake your car bass)
Deaf characters can also can have balance problems from inner ear issues.
Deaf characters can enjoy music! Many ways to enjoy music besides hearing all of it.
Lip reading is hard. You need to start at the beginning of the conversation, need constant context, and when you lose the thread it’s hard to get back. Many many words look the same on lips that sound totally different. Avoid magic lipreading in characters.
Character doesn’t need to have a Deaf accent.
Deaf character doesn’t need to talk loud. Many Deaf talk very soft because they feel vibrations before the vibrations make audible noise.
Deaf characters can be very fluent in written English and great writers but still have very poor sentence skills when being casual in texting or conversation (like me!) Hard to go from ASL to English brain, and makes you tired.
Deaf characters can use ASL Slang! ASL has colloquial signs that have no direct English translation but we use all the time (peh peh, train go sorry, champ, etc etc) Here are some examples!
Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll.
Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast.
Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention.
Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them.
Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently.
ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy - meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face.
Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.
Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone.
A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way.
If your sword is sharpened down to a fine edge, the rest of the blade can’t go through the cut you make. You’ll just end up putting a tiny, shallow scratch in the surface of whatever you strike, and you could probably break your sword.
ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters. (CLICK ME)
If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability.
People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot.
Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME)
If you want a more in-depth medical chart, try this one. (CLICK ME)
Hopefully this helps someone out there. If you reblog, feel free to add more tips for writers or correct anything I’ve gotten wrong here.
How to apply Writing techniques for action scenes:
- Short sentences. Choppy. One action, then another. When there’s a lull in the fight, take a moment, using longer phrases to analyze the situation–then dive back in. Snap, snap, snap. - Same thing with words - short, simple, and strong in the thick of battle. Save the longer syllables for elsewhere. - Characters do not dwell on things when they are in the heat of the moment. They will get punched in the face. Focus on actions, not thoughts. - Go back and cut out as many adverbs as possible. - No seriously, if there’s ever a time to use the strongest verbs in your vocabulary - Bellow, thrash, heave, shriek, snarl, splinter, bolt, hurtle, crumble, shatter, charge, raze - it’s now. - Don’t forget your other senses. People might not even be sure what they sawduring a fight, but they always know how they felt. - Taste: Dry mouth, salt from sweat, copper tang from blood, etc - Smell: OP nailed it - Touch: Headache, sore muscles, tense muscles, exhaustion, blood pounding. Bruised knuckles/bowstring fingers. Injuries that ache and pulse, sting and flare white hot with pain. - Pain will stay with a character. Even if it’s minor. - Sound and sight might blur or sharpen depending on the character and their experience/exhaustion. Colors and quick movements will catch the eye. Loud sounds or noises from behind may serve as a fighter’s only alert before an attack. - If something unexpected happens, shifting the character’s whole attention to that thing will shift the Audience’s attention, too. - Aftermath. This is where the details resurface, the characters pick up things they cast aside during the fight, both literally and metaphorically. Fights are chaotic, fast paced, and self-centered. Characters know only their self, their goals, what’s in their way, and the quickest way around those threats. The aftermath is when people can regain their emotions, their relationships, their rationality/introspection, and anything else they couldn’t afford to think or feel while their lives were on the line.
Do everything you can to keep the fight here and now. Maximize the physical, minimize the theoretical. Keep things immediate- no theories or what ifs.
If writing a strategist, who needsto think ahead, try this: keep strategy to before-and-after fights. Lay out plans in calm periods, try to guess what enemies are thinking or what they will do. During combat, however, the character should think about his options, enemies, and terrain in immediate terms; that is, in shapes and direction. (Large enemy rushing me; dive left, circle around / Scaffolding on fire, pool below me / two foes helping each other, separate them.)
Lastly, after writing, read it aloud. Anyplace your tongue catches up on a fast moving scene, edit. Smooth action scenes rarely come on the first try.
More for martial arts or hand-to-hand in general
What a character’s wearing will affect how they fight. The more restricting the clothes, the harder it will be. If they’re wearing a skirt that is loose enough to fight in, modesty will be lost in a life or death situation.
Jewelry can also be very bad. Necklaces can be grabbed onto. Bracelets also can be grabbed onto or inhibit movement. Rings it can depend on the person.
Shoes also matter. Tennis shoes are good and solid, but if you’re unused to them there’s a chance of accidentally hurting your ankle. High heels can definitely be a problem. However, they can also make very good weapons, especially for someone used to balancing on the balls of their feet. Side kicks and thrusting kicks in soft areas (like the solar plexus) or the feet are good ideas. They can also (hopefully) be taken off quickly and used as a hand weapon. Combat boots are great but if someone relies more on speed or aren’t used to them, they can weigh a person down. Cowboy boots can be surprisingly good. Spin kicks (if a character is quick enough to use them) are especially nasty in these shoes.
If a character is going to fight barefoot, please keep location in mind. Concrete can mess up your feet quick. Lawns, yards, etc often have hidden holes and other obstacles that can mess up a fighter. Tile floors or waxed wood can be very slippery if you’re not careful or used to them.
Likewise, if it’s outside be aware of how weather will affect the fight. The sun’s glare can really impede a fighter’s sight. A wet location, inside or outside, can cause a fighter to slip and fall. Sweat on the body can cause a fighter to lose a grip on an opponent too.
Pressure points for a trained fighter are great places to aim for in a fight. The solar plexus is another great place to aim for. It will knock the wind out of anyone and immediately weaken your opponent.
It your character is hit in the solar plexus and isn’t trained, they’re going down. The first time you get hit there you are out of breath and most people double over in confusion and pain. If a fighter is more used to it, they will stand tall and expand themselves in order to get some breath. They will likely keep fighting, but until their breath returns to normal, they will be considerably weaker.
Do not be afraid to have your character use obstacles in their environment. Pillars, boxes, bookshelves, doors, etc. They put distance between you and an opponent which can allow you to catch your breath.
Do not be afraid to have your character use objects in their environment. Someone’s coming at you with a spear, trident, etc, then pick up a chair and get it caught in the legs or use it as a shield. Bedsheets can make a good distraction and tangle someone up. Someone’s invading your home and you need to defend yourself? Throw a lamp. Anything can be turned into a weapon.
Guns often miss their targets at longer distances, even by those who have trained heavily with them. They can also be easier to disarm as they only shoot in one direction. However, depending on the type, grabbing onto the top is a very very bad idea. There is a good likelihood you WILL get hurt.
Knives are nasty weapons by someone who knows what they’re doing. Good fighters never hold a knife the way you would when cutting food. It is best used when held against the forearm. In defense, this makes a block more effective and in offense, slashing movement from any direction are going to be bad. If a character is in a fight with a knife or trying to disarm one, they will get hurt.
Soft areas hit with hard body parts. Hard areas hit with soft body parts. The neck, stomach, and other soft areas are best hit with punches, side kicks, elbows, and other hard body parts. Head and other hard parts are best hit using a knife hand, palm strike, etc. Spin kicks will be nasty regardless of what you’re aiming for it they land.
Common misconception with round house kicks is that you’re hitting with the top of the foot. You’re hitting with the ball. You’re likely to break your foot when hitting with the top.
When punching, the thumb is outside of the fist. You’ll break something if you’re hitting with the thumb inside, which a lot of inexperienced fighters do.
Also, punching the face or jaw can hurt.
It can be hard to grab a punch if you’re not experienced with it despite how easy movies make it seem. It’s best to dodge or redirect it.
Hitting to the head is not always the best idea. It can take a bit of training to be able to reach for the head with a kick because of the height. Flexibility is very much needed. If there are problems with their hips or they just aren’t very flexible, kicks to the head aren’t happening.
Jump kicks are a good way to hit the head, but an opponent will see it coming if it’s too slow or they are fast/experienced.
A good kick can throw an opponent back or knock them to the ground. If the person you’ve hit has experience though, they’ll immediately be getting up again.
Even if they’ve trained for years in a martial art, if they haven’t actually hit anything before or gotten hit, it will be slightly stunning for the person. It does not feel the way you expect it too.
Those yells in martial arts are not just for show. If done right, they tighten your core making it easier to take a hit in that area. Also, they can be used to intimidate an opponent. Yelling or screaming right by their ear can startle someone. (Generally, KHR fans look at Squalo for yelling)
Biting can also be used if someone’s grabbing you. Spitting in someone’s eyes can’t hurt. Also, in a chokehold or if someone is trying to grab your neck in general, PUT YOU CHIN DOWN. This cuts off access and if they’re grabbing in the front can dig into their hand and hurt.
Wrist grabs and other grabs can be good. Especially if it’s the first move an opponent makes and the character is trained, there are simple ways to counter that will have a person on their knees in seconds..
Use what your character has to their advantage. If they’re smaller or have less mass, then they’ll be relying on speed, intelligence, evasion, and other similar tactics. Larger opponents will be able to take hits better, they’re hits may be slower depending on who it is but will hurt like hell if they land, and size can be intimidating. Taller people with longer legs will want to rely on kicking and keeping their distance since they have the advantage there. Shorter people will want to keep the distance closer where it’s easier for them but harder for a taller opponent. Punching is a good idea.
Using a person’s momentum against them is great. There’s martial arts that revolve around this whole concept. They throw a punch? Grab it and pull them forward and around. Their momentum will keep them going and knock them off balance.
Leverage can used in the same way. If used right, you can flip a person, dislocate a shoulder, throw out a knee, etc.
One note on adrenaline: All that was said above is true about it. But, in a fight, it can also make you more aware of what’s going on. A fight that lasts twenty seconds can feel like a minute because time seems to almost slow down while moving extremely rapidly. You only have so much time to think about what you’re doing. You’re taking in information constantly and trying to adjust. Even in the slow down adrenaline gives you, everything is moving very rapidly.
Feelings will be your downfall even more so than adrenaline. Adrenaline can make those feelings more intense, but a good fighter has learned not to listen to those feelings. A good fighter may feel anger at being knocked down or in some way humiliated - their pride taken down. Yet they will not act on the anger. Acting on it makes a fighter more instinctive and many will charge without thinking. Losing control of anything (adrenaline rush, emotions, technique, etc) can be a terrible thing in a fight.
Personality is the mostimportant thing about your character.
So, whenever I see character sheets, most people just put a little paragraph for that section. If you’re struggling and don’t know what your character should say or do, what decisions they should make, I guaranteeyou that this is the problem.
You know your character’s name, age, race, sexuality, height, weight, eye color, hair color, their parents’ and siblings’ names. But these are not the things that truly matter about them.
Traits:
pick traits that don’t necessarily go together. For example, someone who is controlling, aggressive and vain can also be generous, sensitive and soft-spoken. Characters need to have at least one flaw that reallyimpacts how they interact with others. Positive traits can work as flaws, too. It is advised that you pick at least ten traits
people are complex, full of contradictions, and please forgive me if this makes anyone uncomfortable, but even bullies can be “nice” people. Anyonecan be a “bad” person, even someone who is polite, kind, helpful or timid can also be narcissistic, annoying, inconsiderate and a liar. People are notjust “evil” or “good”
Beliefs:
ideas or thoughts that your character has or thinks about the world, society, others or themselves, even without proof or evidence, or which may or may not be true. Beliefs can contradict their values, motives, self-image, etc. For example, the belief that they are an awesome and responsible person when their traits are lazy, irresponsible and shallow. Their self-image and any beliefs they have about themselves may or may not be similar/the same. They might have a poor self-image, but still believe they’re better than everybody else
Values:
what your character thinks is important. Usually influenced by beliefs, their self-image, their history, etc. Some values may contradict their beliefs, wants, traits, or even other values. For example, your character may value being respect, but one of their traits is disrespectful. It is advised you list at least two values, and know which one they value more. For example, your character values justice and family. Their sister tells them she just stole $200 from her teacher’s wallet. Do they tell on her, or do they let her keep the money: justice, or family? Either way, your character probably has some negative feelings, guilt, anger, etc., over betraying their other value
Motives:
what your character wants. It can be abstract or something tangible. For example, wanting to be adored or wanting that job to pay for their father’s medication. Motives can contradict their beliefs, traits, values, behavior, or even other motives. For example, your character may want to be a good person, but their traits are selfish, manipulative, and narcissistic. Motives can be long term or short term. Everyonehas wants, whether they realize it or not. You can write “they don’t know what they want,” but youshould know. It is advised that you list at least one abstract want
Recurring Feelings:
feelings that they have throughout most of their life. If you put them down as a trait, it is likely they are also recurring feelings. For example, depressed, lonely, happy, etc.
Self Image:
what the character thinks of themselves: their self-esteem. Some character are proud of themselves, others are ashamed of themselves, etc. They may think they are not good enough, or think they are the smartest person in the world. Their self-image can contradict their beliefs, traits, values, behavior, motives, etc. For example, if their self-image is poor, they can still be a cheerful or optimistic person. If they have a positive self-image, they can still be a depressed or negative person. How they picture themselves may or may not be true: maybe they think they’re a horrible person, when they are, in fact, very considerate, helpful, kind, generous, patient, etc. They still have flaws, but flaws don’t necessarily make you a terrible person
Behavior:
how the character’s traits, values, beliefs, self-image, etc., are outwardly displayed: how they act. For example, two characters may have the trait “angry” but they all probably express it differently. One character may be quiet and want to be left alone when they are angry, the other could become verbally aggressive. If your character is a liar, do they pause before lying, or do they suddenly speak very carefully when they normally don’t? Someone who is inconsiderate may have issues with boundaries or eat the last piece of pizza in the fridge when they knew it wasn’t theirs. Behavior is extremely important and it is advised you think long and hard about your character’s actions and what exactly it shows about them
Demeanor:
their general mood and disposition. Maybe they’re usually quiet, cheerful, moody, or irritable, etc.
Posture:
a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Posture is how the character carries themselves. For example, perhaps they swing their arms and keep their shoulders back while they walk, which seems to be the posture of a confident person, so when they sit, their legs are probably open. Another character may slump and have their arms folded when they’re sitting, and when they’re walking, perhaps they drag their feet and look at the ground
Speech Pattern:
a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Speech patterns can be words that your character uses frequently, if they speak clearly, what sort of grammar they use, if they have a wide vocabulary, a small vocabulary, if it’s sophisticated, crude, stammering, repeating themselves, etc. I personally don’t have a very wide vocabulary, if you could tell
Hobbies:
a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Hobbies can include things like drawing, writing, playing an instrument, collecting rocks, collecting tea cups, etc.
Quirks:
a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Quirks are behaviors that are unique to your character. For example, I personally always put my socks on inside out and check the ceiling for spiders a few times a day
Likes:
a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes are usually connected to the rest of their personality, but not necessarily. For example, if your character likes to do other people’s homework, maybe it’s because they want to be appreciated
Dislikes:
a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes can also contradict the rest of their personality. For example, maybe one of your character’s traits is dishonest, but they dislike liars
History:
your character’s past that has key events that influence and shape their beliefs, values, behavior, wants, self-image, etc. Events written down should imply or explain why they are the way they are. For example, if your character is distrustful, maybe they were lied to a lot by their parents when they were a child. Maybe they were in a relationship for twenty years and found out their partner was cheating on them the whole time. If their motive/want is to have positive attention, maybe their parents just didn’t praise them enough and focused too much on the negative
On Mental and Physical Disabilities or Illnesses
if your character experienced a trauma, it needs to have an affect on your character. Maybe they became more angry or impatient or critical of others. Maybe their beliefs on people changed to become “even bullies can be ‘nice’ people: anyone can be a ‘bad’ person”
people are nottheir illness or disability: it should notbe their defining trait. I have health anxiety, but I’m still idealistic, lazy, considerate, impatient and occasionally spiteful; I still want to become an author; I still believe that people are generally good; I still value doing what make me feel comfortable; I still have a positive self-image; I’m still a person. You should fill out your character’s personality at least half-way before you even touch on the possibility of your character having a disability or illness
Generally everything about your character should connect, but hey, even twins that grew up in the same exact household have different personalities; they value different things, have different beliefs. Maybe one of them watched a movie that had a huge impact on them.
Noteverythingneeds to be explained. Someone can be picky or fussy ever since they were little for no reason at all. Someone can be a negative person even if they grew up in a happy home.
I believe this is a thought out layout for making well-rounded OCs, antagonists and protagonists, whether they’re being created for a roleplay or for a book. This layout is also helpful for studying Canon Characters if you’re looking to accurately roleplay as them or write them in fanfiction or whatever.
I’m really excited to post this, so hopefully I didn’t miss anything important…
If you have any questions, feel free to send a message.
Do you ever have scenes with 6+ people and you can’t seem to juggle them all? Or do you ever want to get 2-3 characters in a scene together for some quality relationship development, but that means sending the other characters elsewhere?
I’ve compiled a list of “off-screen” things your character can be doing, for any time you need them to be temporarily somewhere else. With this list comes with a few caveats:
If you find yourself always sending the same character somewhere else to a point where that character never actually gets much page time, are you sure you actually need that character in your novel? Don’t use this an excuse to keep deadweight characters that are 100% unnecessary to your plot, but your heart can’t bear to cut. Either draw them back into the plot as a necessary element, or get rid of them.
This is only for temporarily getting rid of someone—meaning for a short amount of time, and infrequently. It starts to feel weird if your character always happens to be taking their nap when something happens, and if you’re not careful, it’ll come off as lazy writing. Use this kind of thing sparingly.
Sometimes, you’ll need to have a result to their temporary absence. For example, if you say they’re off spying on the bad guy, occasionally they need to come back with a tidbit of info. Not all of their missions will be a success, but again, it’ll start to feel fake if there’s no point to the spying.
And now to the list! There are two sections to it, depending on if your character to be doing something actively plot-related and useful while they’re away, or if you want them to stay uninvolved. Both have their uses depending on the situation.
Active:
Captured by the enemy
Fighting in a different area
Guarding a captured enemy
Protecting someone in potential danger
Researching the problem
Spying/recon
Training to fight
Watching someone suspicious
With another character (off-screen relationship building)
Passive:
At school/work
Doing a hobby
Hunting for food
Injured/sick/in the hospital
On vacation
Out of the loop (no one told them about the meeting, etc)
Sleeping
The passive list could be incredibly longer, but I tried to list enough for you to get the idea. Whatever you pick, make sure it makes sense in your plot and setting, and like I warned before, don’t use this as an excuse to hold onto deadweight characters.
Working this kind of downtime into your novel isn’t bad, since it can take up the necessary but boring actions that your story needs. Someone learning how to fight, for example, won’t learn everything in a week. By occasionally putting them “off-screen” to train, you’re further convincing us that he or she has trained enough to pull off a future scene where they hold their own in battle. It’ll also give a sense that other characters are working in the background and getting things done, even if your protagonist or narrator isn’t always there to see it, which is realistic, of course. It’s not like everyone else freezes in place the moment your protag isn’t around.
In order to successfully write horror, you must first understand fear. Fortunately, fear is a universal experience, and likely something you have intimate first-hand knowledge of - the key is learning to harness your fears so they can be translated for the page.
First, recognize that different techniques and approaches will work better in different media. What works well in a horror movie may not translate well to a written story, and vice versa. Understanding your medium and your goals will help you work to the strengths of the medium and provide the most effective approach.
Second, remember that horror, perhaps more than any other genre, is at its core interactive. Even a linear story told through writing or visual cues invites participation from the reader: You need them to engage so that they will bring their own fears to the table. Simply seeing characters interact with frightening things isn’t enough; you need to invoke fear in the reader by inviting them to experience the things that you describe. That’s something I’ll delve into in greater detail in a later post, but for now, keep it in the back of your mind.
Two Main Types of Horror
There are two primary types of horror reactions you can create in a reader: Visceral horror, and cerebral horror.
Visceral horror is felt in the gut. It preys upon the lizard brain and taps into basic primal fears. Visceral emotions include disgust and shock. It is most effective in visual media, where a viewer sees images and responds to them before their brain has a chance to process them, but you can still invoke these feelings through the careful use of description. More on that in a minute.
Cerebral horror is felt in the brain. It’s the type of horror that you think about hours or days or years later, the kind of disturbing ideas that implant themselves in there and become more frightening the more you consider them. These are rooted in anxiety rather than the primal lizard brain. Cerebral horror includes fridge horror and dread. A tightly crafted story will beat a movie every time when it comes to cerebral horror, because written media is more intimate. Use that to your advantage.
The Emotions of Horror Stories
Let’s talk in a little more detail about the emotions that you should work to create in your reader when crafting a horror story. In order of most-difficult to most-natural for the written medium, try experimenting with:
Shock:Films and video games can fall back on the “jump scare,” a tactic wherein you rapidly break suspense with a sudden visual cue, almost always accompanied by a loud noise. If you need an example for some reason, turn to the nearest Five Nights At Freddy’s game.
Jump scares work by temporarily startling the viewer, short-circuiting their conscious brains and tapping directly into their oldest and most primal reflex. Newbornsstartle when they are exposed to too much sensory input - it’s literally their first line of defense. When you jerk, scream, or flail, you are tapping in to the newborn infant part of your brain.
Can you do a jump scare in a novel? Probably not. For one, there is no sound, and sound is extremely important to a successful jump scare. For another, reading involves conscious interaction with text; you can’t really bypass their thought processes enough to invoke a jump scare response (except for the occasionally really susceptible reader).
But you can still shock them, and that’s just as good.
Shock occurs when a reader is totally blind-sided by new information. They think they know what’s going on, but in reality, the truth is something unexpected (and perhaps far more sinister). They think a certain character is safe, only for them to be suddenly and brutally murdered. They think they’ve solved the puzzle, but the rabbit hole actually goes much deeper. I’ll talk about shock in greater length in another post, because it is so difficult to do well and requires a lot more attention.
Disgust:Gore and “splatterpunk” relies on the visceral response of disgust. We are naturally repulsed by certain things, and that too may be hardwired into our DNA (although it’s also partly based on nurture and cultural factors). But basically, disgust exists to keep us away from things that may hurt us, like diseased things.
Triggering disgust in your reader will mostly fall to writing effective descriptions. Word choice matters a lot when it comes to writing gore. Some words just feel gross (think “moist”), and some invoke really icky mental images. I’ll write a whole thing on tricks to writing gore at a future point, but for now a word of caution: Horror cannot rely on gross-out scenes alone. You might invoke a kind of sick fascination in the reader, but you won’t really scarethem.
Dread:Suspense and dread are vital ingredients to horror in any medium. They work by drawing the reader into the story, enticing them to think ahead - but stripping away their certainty about what will happen. A really good story will alternate between shock and dread, building up tension before twisting the narrative in an unexpected direction.
I wrote a little bit about invoking dread here, and I’ll delve into the topic at greater length later. But for now, remember: Suspense lies in giving the reader the pieces to a puzzle, but withholding context. It forces the reader to think ahead, to try and make sense of what they’re seeing, and to imagine terrible conclusions. It encourages the reader to think “what if…?” or “something terrible is going to happen but when? how? what?”
This is something you can only do well if the reader is invested in the characters and truly cares about them. Fortunately, because writing is so intimate, it’s easier to delve into a character’s mind and forge a strong connection between them and the reader.
Fridge horror: Fridge horror is basically when something becomes creepier or more disturbing the longer you think about it. It’s when the implications of something are more horrifying than what you see on the surface. It’s the part of the story the reader takes with them, the part that makes them question their own beliefs or world-view or even reality.
It is a cerebral horror, and it’s the thing that written stories can really excel at. I will - you guessed it - write a whole post on the topic in the near future, but until then, realize that fridge horror relies in part on logic (”oh god, this means THAT!”) and part empathy (”can you imagine what it must be like….?”)
The best fridge horror moments will be pulled from your own personal experiences and fears. While anyone can tap into primal fears (the dark, the unknown, disgusting things), fridge horror is often deeply personal and oddly specific. It’s raising a question and leading the reader to think “Oh god, I never thought of that, but it is terrible.”
I’ve rambled on a long time now, and I have many things to come back to and explain in more detail - but for now, hopefully this gives you something to think about! Until next time, stay scared :)
Not a horror writer myself, but still found this super interesting!
Here’s some considerations for the tiny little details that can add a lot to a character. Figuring out these mannerisms can do a lot for conveying character traits through their normal actions rather than just their thoughts, dialogue, etc.
How’s their posture? There are more options than just sitting up straight or slouching a lot. What’s their most comfortable sitting position? Do they have a consistent posture or does it change depending on situation / present company?
How’s their etiquette? Do they hold the door for people behind them? How do they handle handshakes and other kinds of typical contact? Does their language change or become more formal when speaking to strangers? To their elders? To their superiors?
In a crowded space, do they get out of people’s way, or do people get out of THEIR way?
How do they point something out? Pointing their finger? Nodding their head? A flippant wave of the hand?
What are their comfort gestures or self-touch gestures? Common comfort gestures include rubbing the back of the neck or gripping their own arms. Can they suppress these gestures or do they do them often?
Also consider the character’s common reactions to common emotions. Do they whoop when they’re excited? Do they tremble when angry?
What parts of the body are the most expressive? Do they shuffle and stomp their feet a lot when agitated or excited? Are they a hand talker? Do they have an impressive range of motion with their eyebrows?
How do they sound? Do their car keys jingle as they walk? Do they drag their feet? Do their heels clack resoundingly on hard floors? Do they breathe loudly? Do they fidget in ways that make a lot of noise?
How do they handle eye contact?
Any behaviors they reserve for moments when they’re alone? (Or possibly among family/friends that don’t care?) Do they pick their nose? Do they bite their toenails? Do they sniff their armpits? Or do they not care if people see behavior like this?
Apart from comfort gestures, what else do they do to comfort themselves in trying times? What’s their go-to self care? What’s their comfort food? Where’s their safe space?
What are they doing with themselves as they’re suppressing emotion? Lip biting, fist clenching, and avoiding eye contact are common methods of coping with strong emotions.
When you’re creating a race of people for your new world, you need a culture to give those people and their way of life some context. The culture helps determine how the characters act, dress, eat, solve problems, among so many other things. You can (and sometimes, should) have multiple cultures in your world, depending on how large your focus area is. Cultures affect each other, but also serve in a narrative sense to draw contrast in-world and to draw parallels to the reader’s world.
So here are some thoughts, big and small, that are meant to help inspire you as you create amazing cultures. (And remember that you’re thinking about the following questions in the context of the general population, not your main character(s).) You can simply answer these questions in short-answer form, or you can write a short story to flesh out one or two or three questions at once. If you do that, submit them to me! I’d love to feature them on the blog.
How old do people believe their race is? How old are they really?
How prevalent are religions to the common person?
What is/are the origin stories of the main religion(s)?
What do most people think should be the highest priority:
How do culturally shared priorities shape interactions?
What is the common greeting? Does it vary by age, class, rank, or sect?
How is gender viewed by the majority? Why?
What are common myths/legends of your people and how heavily do they influence the modern day?
How trustful are people of outsiders?
How welcoming are people, in general, of strangers into their homes?
How well do people of various factions (class, race, religion, etc.) get along in society?
How far has technology advanced, and how has it been implemented into their daily lives?
If magic exists, what do they believe is its origin? Its source?
If there is division between magic/non-magic, how do the two treat each other and why? How long has it been that way?
What sort of relationship do they have with their ruler?
How content is the average person?
How do people make their living and how big a part of their life is their career (if applicable)?
Do they have “weekends” and if so, what sets them apart from “weekdays”?
How do they treat their close friends?
How do they treat their enemies?
How do they handle small conflict, between individuals or small groups?
How do they handle larger conflicts?
How are they prepared for any potential war? Do they have some sort of military or militia in place?
How many wars have they, as a society, fought over the course of their lives/history? How much of an impact does that have on their cultural identity? (i.e. WW2′s impact on patriotism in America, and how it’s yet to go away.)
What virtues do they value in individuals? What virtues do they saythey value? If those are different, why?
How do they dress? Does it vary greatly by gender, or not? Is their focus on clothing very practical, religious, sentimental, or simply driven by the latest arbitrary fashion? How do the above answers reflect on the culture on a deeper level?
How do they treat their elderly?
How do they treat their children?
At what age does a baby become a child, a child a young adult, a young adult an adult, an adult an elder?
How much regulation does the day-to-day life of the average citizen entail? Or, how involved is the government in micro affairs?
How are these people seen throughout their known world? How do other cultures view this culture?
