How I Wrote a Novel in 12 Weeks

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135456 words. 12 weeks.

A full novel in 3 months. By pulp standards it’s sluggish, but it’s the fastest I’ve ever completed a novel of this length. And I was juggling a full-time work schedule and regular blog posts alongside it.

If there’s one thing I understand about the writing industry, it’s that if you want to make real coin from writing, you need to churn out lots of high quality work fast. To even come close to the success of the pulp greats, you need to write as much and as often as you can. Here’re the principles I applied to write a novel in 12 weeks.

Planning

Well before I wrote a single word of the novel, I had planned everything out. I knew the characters, the major plot events, how each scene led to the next and the long-term ramifications of significant events on the story and the series. Errors and plot holes and inconsistencies had been caught and fixed before they were written, saving time and energy and frustration. With knowledge of the entire book, all I had to do was show up and write.

I planned my writing schedule and stuck to it. I set aside a block of time every weekday and many weekends to write. Before I sat down to write, while I was busy doing other mundane things, I planned the day’s work. I would visualise the actions and the dialogue, putting myself in my writing frame of mind. When it came time to write, I already knew what to do, so I didn’t have to waste time wondering what would happen next. I just had to do the work.

Planning is half the battle. If you know what you have to do, you won’t waste time correcting yourself or wondering what to write next.

Focus

The secret to success is to blind yourself to everything but what you need to achieve your goals. I set myself a goal and refused all distractions.

My goals were, to me, modest but ironclad. One hour every weekday. Five thousand words every week. Minimum. If I couldn’t hit that target I kept going until I could. If I had free time on weekends I spent it writing, effectively doubling my average word count per week.

During planned writing sessions, I focused solely on writing. Not editing, not researching, not chatting with people. Writing. I placed myself in a state of flow and rode it all the way to the end of the session. If I absolutely had to research something, I set hard limits for myself, restricting the time and topics to look it up, and then went back to writing immediately. If you’re not writing, you’re not getting closer to your goal.

Inevitably, I thought of many ideas to improve the story. I didn’t allow myself to get distracted or caught in the trap of endlessly polishing incomplete copy. Instead, I left notes for myself inside the text and continued writing. In doing so I maintained the momentum, keeping the story going while honouring the ideas that could make it better later. Likewise, when I had ideas for other stories and universes, I pursued them only when I wasn’t busy writing.

When you write, write. Keep your eyes on the prize and entertain nothing that leads you off the trail.

Personal Care

You can’t write if you’re bedridden. You can’t write well if you’re sneezing all the time or feverish and miserable. Thus, taking care of your health is paramount.

I maintained a regular workout schedule, and used the time to develop the story further. I pushed my body to the limit, in preparation of stretching my mind further. I made sure to eat right, drink plenty of water and sleep as well as I could.

An important side benefit of personal care is discipline. You need discipline to stick to an exercise regime, a nutrition plan and a sleep schedule. That same discipline spills over into writing, allowing you to stick to your plan and focus on writing.

A healthy body leads to a healthy mind. You need both to succeed at the writing game.

Adapt, Adapt, Adapt

Don’t stick slavishly to plans and regimens. If you develop an idea superior to the current plan, roll with it. If a block of time suddenly frees up, use it for writing or writing-related tasks if you can. If you find that deviating from a plan leads to a superior outcome, do it.

While writing the novel, I came up with a number of new ideas on the spot. They deviated from the plan, but they fleshed out the antagonists, created a new one, and added a deeper layer to the story lore. I changed the location and circumstances of the climatic action scene, making it even more awesome and explosive than before, and altered the planned ending to inject tragedy, humour, hope and sequel hooks.

Have a plan, work the plan, but don’t be afraid to branch off and do something else if doing it will lead to superior outcomes.

Conclusions

Know what you are going to do before you do it. When you start, commit fully and do not stop until you have achieved your goals. Look after your mind, body and spirit. Deviate from your plans if doing so will achieve a superior outcome.

These principles allowed me to write a massive (by modern standards) novel within a short timeframe. While nowhere near close to Pulp Speed, I believe continued application will allow me to quickly produce the quantity and quality of content my readers demand. And I’m only getting started.

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If you’d like to see the novel that preceded the one I mentioned here, you can find NO GODS, ONLY DAIMONS on Amazon and the Castalia House ebook store.

7 Writing Lessons from Wonder Woman

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Wonder Woman doesn’t suck.

After reading all the rave reviews and the recommendations about the movie, actually seeing it felt like a disappointment. Wonder Woman isn’t a terrible film by any measure, it’s just that I have a high bar for entertainment. Indeed, it accomplished what it set out to do: tell a straightforward superheroine tale filled with courage, battles, charisma, and spiced with romance and humour.

The story begins with Princess Diana of Themyscira, daughter of Queen Hippolyta of the Amazons, discovering a man on the beach. The man is Steve Trevor, an American spy, who discovered a German superweapon factory and was shot down while attempting to flee on an airplane. Trevor speaks of the War to End All Wars engulfing the world, and Diana believes that Ares, the god of war, is responsible for instigating the conflict. Having sworn to defeat Ares once and for all, she teams up with Trevor to end the war once and for all.

It’s a simple story, competently told. But it could be done much better.

The Negatives

I am a pessimist, so I shall start with the negatives. The major knock against Wonder Woman was the presence of two major plot holes.

When Trevor makes his great escape, Germans intercept him and shoot him down. A squadron of ships chase him to the island of Themyscira, penetrating the mysterious veil that keeps it hidden from the outside world. The ships send a landing party to hunt for Trevor on the island, and the Amazons beat them back.

As a set up for a fight scene, it works. But what happens after the Germans are beaten?

Nothing.

Consider the situation. The Germans pass through a strange barrier and discover an unmapped island. They send a landing party and see a band of female warriors kill them…with bows and arrows and swords. The logical thing to do would be to rake the beaches with naval gunfire, massacre the defenders, and send in a second landing party to claim the island for the Kaiser and the Reich. Indeed, this scenario could have provided an impetus for the Amazons to act: realizing that their home is now threatened by the implacable machinery of modern war, the Amazons are forced to flee (or are wiped out), and Diana is driven to stop Ares and avenge her people.

Instead, after the beach sequence, the ships simply cease to exist.

Here is the first lesson from Wonder Woman: always track your villains and give them agency. Bad guys cannot simply vanish from a scene without good reason, more so if they possess the advantages the Germans did in this scene. Like heroes, believable villains have motives and agendas of their own, and will do everything in their power to meet their goals. By giving them the chance to interfere with the protagonists, the villains will be seen as a powerful, threatening foe and a significant player. Reintroducing the Germans would have added emotional impetus to the rest of the story. Instead, the following sequence is the same tired tale of a child rebelling against a parent by going her own way.

Plot hole number two comes near the end of the film, during the showdown with Ares. (Spoiler ahead!) Ares is revealed to have taken the form of a minor character who helped Diana and Trevor reach the frontlines. Which suggests that Ares himself helped Wonder Woman travel to the front, allowing her to defeat him.

Why would a supervillain be knowingly complicit in his own destruction?

This is lesson number two: Villains should not help the heroes unless it benefits them.

A superhero story demands constant conflict between superhero and supervillain. One would expect Ares to do everything in his power to stop the Diana and Trevor: sending military policemen to arrest them, having Allied command brand them as traitors and spies, dispatching the entire German Army to stop them. These maneuvers would have forced the duo to overcome these obstacles and set up Ares as a terrifying enemy. Instead, Ares allowed Diana to discover his weapons factory, derail his plot to continue the Great War, and knowingly meets her, a woman of a race Ares knows Zeus created to defeat him, face-to-face just to have a cliched We Can Rule Together speech. Instead of being a superb and subtle manipulator, Ares comes off as a cardboard character who exists only for Diana to punch out. If a story must have a villain aid the hero, the villain must believe he will benefit in some way, ideally leading to the hero’s destruction. That would make for a more clever and complex story, portraying the villain as smart and Machiavellian, and give the hero a chance to shine by reversing the scheme.

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Central to the movie is a German superweapon, a new chemical weapon that its developers believe will allow Germany to triumph. This Wunderwaffe is seen as an ominous orange gas destroying gas masks and breaking glass, killing all it touches. And just what is this Wunderwaffe called?

Hydrogen-based mustard gas.

This is utter nonsense. Mustard gas isn’t a gas; it is a liquid. It is deployed as a fine mist of clear droplets, not a thick billowing colored cloud. Further, mustard gas is composed of sulfur, chloride and, in a couple of formulae, oxygen. ‘Hydrogen-based’ mustard gas would yield, among other things, hydrogen sulfide (which was actually used by the British as a chemical weapon and later discarded) or hydrochloric acid. The only reason ‘hydrogen’ comes up would be to justify the final major explosion, which is ridiculous. Having hydrogen atoms does not automatically make something explosive: water, among other things, will not ignite.

This is the third lesson: if you must use technobabble, it must make sense. If you have to use technobabble in a story, then the properties of said technobabble must be employed in some fashion later on. If you encounter a reader who actually knows something about the science you’re pretending to employ, you’re going to annoy him. For the purposes of the movie, it would have been easier and quicker to simply call the Wunderwaffe an improved version of mustard gas, or just refer to it by some ominous-sounding codename, and have a character note that it is highly flammable. This achieves the same effect without having to delve into eye-rollingly bad psuedo-science. If you must use technobabble, it should either be clearly fictitious (i.e. made-up science like Minovsky Particles) or suitably and convincingly complex (like everything by John C. Wright).

Like every good superhero story, Wonder Woman has plenty of action. Like every Hollywood blockbuster I’ve seen, I turned off my brain when the action began and tuned it out. The action scenes are competent…for Hollywood…but I hold my entertainment to much higher standards of realism.

A critical action scene takes place at the front. Diana hears of the Germans occupying a town and catches sight of refugees somehow being allowed to linger in the Allied trenches. She is outraged, but the army won’t help her. She leads a one-woman charge across No Man’s Land, plows into the German lines, inspires the rest of the Allies to help her, and single-handedly liberates the town.

This scene establishes Diana as an idealistic, driven and impetuous woman. If she can’t get what she wants, she simply plows straight through the obstacles, heedless of the consequences. There were just so many things that could have gone wrong.

The Germans could have fired on her from so many angles she couldn’t block all of the bullets. Shells could have detonated against her armour instead of being deflected. She could have stepped on a mine. She could have run into a cloud of poison gas (and she never has chemical protection). A nearby blast could have blown her off her feet and showered her with shrapnel. Even if she makes it all the way across, the rest of the Allies are mere humans–and the German defenses would have cut them down. The Allies would support their hasty offensive with machineguns and artillery, and she could have been hit by friendly fire.

This could have been a scene where Diana discovers that her training was woefully inadequate to prepare her for the horror of modern industrial war. At the very least, Diana could have unleashed her superpowers, justifying her survival. Instead, she survives all this because the plot demands it , and because in Hollywood, Strong Action Females are more powerful than men and never pay the price for brashness.

Here is lesson number four: action scenes must make sense. The protagonist cannot survive simply because the plot demands it; her victory must be justified. On the flipside, the enemy must be believably threatening, and an enemy as powerful and dangerous as the Imperial German Army must act in a manner consistent with their portrayal. This means proper defensive tactics and measures designed to defeat an attack they were expecting.

Fixing this sequence is simple. Diana tries to cross No Man’s Land. Trevor holds her back, and explains to her in graphic detail what happens to idiots who try to make a frontal attack across No Man’s Land. She insists on going, convincing him that liberating the town is a worthy cause, and he in turn convinces her to launch a night time raid. Our heroes sneak across No Man’s Land, infiltrate the enemy lines and knock out the defenses, allowing the rest of the Allies to overrun the Germans and liberate the town. This scene would have satisfied the demands of characterisation and action while not being suicidal.

The Positives

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Despite the issues mentioned above, Wonder Woman isn’t all that bad. What sets it apart from other similar films is the character interactions.

Diana is a brave, headstrong, stubborn, rash and naïve woman who was raised on an isolated island. She is utterly ignorant about the outside world beyond knowing how to speak multiple languages (a convenient plot device to justify how everyone can talk to each other and how she can read a coded notebook). This shows throughout the story: she doesn’t know anything about fashion, she is filled with curiosity about the outside world, and she operates under the childish-yet-believable assumption that stopping Ares will stop the war. Despite all this, she acts in a consistently heroic fashion, fighting for the weak, the innocent and to end the slaughter of millions.

This is lesson five: heroes must be heroic. Heroes are memorable because they are larger than life. They have ideals they fight for and lines they will not cross. They will go the distance and commit themselves to their cause. Every aspect of their personality is magnified and consistent throughout the story, and their behaviours flow organically from their backstories and personalities. Diana walks with an aura of charisma because she lives and acts with honour and integrity, and Gal Gadot convincingly portrays this on the silver screen.

Wonder Woman might be Diana’s story, but Steve Trevor plays a significant role too. He helps her navigate the modern world, fills her in on critical details, and fights alongside her in the action scenes. At the climax, he gets a big action scene all to himself, stopping the mundane threat so Diana can concentrate on Ares. Throughout the film, the duo enjoy a respectful relationship. They may have their differences, but instead of sniping at each other or wasting time on pointless bickering, they solve problems and support each other, building each other up all the way to the end.

Lesson six: supporting characters must support the protagonist and the story. If a supporting character does next to nothing in a story, then that character can be deleted and his actions handed off to other, more important characters. If a support character does not support the protagonist, then there is no reason why the protagonist keeps him around. This is especially important for stories about superheroes and high-level violence professionals: such people will not tolerate the presence of people who could drag them down and potentially undermine the mission. Instead, they will keep around people who build them up and help them overcome problems, and Steve Trevor fulfils this role magnificently.

As an aside, consider this: how did modern culture reach the point where having a male supporting character contribute significantly to the plot and action scenes in a female-led story without being denigrated by the heroine become a noteworthy novelty?

Women are Wonderful

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The main flaw running through Wonder Woman is the assumption that Women are Wonderful. Diana makes no major mistakes and does not pay the price. She walks around with a sword in wartime London and nobody bats an eye; she wears her sword in the back of her dress at a fancy dress ball and nobody notices or cares. She leads an Allied army on a suicidal attack across No Man’s Land but it somehow makes out unscratched. Ares conveniently comes to her instead of making her fight to find him. As an Amazon she is destined to defeat Ares, so instead of having to work for her victory all she has to do is pour on MOAR POWA until he is defeated.

This is the Women are Wonderful trap. In fiction, women cannot be seen to make mistakes so women get away with making stupid decisions. In reality, the police would have hounded her, the Allies would have taken horrendous casualties to support her solo charge (and every death would be on her), and Ares would have opposed her every step of the way and forced her to find him. At every critical juncture, the Hand of the Director intervenes so that Diana need never suffer the consequences of her actions and never has to work hard or change her perspective to accomplish her goals.

This is the final lesson: actions have consequences. Play stupid games, win stupid prizes. Charge in recklessly and you get killed, or your allies get slaughtered. Slip up and the enemy will exploit it. Diana survived this adventure and remained an idealist simply because she suffers no consequences for any of her actions. As a writer, you must make your characters reap the bitter harvest of bad decisions. Only then can you have a believable story.

Wonder Woman could have been great. Instead, it is distinguished from other Hollywood blockbusters only by virtue of the characters. Learn from Wonder Woman, and craft better stories.

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If you’d like to see how I applied these lessons to my writing, check out my latest novel NO GODS, ONLY DAIMONS on Amazon or the Castalia House ebook store.

Tired Tropes: It’s Only A Flesh Wound

You’ve seen versions of the scene a hundred times before. Our Hero is engaged in a gunfight with The Villain. The Villain takes a potshot at Our Hero. Our Hero staggers. When his sidekick catches up with Our Hero and asks after him, Our Hero declares, “It’s only a flesh wound”. In the next scene, Our Hero is patched up and good to go. If the creator even bothers with medical treatment.

In a creative work that treats deadly violence with deadly seriousness, the flesh wound trope is a cop-out. It is a cheap way to increase tension in the scene by showing that Our Hero isn’t invulnerable and that The Villain isn’t incapable, while simultaneously preventing Our Hero from receiving a wound that would prematurely retire him from the story altogether.

To be clear, I’m referring to instances where a character can shrug off an injury as though nothing happened to him, not instances in which a character insists he can keep fighting even though it’s clear he’s gravely wounded. The latter is drama, the former is cheap. Ten seconds on Google would rob anyone of any delusions that a ‘flesh wound’ isn’t serious.

When weapons are involved, there is no such thing as a ‘flesh wound’. It’s like being pregnant: you can’t shoot or stab someone a little bit, and you can’t pretend there won’t be long-term consequences. Once weapons come into play, there are just two questions: how much damage is caused immediately, and how much functionality you recover.

Functionally like this, with more bleeding and screaming.

The human body is amazingly resilient and incredibly fragile. It is resilient in that the major critical organs—the brain, the heart, the lungs—are protected by thick, hard bone, making it difficult to immediately kill someone, and most bodily functions are duplicated, allowing someone to survive the loss of a limb or eye or some other organ. It is fragile in that it is ludicrously easy to shatter bones, sever nerves and destroy muscle if you know what you’re doing—and there is no easy way to undo the damage.

Let’s take the classic example of the bullet to the arm. If the round strikes the forearm, it could break the radius and/or ulna, potentially disabling the arm. If the bullet hits the hand, it would produce an explosion of blood and pain, crippling the hand and potentially severing fingers. A round to the elbow or shoulder will destroy the joint and require reconstructive surgery. And a large enough round will blow off the limb altogether. Even with reconstructive surgery, there is no guarantee the limb will be saved, and there will usually be some degree of permanent loss of function.

Blunt weapons don’t offer much relief. They are technically less lethal in that the user can choose not to kill someone, but it doesn’t mean it won’t cripple the target either. Many stick striking techniques target the head and the joints. A club or cudgel, used properly, will cause fractures, concussions and traumatic brain injuries. A knockout blow to the head might still kill someone if it strikes with with enough force or if he lands on a hard surface.

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The most effective targets are no-go zones for law enforcement…but not for bad guys.

Police officers are specifically trained to target muscle groups instead of bones with their batons—not because these are effective techniques, but to minimise harm to the suspect. This is also why police baton striking techniques create the appearance of police brutality: they are striking the least effective targets on the body, and a subject high on drugs or adrenaline may not feel the pain. When striking with a club, you get to choose between causing pain—not effective against an adrenalized target—or shattering bones—not conducive for allowing Our Hero to continue his adventures. The only time a blunt weapon would inflict the equivalent of ‘flesh wounds’ is by striking muscle, which is not usually in a bad guy’s repertoire.

What about edged weapons? A core concept of Filipino martial arts is defanging the snake, in which the practitioner disarms an aggressor by disabling a limb. When applied to knives, this means targeting the major muscle groups of the arms and legs, leading to an instant stop. Surely, then, this is a flesh wound?

No.

In Martial Blade Concepts, a key technique is the quadriceps cut. The practitioner moves to the target’s side, then stabs the quads and cuts out. There will be little blood and relatively minor nerve damage…and the target will no longer be able to stand unaided.

In Libre Knife Fighting, a tactic is to circle around a target’s weapon side to gain his back, plant the knife next to the spine and cut down. This would sever the major muscles in the back, including the latissimus dorsi. Little blood, minor damage…and the target will no longer be able to lift his arm.

Even if you can inflict an actual flesh wound on someone, if done properly that person will not be able to walk away from it—in some cases, literally. It will take long weeks to recover, if at all. Once weapons are thrown into the mix, the question is not how to ‘safely’ harm the target, but rather how much harm you are willing to do, starting with merely disabling a limb and climbing all the way to death.

And all this is assuming that the story takes place in a setting with modern medicine. In a historical setting or an austere environment with limited access to healthcare, a mere flesh wound would become infected, quickly becoming a horrific pus-filled wound leading to a terrible and painful death. Before the advent of penicillin, anesthesia or even germ theory, there were precious few methods of treating injuries that were not immediately fatal. There was no point trying to save an injured limb if it would inevitably become septic. The preferred method was to amputate the limb to prevent the spread of disease—and even then, prior to the development of sterile surgery people still caught diseases and died. In the American Civil War, one in four patients died from post-surgical illnesses. In such a setting, even if a character survives a non-fatal injury, he is in for a miserable time.

In a creative work where violence is played straight, it would not do for characters to walk off flesh wounds. It flies against the aesthetic of the work, revealing the scene for what it is: a cheap trick to artificially induce tension. And yet a character who routinely prevails in deadly encounters without a scratch appears invincible, inducing audience boredom.

The Art of Safely Injuring Our Hero

For better or for worse, an easy way to increase tension and retain audience interest is to prevent the perception of invulnerability. Our Hero must be seen taking a blow. But he must also survive his injuries without being too damaged to continue his career. There are four ways to do this.The first method is to take away the weapons. Without weapons, it will be more difficult for people to grievously harm each other. By focusing on body shots, slams, throws, chokes and the occasional head punch, both parties can whale on each other without necessarily causing permanent injuries. Fight-ending shots like throat strikes, eye rakes and joint breaks can be evaded, parried, blocked or countered, prolonging the scene while ratcheting the tension until the time is right to end the fight. Using clever fight choreography, a creator can disguise the fact that neither party is trying to kill or cripple the other while still increasing suspense.

Look past the wire fu and you’ll notice that they are not using or landing lethal or crippling techniques.

Chinese martial arts films love this trope. In the above clip from Ip Man 2, Ip Man fights three kung fu masters in succession. Here, Ip Man is fighting to prove his calibre as a teacher and earn the right to run a martial arts school in Hong Kong. Since this conflict is inherently a social one, the combatants will want to avoid lethal techniques, but this implicit rule does not shield Ip Man from failure. The audience may be assured that Ip Man will survive the fight (Ip Man is, after all, a historical character), but not necessarily that he will win, thereby maintaining suspense.

The second method is to use the setting to mitigate the damage. In a fantasy setting, you can have healers with the power to reattach severed limbs and cure terrible wounds. In a science fiction story, a crippled character may rely on prosthetics or cutting-edge medical regeneration technology. Such a setting gives you the best of both worlds: you can still play serious battle wounds straight, leading to loss of blood and limb function, but as soon as the character receives medical care he can be restored to full heath, allowing him to continue the adventure.

During Luke Skywalker’s duel with Darth Vader on Cloud City in The Empire Strikes Back, Darth Vader cuts off Luke’s hand. This demonstrates the disparity in skill between them and allows Darth Vader to reveal that he is Luke’s father. Luke later receives a prosthetic hand, allowing him to participate in Return of the Jedi. In this instant, the science fiction setting makes the prosthetic hand believable, maintaining suspension of disbelief while averting the flesh wound trope.

This would naturally be more difficult to do in a modern setting. Armour is the easiest way to do it, if you can justify its inclusion in the scene. Armour may stop bullets and shrapnel from penetrating flesh, but it would still feel like a hard punch and possibly leave deep bruises. To maintain drama in such a situation, focus on pain, shock, surprise and other psychological effects. In effect, the character knows he’s been hit, but since he took it on the armour, he can keep fighting—even if it hurts like the devil, forcing him to slow down. Wounds to unarmored limbs will still disable the limb, but by applying a tourniquet, the character will still survive – and now he must figure out how to survive despite the loss of a limb. Which is a rich vein to tap for more drama, if you know what you’re doing.

The third method is to play grievous wounds straight but allow a long time for rest and recovery. It’s no coincidence that heroes in realistic thriller series suffer their most debilitating injuries near the end of the story. From the writer’s perspective, since the hero won’t participate in any more combat later in the story, the hero need only survive the scene. By the time of the next story, the hero would have recovered fully—or at least, to the point where he can continue his adventures.In Barry Eisler’s Winner Take All, John Rain almost bleeds to death. By the time of the next book, Redemption Games, Rain has recovered and is ready for his next contract. By contrast, in Tom Clancy’s Patriot Games, Jack Ryan suffers the classic shoulder wound in the beginning of the story. Ryan spends weeks in hospital, and weeks more in a cast. He also loses some permanent use of his arm. Despite that, by the time of the climax, Ryan is fit for action. This makes sense because Ryan is an analyst: as a desk jockey he doesn’t have to run around and chase bad guys, allowing other characters to participate in action scenes until it’s Ryan’s time to shine.

The last method is the riskiest: inflict the lowest amount of damage possible while justifying it in-universe. This requires extensive knowledge of tactics, techniques, technology and procedures. This method should only be relied on if you do possess such knowledge—or if you know someone who does.

In swordfighting, medium range is the range where both parties can reach each other with their weapons. This is the realm of the double kill. Blade styles that specialise in combat at this range demand mastery of timing, footwork and body mechanics. For instance, when facing a thrust, an exponent may sway back to evade the blade, then launch a riposte along the open line. Such a subtle movement minimises the distance and time the swordsman needs to deliver a counterattack, but it also demands perfection. When dodging an attack, Our Hero may slightly misjudge the distance and receive a shallow wound. Likewise, the villain may evade Our Hero’s slash and launch a sudden riposte; Our Hero shields with his secondary arm and tries to step off, but the offending blade still takes him in the arm. In both cases, Our Hero doesn’t receive a fight-ending injury, or even necessarily a serious one, but the narrowness of his escape emphasises just how close he is to dying and the seriousness of the situation. When played straight, these apparently-shallow wounds will begin to degrade his combat effectiveness, forcing him to take risks. For instance, a seemingly-superficial forehead cut may bleed into the eyes, creating an avenue for reversal and tension, while the arm wound might lead to loss of blood pressure and later consciousness.

With live weapons, a small error in timing and footwork will lead to injury. Notice how narrow the dodges are, and how slim the margin of error.

It is much harder to pull this off in gunfights. In Stephen Hunter’s Point of Impact, a villain shoots Bob Lee Swagger twice in the chest. Swagger survives and escapes. It is revealed that the villain missed Swagger’s heart and had loaded his weapon with hollow point bullets that had failed to expand. The latter is plausible because the story is set in the early 1990s, and hollow points were not a mature technology then. Even so, Swagger is still critically wounded. He struggles with his injuries and requires medical attention (and recovery) before he can continue his investigation. Without knowledge of firearms, ammunition and terminal ballistics, it is very hard to plausibly pull of flesh wounds from a firefight. The old standby, of course, is to have Our Hero grazed by bullets or be struck by fragments from bullets disintegrating against hard cover, but with such minor wounds Our Hero (and therefore the audience) may not even notice them until after the fight.

Flesh wounds are impossible wounds. In a work that plays violence straight, downplaying the effects of injuries contradicts the feel and tone of the work. Instead of going for transparent theatrics, see if you can use the setting to plausibly mitigate the effects of injuries, or play the violence straight and force Our Hero to roll with what he has left. By respecting the consequences of deadly violence, you can maintain dramatic tension while respecting reality and the audience.


Image credits:

Baton target: Original image by Monadnock, first retrieved here.

How to Write Someone Else’s Martial Arts

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Fight scenes are fun. Fight scenes featuring believable techniques are even more fun. If you already know martial arts, incorporating them should be easier. But what if you don’t? Or if the story calls for characters to use other martial arts you haven’t studied?

It’s a question I faced when writing recent stories. My latest novel, NO GODS, ONLY DAIMONS, required a character to be proficient in historical European martial arts, specifically the German school of longsword fencing. Another novella I wrote last year placed Chinese martial arts in the limelight. Unfortunately, I do not have any training in those styles, and there was no way to justify having the characters use the style I have trained in.

The best answer to the question is to simply train in that new style, or at least ask someone who has trained in that art to look over the fight scenes. But this may not always be available to you. Teachers in the styles I have selected aren’t readily available here. Here’s what I did to make fight scenes realistic and research less headache-inducing.

Down the Rabbit Hole

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A martial art is a paradigm. It is a method of moving your body to solve specific problems in a specific environment. These problems can be as simple as breaking a fall or as complex as handling multiple armed attackers hell-bent on killing you. The signature of a martial art lies in its approach to problem-solving based on its operating assumptions.

Brazilian jiu-jitsu aims to solve the problem of how to force a single opponent into a submission without necessarily causing permanent damage. Classical karate provides practitioners a means of unarmed self-defense against ruffians. Kali tackles the problem of confronting attackers armed with weapons. Some branches of HEMA attempt to replicate the battlefield techniques used by soldiers against enemies with and without armour in European battlefields.

Different martial arts are suited for different purposes in different environments. Once you understand how your chosen martial art is supposed to function, match it against the problem your character is going to run into. A kali practitioner with a baton may be able to fend off a single knife-welding opponent in a duel. A man who only knows BJJ and finds himself surrounded by raging gangsters on the street is in deep trouble. Depending on your writing goal, this may or may not necessarily be a bad thing. The trick is to know what kind of scene you want before writing it, and to explore the consequences of success or failure following the action scene.

The Way You Move

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In the age of YouTube, Facebook and Vimeo, it’s easy to simply watch a selection of fight techniques online and replicate them in writing. However, every trained martial artist knows that techniques do not exist in a vacuum. Throwing random techniques does not a fight scene make; to write action scenes at a higher level, you must understand why a character will choose to move in a certain way in a given situation.

Different martial arts have different ways of moving to solve problems in different environments. The key to breaking down an art into its essentials is to understand the way its practitioners move. In particular, look at footwork, power generation and weapons. These are the three pillars that define an art.

Filipino martial arts is defined by its choice of weapons: the stick, the sword and the knife. As a weapon-based art, its practitioners assume that the opponent has a weapon. If you block a weapon with empty hands you will lose your arm; if you block with your weapon you might chip the edge and lose an opportunity for an immediate counterattack. FMA answers this problem through triangular footwork and timing. Instead of meeting force with force, the ideal is to get off the line of attack, evading the attack altogether, and disable the opponent’s arm and/or finish him off.

FMA relies heavily on hip rotation to generate power. Every strike ends in a chamber position, allowing the practitioner to seamlessly chain together a string of attacks without having to reposition his hands or feet. This combination of swinging hips and attack chaining is the basis of the FMA concept of flow: transitioning seamlessly from one technique to another to overwhelm the enemy with a blitz of strikes.

Sword-based Historical European Martial Arts appears to have some superficial similarities with FMA. However, FMA was developed in a jungle archipelago; the local climate makes wearing heavy armour impractical for most conditions. Europe’s climate allowed knights and wealthy soldiers to wear armour for extended periods. Plate armour mitigates or outright defeats the FMA tactic of stepping off-line and slashing the arm or thrusting to the body. In addition, unlike many traditional Filipino swords, European battlefield swords tend to have pronounced crossguards. Later swords incorporated knuckle-bows, basket hilts and cup hilts. These guards rendered decisive strikes to the hand more difficult.

The combination of armour and weapon characteristics lend themselves to different tactics. A HEMA longsword practitioner can bind the enemy’s sword, using his crossguard to trap the blade and protect himself, and thrust his own sword through gaps in the enemy’s armour. The historical fencer may also hold his sword by the blade instead of the handle, using the crossguard to hook, trap and trip his enemy–and the crossguard and pommel can be used to deliver the infamous murder stroke, using concussive force to defeat helmets. Further, HEMA training also emphasises preventing double-kills and guarding against afterblows from a dying opponent, an element not usually found in FMA, since FMA footwork ideally places the practitioner outside of the enemy’s reach.

In marked contrast, the signature weapon of the Chinese art of Bajiquan is the spear. Specifically, the daqiang, a long and heavy spear. The length and weight of the weapon makes it much harder for a practitioner to simply evade an incoming attack and counterattack in the same beat the way an FMArtist can with a light single-handed sword. Bajiquan spear techniques instead focus on controlling the enemy’s weapon with your own, either by small circles or swats, and immediately thrusting into unguarded space.

Empty hand Bajiquan carries echoes of the spear, emphasising explosive, linear movements like those needed to drive a spear home. Bajiquan delivers power through falling steps and abrupt movements, synergising with the footwork. Bajiquan footwork carry the practitioner deep into the enemy’s space to control his centreline, enabling the practitioner to destroy him with close-in body weapons: headbutts, elbows, hooks, low kicks, body slams and grappling.

While these are generalities, we can see how footwork, power generation and weapon characteristics make up the signature of an art. Tactics and techniques are derived from how the art trains its practitioners to move and the weapons the practitioners study. Once you know how a martial artist is likely to move based on his training, you can create a more believable actions scene.

The Fighter’s Heart

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You know what art your fighter studies, how he will move, and why he will move. Now it’s time to introduce the human element.

My approach to writing action scenes is similar to Chinese martial arts film. Every fight scene is fundamentally a clash between humans, and martial arts is a medium to express their unique personalities and achieve their goals. There are as many ways to express a martial art as there are practitioners. Different fighters have different personalities, skill levels, assumptions and conditioning, and their techniques will reflect that.

A large, strong, aggressive fighter is likely to charge straight into the fray, bashing aside all obstacles in his way. A defensive fighter will stay at long range and hang back until the time for a counterattack. A crafty martial artist will use feints and deception to create windows of opportunity to attack.

A martial art is like a toolbox. A fighter’s personality tells you which tools he will prefer to use. These are the techniques you need to pay extra attention to in your research and the ones your fighter unleashes in battle. It also means you don’t need to spend so much time looking for stuff you probably won’t use in your own work.

Taking Things to the Next Level

A fight scene is a clash of wills expressed in motion. When writing an unfamiliar martial art, you don’t necessarily have to have complete knowledge of the art to properly portray it. But to do justice to the art, you need to know the pillars of the art, its footwork, tactics and weapons, and know how your character will express the art. Armed with this knowledge, you can elevate your fight scenes to the next level.

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And if you want to see how well I did writing a bunch of foreign martial arts, you can find NO GODS, ONLY DAIMONS on Amazon and the Castalia House bookstore.

Can post-cyberpunk fiction be superversive?

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“The important part in Cyberpunk is just that: it’s not the technology, it’s the feel. It’s getting that dark, gritty, rain-wet street feeling but at the same time getting that rock and roll, lost and desperate and dangerous quality. Cyberpunk is about that interface between people and technology, but not in that transhumanist way where it’s all about the technology changing or improving them. It’s about how people use things… Cyberpunk isn’t about saving humanity. It’s about saving yourself.”
Mike Pondsmith

Cyberpunk is the literature of subversion. There are no clean, shiny and prosperous utopian futures promised in old-school science fiction; here you find the dirty streets of dystopias born from the unholy union of untrammeled megacorporations and state power. Technology doesn’t elevate people; it twists them into man-machine hybrids, exposes their secrets for all to see, and creates fresh prisons for the mind and body. Heroes are dead and forgotten; in their places are marginalised, alienated loners at civilisation motivated only by self-preservation. Where the best of science fiction tries to take humanity to the stars, cyberpunk drags humanity into the gritty, nihilistic underbelly of the world.

By contrast, superversive fiction is fiction for a more civilised age. Where subversive fiction undermines, superversive fiction builds back up. The best superversive fiction is a celebration of the values and ideas that underpin civilisation: family, law and order, morality, religion, tradition. To quote from Russell Newquist, superversive fiction is marked by at least some of the following:

Heroes who are actually heroic. They don’t have to be heroic all of the time, or even most of the time. But when the time comes, they must actually be heroic.

People are basically good. Not all the time, not in every case – and certainly not every person. But basically.

Good Wins. Not every time – a good story always has setbacks in it. But evil winning is most definitely not superversive.

True love is real. Again, maybe not for everybody. But it’s real.

Beauty is real. It’s ok to show the warts. But show the beauty, too.

The transcendent is awesome. There’s no obligation to show any particular religion, or even really religion at all. But superversive literature should show the glory and splendor of the wider universe around us, and it should leave us in awe of it.

Family is good and important. Not every family, sure. But those are the exceptions, not the rule.

Civilization is better than barbarism. This doesn’t mean barbarians are evil, or that they aren’t fun. But in the end, they’re… well, barbaric.

Strength, courage, honor, beauty, truth, sacrifice, spirituality, and humility are virtues. This can be demonstrated by showing people breaking the virtues. But they must be recognized as virtues.

There is hope. Superversive stories should never leave the reader feeling despair.

Cyberpunk is opposed to superversive fiction at every level. There are no heroes, only blackhearted characters either performing fell deeds or manipulating people into performing them. Love and beauty are either alien or transient, and functional families are unheard of. There is no hope of transcendence, except maybe as a ghost in a machine. The primary characters reject civilisation and its virtues, instead living by their own codes at the edge of society. Cyberpunk fiction rarely has happy endings, and those that do tend to be bittersweet or temporary.

Blend everything together and you have a recipe for darkness-induced audience apathy.

Meaningful conflict is the heart of drama. Readers need to empathise with characters. Actions should not entirely be in vain. Evil is punished, good prevails, civilisation endures or evolves. Without these elements, it becomes exceedingly hard for a reader to care. Why should a reader care about a self-destructive misanthropic loner who remains a self-destructive misanthropic loner? Why should a reader be concerned about the fate of an oppressive dystopia? Why should a reader cheer on a traitor, a liar or a murderer with no redeeming traits? With such societies and characters, it takes great skill to hook a reader and keep him invested in the story — a skill few cyberpunk writers, if any, have. Indeed, it is telling that the authors once associated with cyberpunk no longer write cyberpunk.

Is there room for superversive cyberpunk?

Probably not, but that’s what post-cyberpunk is for.

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Epitomised by works like Ghost in the Shell, post-cyberpunk draws upon the cyberpunk ethos and places its own spin on things. Shaped by the technological development and societal attitudes of the 21st century, post-cyberpunk represents an evolution of cyberpunk without necessarily retaining its nihilistic post-modern attitudes.

As Mike Pondsmith says, cyberpunk isn’t about the technology, but the feel. It’s the contrast of high tech and low life, of desperate struggles in the dark, of how people use and abuse technology. Even with this aesthetic there is room for superversion.

Ghost in the Shell (the anime and manga, NOT the live-action movie) features a secret police officer who protects a future Japan against terrorists and corrupt bureaucrats while exploring heavy philosophical themes. Psycho-Pass stars an idealistic police officer who struggles to retain her humanity as she defends a dystopian police state. Deus Ex: Human Revolution and its sequel Mankind Divided features Adam Jensen, a former police officer and later counterterror agent who uncovers a conspiracy to rule the world. Watch_Dogs features hackers fighting a powerful megacorp and the omnipresent surveillance system it has created.

These stories are all called cyberpunk in the popular press. They certainly share the same ethos as older cyberpunk works. But instead of descending into the depths of nihilism, at the end of these stories their worlds are just a little better and brighter, and the characters emerge with their spirits tested but unbowed. Victories may be small, but they are meaningful to the characters and the story world.

Post-cyberpunk fiction can be bent to the ends of superversion without sacrificing the core aesthetic that defines it. In a dark, oppressive world, kindness and virtue shine brilliantly. Tsunemori Akane’s humanity and idealism stands in stark contrast to the inhumanity and utilitarianism of the Sibyl System. Adam Jensen can choose to spare every enemy he meets. By creating sharp contrasts of virtue and vice, humanity and alienation, idealism and cynicism, post-cyberpunk is able to unmask the heart of darkness while still making a stand for truth and beauty and justice.

Like cyberpunk, post-cyberpunk is still dark and gritty and dystopic. There is still plenty of chrome and tech, and there are no end of villains scheming in the night. But here, there is also room for hope. Ruthless megacorporations, politicians and criminals are held to account or punished for their misdeeds. Civilisation chugs along, and ordinary people are better able to live in peace. The Leviathan may not be slain, but you still retain your soul, and even an all-powerful state can be convinced to reform itself for the better. You may not be able to save humanity, but you can still save yourself and everyone else around you, and lay the foundations for a better tomorrow.

Post-cyberpunk may be as black as pitch, but the darkness accentuates the brilliance of a candle.

And the flame can be passed from candle to candle, fiction to consumer, heart to heart.


First image: Cyberpunk 2077 trailer
Second image: Psycho-pass anime poster

Writing Through the Churn

 

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Show up. Sit down. Write.

Time-honoured writer’s advice. For the nine months I did exactly that. Whenever I had a spare moment, I booted up the word processor, sat down, and wrote. Between blogging and fiction I must have churned out hundreds upon thousands of words. Going by word count alone, it was an unqualified success.

It’s not.

Of the hundreds of thousands of words I spilled on the page, I only produced two stories that I can reasonably hope to publish.

Just ten percent of the words I wrote.

In the profession of writing most people only see the successes. The marketing copy, the press releases, the interviews, the blog and Facebook and Twitter announcements of the Next Upcoming Bestseller by Another World Renowned Author.

They don’t see the uncounted hours at the keyboard, banging away against the keys, squeezing every spare second from the clock while simultaneously wishing that the session was over. They don’t experience the joy of visualising something transcendent in one’s daydreams and the agony of watching it turn to clay on the screen and the horror of knowing that you are not good enough to fix the story and elevate it to that rarefied state in your vision.

It’s tempting to give up and walk away. But the difference between success and failure is often determined by how long and how well you stick to something.

The old-time SFF greats and the pulp masters of the early 20th century could sit at their typewriters and churn out ten-thousand-word short stories and hundred-thousand-word novels in the sure and certain hope that publishers would buy them, no questions asked. They had to: with their livelihoods on the line, they couldn’t afford to waste a story.

And they only got to that stage after innumerable hours of toiling at the keys.

Jerry Pournelle advised writers to be prepared to write and throw away a million words of material. I suppose at this stage in the game I’m still paying the toll. Eliminating nine in ten words sounds horrible, but it’s better than ten in ten. And I still have stories that have turned out well.

Up to this point, I’d been reliably turning out at least one novel and one novella every year. I was limited not by output, but by how fast publishing platforms, editors and artists could act. So I wanted to try something new. New genres, new concepts, new tones, new stylistic choices.

And found the difference between my ambition and my ability.

Coming up with ideas is easy. I can recite from memory at least five dozen story ideas at any time. But in this business only completed and published stories count.

To get published stories you need completed stories. To get completed stories you need to write. But in the course of writing or editing you may find that what you thought was literary gold was little more than dust.

This isn’t the first time it’s happened to me. I don’t think it’ll be the last either.

It’s easy to chuck failed stories into the recycle bin and forget them. When you’re churning out words and discover the story isn’t what you think it is, it’s easy to give up and do something else. But the better approach is to approach it as a learning experience.

You have to write through the churn. Even if the story feels like it’s falling apart, if the prose you produced doesn’t come anywhere near your standards, if your characters don different masks and become other people, if your own writing voice metamorphoses into something else, you have to keep writing. You have to keep going and see the story through. In the worst case scenario, you’ve found what doesn’t work. In the best case, you can come back to it later and fix it, when you’re no longer so emotionally invested in the prose, or recycle the key concepts elsewhere.

But there is a time to know when to give up.

You can’t count on your feelings. Emotions matter in the moment when you’re writing. When you take the long view and read a story from an editor’s or reader’s perspective, how you feel about the story while writing it doesn’t matter. What matters is the bones of the story: the worldbuilding, critical plot elements, underlying assumptions about characters and organisations. The only reason to give up on a story is when you realise it is fundamentally flawed, and by fixing the flaw and following through you have to change the rest of the story. At that point, you’re basically writing a new story from scratch. No sense spending time and energy on something that has already died; better to refocus your energies on a better concept.

Even then, you shouldn’t give up on the idea of the story. The manifestation of the story may be fatally flawed, but it doesn’t necessarily follow that the idea itself is wrong. If the core themes, character traits, technology or magic systems, or other aspects can be salvaged, then they must be retained. One should never throw out the baby with the bathwater.

When I was 17 years old I came up with an idea of a secret organisation that travelled around the world dispatching monsters. Its distinguishing feature was that its members were directly supported by supernatural entities, and would be drawn into an epic battle between good and evil.

That story didn’t work.

Even so, I kept at it. I generated idea after idea, smashed them together, blended them in different ways, discarded the ones that didn’t work. I created and destroyed plots and technologies, characters and critical historical events — and I finally got to writing stories to see how well they would work.

I had a story about a civil war between factions of a religious organisation — it didn’t work. I had an arcanepunk story with energy blades and teleportation and rogue agents — it didn’t work. I had a story that mixed Final Fantasy and Task Force Talon with Rainbow Six and Ghost Recon — it didn’t work.

Yet over the years, I kept going back to the core concepts, refining them, thinking about the setting and characters, contemplating what else might work. Even as I focused on other stories this one was still in the back of my mind. In 2015 I tried again, and I produced a novel.

And that novel, No Gods, Only Daimons, will be published soon by Castalia House.

Writing is a long game. It took 11 years to turn the original concept into reality. And over the course of 11 years, I developed a basketful of ideas that be recycled into other worlds, if or when the time is right.

My latest works haven’t panned out so well, but that’s nothing to get upset over. Now I think I know what works for me and, more importantly, what doesn’t work. I have a better understanding of where to focus my energies to manifest my ideas and deliver maximum impact. And I’m going to keep writing, always.

Treat every story you write as a learning experience. Whether you’re riffing off familiar concepts or doing something new, you should strive to do better than your last. You have to write through the churn and see stories to the end, whether it be bitter or glorious. You can always go back and fix things, and even if you can’t, at least you know what doesn’t work. For now.

The secret to writing success is simple. Show up. Sit down. Write.

Always.

Disney’s Gay LeFou is Tokenism

LeFou of Disney’s 1991 animated film Beauty and the Beast is the lackey of Gaston, the main antagonist. By turning LeFou into a gay man for the 2017 live action adaptation, Disney has sunk ever deeper into the abyss of social justice. Through this act of mutilation, Disney has demonstrated its contempt for the original story. In recent years, Disney has been pushing the social justice agenda hard, producing film after film starring Strong Independent Female Protagonists Who Don’t Need Men. What makes LeFou’s distortion especially egregarious is that Disney’s attempt at virtue signalling is really tokenism.

Squandered Drama

The original novel was published in 1740. The Disney animated film shifted retained the setting of 18th century France. The live-action movie also keeps this setting. And 18th century France was cruel to gay men.

During the Ancien Regime, homosexuality (specifically, male sodomy) was punishable by death. The last gay men to be executed for sodomy were burned to death in 1750. Homosexuality was decriminalised only in 1791.

There was no mention of the French Revolution or the French Terror in the source material or the 1991 animated film. Thus, it’s safe to assume that the events of the story took place before the Revolution. By exploring his feelings for Gaston, Gay LeFou runs the risk of arrest, jail and execution.

Even if the story were set after the decriminalisation of sodomy, he would not be immune. New laws do not automatically lead to new social attitudes. Homosexuality was still widely seen as immoral and unnatural. If Gay LeFou were open about his feelings, he could be ostracised and run out of town. Everyone would spurn him, leaving only the company of the pederasts who frequented the public urinals and the molly houses where they pretended to be women.

This is not to say Gay LeFou is doubleplus ungood. Rather, by casting a gay man in 18th century France, Disney had the perfect set-up for drama, angst, and conflict.

And they squandered it.

The Most Interesting Man in the Room

The most interesting person in an area is the one who is most different from everybody else. In homogenous societies like 18th century France, minorities like gay men are the most interesting people around. They have to face legal repercussions, societal disapproval and disease just to be who they are. Gay LeFou would face enough drama and conflict for an entire movie all to himself.

But the story is not about Gay LeFou. It is about Belle and the Beast.

All things in a story must serve the story. A subplot about Gay LeFou finding his feelings adds nothing to the story. It will have no impact on the protagonists or their relationship; LeFou, both Gay and Regular versions, have exactly no influence over them. That makes the gay subplot a distraction at best, a time-waster at worst.

Disney claims there will be a happily ever after moment for LeFou. This flies in the face of historical fact. The gay subculture of mid-18th century France was marked with profligacy, prostitution, casual sex and group sex. Men in committed relationships with other men were despised — especially those with reputations for being debauchees.

A happily ever after for LeFou doesn’t do anything for the core story of Beauty and the Beast. How his life turns out has little to do with the main characters. As such, Gay LeFou’s story is just a sideshow, a sop to progressives, and nothing more.

By turning LeFou gay, Disney has injected modern liberal attitudes into a setting with vastly different values and attitudes. Through its focus on Belle and the Beast, Disney turned the spotlight away from the struggles Gay LeFou would realistically face in a believable 18th century France, bringing him out only to reaffirm that Gay Is Okay.

Disney’s first gay character is just a token, an object to be trotted out to signal to left-wingers that Disney shares their values, then quietly hidden away when it comes time to actually explore what it means to be gay in such a society. And yet Disney continues to be lauded for its progressive ideas.

In other words: tokenism is okay is progressives do it.

The Altar of SocJus

Gay LeFou isn’t the only indicator of social justice infection. Emma Watson, a self-proclaimed feminist, plays Belle. In the movie, Belle says, “I’m not a princess.”

This is a time and place when girls and women aspired to be treated with the grace, courtesy and respect accorded to princesses, and to receive the wealth and luxury the title implies. Further, in that time period, such a retort would indicate that a) Belle is a troublemaker who will not acknowledge the roles of women at that time, b) Belle disrespects the Beast’s servants, and by extension her host, and c) the Beast (who is a prince) has poor taste for choosing such a troublesome woman as a companion — which suggests his ability to judge people and make decisions is impaired. This, in turn, would lead the Beast’s servants to either ‘educate’ Belle on proper manners and/or convince the Beast to find a new companion.

Likewise, Belle wears a dress that conforms to modern fashion sensibilities, flying in the face of historical female fashions of the time that emphasise narrow, inverted conical torsos. The excuse is that Belle is a more active heroine than before. Which is nonsense — clothes do not define a character. As any good creator knows, having your character deal with clothing hang-ups at the most inconvenient of times is a prime source of comedy and tension. At the very least, everybody would look askance at Belle’s fashion sense and actions, and start whisper campaigns against her, forcing Belle to change her ways. At worst, the Beast would believe them and ditch her.

Again and again, the movie sacrifices verisimilitude on the altar of social justice. Instead of capturing the little details like the difficulty of wearing women’s dress of the period or the drama that arises from making social faux pas, Disney chooses the easy way of toting a token gay man and a feminist from out of time, and pretending the drama that should have occurred would not happen.

The live action film had so much potential. It could have been filled with the angst, drama, social sniping and prejudices that define an epic historic fantasy romance. Instead, Disney sacrificed it all to signal to progressives that they, too, hold modern ideas.

Such a poor prize for such a grand price.

The disease of virtue-signalling must be fought wherever it appears in fiction. It robs stories of their full potential, turning them from potential epics to hollow tales, just so that the creator can say, “Look at me! I believe in SocJus too!” Creators like these are not interested in fiction. They are only interested in ramming their ideas down your throat.

Sources:

Still: Beauty and the Beast, 1991, first sourced from Disneyfied or Disney Tried

From Twickenham to Turkey: Eighteenth-Century Gay Subcultures in Europe, America and Australia

Gay subcultures in eighteenth century Europe

The Sodomite Becomes a Molly

1700-1750 in Western fashion

Emma Watson’s Belle ditches the corset and princess title in ‘Beauty and the Beast’

Beauty and the Beast Director on His Decision to Make LeFou Gay: ‘In a Very Disney Way, We Are Including Everybody’

How to Bring Out Your Characters’ Personalities in Action Scenes

Everybody loves action scenes. The thrill of the fight, the kinetic spectacle and suspense combine to create a high emotional beat in the story. Action scenes are also a great way to show the reader what kind of person a character is. To elevate action scenes to the next level and integrate them into the story, every action scene should reflect the personalities and backgrounds of every character involved.

Heart, Mind and Soul

Violence is the crucible that brings out the best and worst of people. Different people will react differently to violence. A 6’12 bodybuilder with huge, bulging muscles may cut and run at the first sight of blood. A 5′ soft-spoken woman may transform into a furious wolverine when gangsters threaten her children.

Fighting is not simply about techniques, angles, positioning or other technical matters. Every conflict is a clash of wills between everyone involved. When choreographing an action scene, delve into how every party involved will react to violence. What are their attitudes towards violence? What are they comfortable with? What hang-ups do they have? What are their goals in that scene? How far are they willing to go to achieve them? Do they think they are engaged in social violence or asocial violence?

For more information, please see my earlier post on the subject of writing violence.

Once you have an idea of what your characters can and cannot do, and will and will not do, see how these mesh with your characters’ personalities.

In Ken Bruen’s novels, his antiheroes and villains readily turn to violence to settle their affairs. In the stories set in Ireland, the hurley stick is the weapon of choice. Armed with these sticks, characters routinely beat down other characters to send a message or to kill them.

Here we see the characters’ personas . Weapons are highly limited in Ireland, but the characters don’t want to fight fair. They turn to hurley sticks because they are legal (“We’re just off to play a game of hurley, Garda!”), and because they are so widely and cheaply available they can be disposed of after the job. The use of legal sporting goods as weapons, the disposal of evidence and the use of seemingly unfair advantages emphasise the dark and criminal nature of these characters. When the characters go to work with the hurleys, they viciously batter their targets to a pulp, either killing them or sending a message the targets will never forget. The brutality of such scenes reflects the darkness in the attackers’ hearts and lives — either they feel they have no recourse to softer and more legal means, or they simply enjoy the violence.

Contrast this with Team Rainbow from Tom Clancy’s Rainbow Six (the novel). Rainbow is a secret multinational counterterrorist organisation staffed by NATO military and police personnel. They operate with the latest equipment and hone their skills to a razor’s edge. When they are called up, they meticulously plan every step of the operation and seize every tactical advantage they can get. Once they blow in the doors, violence is swift and precise. They are all trained to perform headshots, and they never miss.

When put together, this portrays Rainbow as an elite group of special operators. They are swift and efficient, protecting the weak from terrorists. They also harbour a professional contempt for their prey. After a terrorist executes a child, a sniper punishes him with a highly painful and assuredly fatal wound. However, their focus is on preserving life: if a situation can be resolved through negotiations or arrests, they will take that option. As they operate with the blessings of national governments, they can focus on getting the job done with the best gear. Between their gear and the actions, the reader can believe that they are truly the best of the best soldiers in the world.

Violence is an expression of a character’s will. Understand the will and manifest it in his actions.

Personality, Skills and Physique

Let’s say your characters have more than a modicum of experience or training in violence. Maybe they are hardened street fighters, or they have training in martial arts and other combat skills. They aren’t going to react to violence like civilians (or, frankly, many Hollywood actors and fiction characters in action scenes). To portray them accurately, you want to go a step further.

Different people will have different ways of fighting. Scott Bab, Founder of Libre Fighting, says it best:

A martial arts system is a tool box. A tool box that was hopefully assembled by a skilled craftsman. The instructor shows the student how each tool works, but it is up to the student to determine which tools they will put on their tool belt and carry around with them.
Although each has been trained in person, by my own hands, when I look at my own senior ranks, in my own class, each of them fights entirely differently.
One is lightning fast and crafty. He teases his opponents with opportunities then exploits the openings when they take the bait. He rarely engages directly, he plays games and manipulates his opponents.
Another is a bruiser. He is stocky and powerful, and overwhelms his opponents with the sheer intensity of his presence. He yells, stomps, and powers forward like a machine tearing through whatever is in his path.
Yet another plays chess. He knows every angle that can come his way and knows how to negate each one. He has a deep inherent understanding of the tactics and approach I teach and relies on his technical proficiency to overcome opponents.

A character’s martial expression is the sum of his personality, skills and physique. A trained and/or experienced fighter will find a set of techniques that meshes well with his body dynamics and his expected threat. He will pick a set of tactics that enable him to make full use of his favourite techniques, be it charging in, deception or counterattacking. These techniques and tactics together reflect the person’s character.

In my American Heirs series, Master Sergeant Christopher Miller is a soldier with a distinguished career in the Combat Studies Unit of the Cascadian Defense Force. He doesn’t have any formal training in martial arts, just generic military combatives and other specialised programs for Spec Ops types. His training emphasises fighting as a unit instead of working solo, seizing every advantage possible, and taking no chances. He would rather shoot a threat than touch him, but he won’t hesitate to go hands-on if he must.

This is portrayed in the combat scenes. If a subject tries to grapple with a Unit operator in close quarters battle, the operator will shove the subject aside into a corner, clearing the way for his buddies to continue the fight. After gunning down a threat, Miller and his fellow operators will fire insurance shots if they hadn’t landed a headshot. In the latest story, I, Eschaton, Miller employs stealth, speed and violence of action to overcome his tactical disadvantages. At the same time, he takes care to avoid hurting innocents and will not engage in gratuitous violence. Miller is a professional soldier par excellence: decisive, cunning and ruthless, but he will never harm anyone who doesn’t deserve it.

Contrast this with Luke Landon from my upcoming novel No Gods, Only Daimons. Landon is a black ops agent, and often has to improvise weapons in denied environments. His preferred weapon is a knife, and he is an expert in Filipino martial arts. While Landon is no slouch with a firearm, he is far more skilled with a blade. He is also a highly intelligent operator who regularly employs deception. Before opening combat, he employs deceptive speech and body language to get his enemy to drop his guard, then lunges in for a pre-emptive strike. When engaging threats, he uses feints and footwork to set up and exploit openings, crashing in for the kill. Where possible, he will make use of the environment, slamming targets into walls, objects or each other. Landon knows that he is not fighting bodies; he is fighting minds. He approaches combat like a high-speed chess game with the highest stakes, creating and exploiting advantages.

Everybody has preferences. Discover your character’s preferences and employ them in action scenes, distinguishing them from other characters and other stories.

The Cost of It

Violence is a two-way street. Violence professionals will stack the deck in their favour as far as they can, but the other guy always get a vote. Injuries and diseases and fatalities are the price of the profession. They stack up over time, changing how a person views the world. And even if a person walks away physically unscathed, his mind may not.

Combat is the most toxic environment known to man. A single exposure alters the brain forever. It shakes up the soul, alters brain chemistry, and leaves psychic scars — especially if combat were particularly intense, harrowing and emotional. After the action scene is over, show your reader how your characters cope with their experiences.

Take the case of Audie Murphy. Murphy is one of the most decorated American soldiers of the Second World War, winning every US military award for valour, including the Second World War. But his wartime experiences shook him deeply, leaving him afflicted with post-traumatic stress disorder. He became addicted to drugs, and suffered from insomnia and depression. Murphy is clearly brave, skilled combatant — but even he was not immune to the psychological ravages of war.

Looking at fiction, Barry Eisler’s John Rain is a hitman who kills without remorse…but his conscience droves him to make amends. In Redemption Games, his conscience causes him to botch a job, turning him into a target. At the end, his guilt drives him to atone for his deeds.

Here we see people dealing with the cost of violence in markedly different ways. Murphy was clearly shaken by the war, affecting his everyday life. In contrast, Rain experiences no psychological stress from the act of killing, but he is haunted by the knowledge of the long-term impact on the people affected by his kills. Rain isn’t a wreck, but his guilt informs his future actions and mindset.

The more intense an actions scene, the higher the price the character has to pay. This comes in the form of injuries, permanent loss of function, maladjustment to civilian life, psychological trauma, and more. How they cope with this trauma shows the reader the depths of their souls. Is a character prone to spiralling into self-destruction? Or will he rise above his new wounds and strive to overcome them? This drama creates greater depth in writing.

Putting Everything Together

Violence is a tool for people to impose their wills on others to achieve their goals. Every act of violence is an expression of the actor’s being. His physique tells you what he can and cannot do. His mindset and beliefs show what he will or will not do. His tactics show his preferences. The best action scenes combine these three elements, bringing out the actor’s character. And when the action is over, different people will find different ways to cope with what they have done.

To create top-notch action scenes, learn your characters inside and out, pit them against each other, and let them be themselves.


Further Reading:

This is just an overview. To create verisimilitude, you have to do your research. Study the techniques and mindsets of fighters and warriors and survivors, and embody them in your characters. Here are some books that point the way.

  • On Combat, Dave Grossman and Loren W. Christensen
  • On Killing, David Grossman
  • Meditations on Violence, Rory Miller
  • Warrior Mindset, Dr Michael Asken

‘Gritty’ and ‘Realistic’ SFF Isn’t

Today it is all the rage to label a specific brand of modern science fiction and fantasy as ‘gritty’ and ‘realistic’. Championed by writers like Joe Abercrombie and George R R Martin, these stories star villain protagonists and antiheroes, oceans of blood, torture and treachery, and all manner of depredations. Every time such a dark story is published, critics declare them as masterpieces of gritty, brutal realism.

I don’t know about those critics, but such stories don’t match my experience of ‘gritty’ and ‘realistic’.

I grew up reading thrillers. The first time I encountered ‘realistic’, it signalled an impeccably researched story. Every important detail—tactics to terminology, dialogue to descriptions—reflected reality. ‘Gritty’ stories starred indomitable heroes who confronted overwhelming odds with charm, intelligence and firepower. Through force of will they overcame obstacles, identified and neutralised villains, and achieved their goals. The protagonists weren’t perfect, and many of them were not good people, but they held fast to their own code of honour. They might be hardened street predators, but even they had standards. Barry Eisler’s John Rain would never hurt a child, while Andrew Vachss’ Burke took one step further by punishing those who preyed on children. These protagonists demonstrated grit in story worlds that reflected reality.

The SFF Establishment has no idea what ‘grit’ and ‘realism’ really mean.

What is Gritty?


Down these mean streets a man must go who is not himself mean…

The Oxford English Dictionary defines gritty in this context as:

  • Showing courage and resolve
  • Showing something unpleasant as it really is; uncompromising

The difference seems simple: the thrillers I read used the first definition while dark SFF insists on the second. And yet this is not so.

The thrillers of my youth weren’t about pleasant things. Vachss’ stories had unflinching portrayals of child abuse, murder-for-hire, gang life, sexual assault and more. Dennis Lehane had stories about murderers, mobsters, kidnappers and other monsters in human skin. These and other stories dive into the darkness that dwells in the hearts of men and rip off the gilt to reveal the maggots squirming underneath. Yet they also show courageous and resolute protagonists who are willing to confront these villains and bring them to justice.

In the dark SFF style championed by Abercrombie and Martin, we only see the unpleasantness. A Song of Ice and Fire is marked by murder, betrayal, rape, intrigue, incest, rape, atrocities, war and of course, rape. SFF books in a similar vein feature unsympathetic protagonists with no redeeming traits, wanton cruelty and sadism, and temporary or hollow victories by the more sympathetic characters—if they indeed secure victories at all.

While the real world is unpleasant and unforgiving, these ‘gritty’ SFF works overexaggerate this bleakness to the point where the discerning reader cannot but disbelieve the stories. If the protagonists are cruel and sadistic murderers, why would everybody else still permit them to live and walk freely? Better to kill them before they cause more harm. If churches serve no purpose except as dens of iniquity and intrigue, why do they still exist? They certainly aren’t elevating humanity and have no positive impact on the story world, so people would not tolerate their existence. If oathbreakers and monsters consistently seize and maintain power, why has civilisation not already fallen into a barbaric free-for-all? This is the final fate of societies shattered by the weight of the Kali Yuga or the Twilight of the Gods, where brother turns on brother and all makes war on all.
A gritty work is harsh and uncompromising. It does not blow up the evils of the world well out of proportion. Writing must reflect the truth of the world to maintain verisimilitude. Allegedly ‘gritty’ SFF does not.

What is Realistic?


Man has two selves

The key part of ‘realistic’ is ‘real’. A realistic story must reflect reality. On the surface it simply means that the story must be well-researched. In my view, though, it is merely a basic requirement. Thrillers and SFF may be different genres, but the best examples of both fields have at least one thing in common: believable characters. And characters can only be believable through accurate portrayals of human nature.

Everybody knows the darkness of the human heart. Open a newspaper and you will see terrorist atrocities, gangland wars, murderers, child abuse and lying politicians in abundance. Evil lurks everywhere in the world. Humans can be beastly, cowardly, bloodthirsty, vicious and covetous creatures. This is reality.

Yet humans can also be noble. Churches have sponsored universities and hospitals, opposed tyrants and freed slaves, and propagated virtues and values. Ultra-rich people give away millions or billions of dollars every year to charitable causes. Strangers have banded together to help people in need. Troops and civilians demonstrate valour on and off the battlefields of the world. This, too, is reality.

Every man has two aspects. One is craven, power-seeking, vengeful, petty, and self-centred. The other is selfless, kind, virtuous, determined and undefeatable. A truly realistic work would reflect both sides of human nature. ‘Realistic’ SFF works shun this holistic approach, seeking only to amplify the former.

This approach does not make for good fiction. Readers need a reason to invest themselves in stories and characters. They must see themselves in the stories, or better yet, the people they aspire to become. Readers have no reason to care about story universes filled with nihilistic bloodshed and unsympathetic villain protagonists. They do care about characters who face struggles that resonate with the readers.

John Rain is a stone-cold hitman, but his conscience haunts him and he tries to redeem himself throughout the series. Burke is a career criminal, but he is loyal to his family of choice and targets monsters even worse than him. In their own way, these men embody honour and ethics in worlds that reject such values. They represent both the best and the worst of humanity, resonating with readers who live in the light and want to peer into the darkness. Contrast this with blackguards and torturers who revel in death and destruction, so far removed from conventional norms of good and evil that they have no common frame of reference with regular people. Readers have no ability to sympathise with such characters, and no reason to. If such people are the protagonists, it becomes very difficult for most readers to invest themselves in the story.

Make SFF Great Again


First the Hugos, and then, the industry!

I don’t understand why the purveyors of dark, dim fiction are pleased to call these stories ‘gritty’ and ‘realistic’. I wonder if they truly understand the meaning of the words they use, if their experience of reality is so small that they have experienced only corruption and depravity, or if they are simply projecting their beliefs about reality into fiction.

They are sad benighted souls who praise only the dark side of man and cannot or will not acknowledge the light. They flee from the brilliant splendour of creation for the nihilistic emptiness of unending atrocities. It is as if they dwell in the dark alien chambers beyond space and time where they spend their days playing accused flutes and vile drums to the nameless blasphemous bubbling nuclear chaos at the heart of nothingness.

Grit and realism means more than just stark portrayals of evil. It also acknowledges the bright side of human nature. The great SFF works of the past understood and explored cravenness and courage, villainy and heroism, good and evil. Thrillers today still do. Now is the time to study the lessons of these stories and make SFF great again.


Photo credits:

Sam Spade: The Maltese Falcon
Drama masks: Pixabay
Rabid Puppies 2016 logo: Vox Day

Tired Tropes: The Superpowered Loser

Everybody knows That Guy. He’s in the corner in the dorky clothes, his eyes always trained on the floor, either mumbling in hesitant whispers or holding court in long droning tirades. He holds a dead-end job and lives in a dead-end home, either in a tiny danky apartment or his parents’ basement. He’s got no obvious skills, no aspirations, no desire to rise above his lot, and no idea how to handle himself or how people really see him. He lives a life of bitterness, envious of other people’s success and maybe obsessed with the One Perfect Woman.

And one day, by an Act of Rob, he is imbued with a superpower.

His life suddenly turns around. Villains crumble at his presence. Beautiful women throw themselves at his feet. Powerful men are overwhelmed with jealousy but fail to topple him. Riches rain from the heavens. But at heart, he is still a loser in word and deed.


Only in Manhwa Land

This is not about the Super Loser trope, where the loser is acknowledged and portrayed as a loser in-universe despite his powers. Stories featuring superpowered losers as protagonists are adolescent wish fulfilment fantasies. It is a reassuring delusion that even losers can find wealth and women without needing to put in the work to overcome their weaknesses and insecurities. All he has to do is to have a convenient superpower fall into his lap.

The superpower itself comes in many forms. A supernatural boon that allows anyone to instantly feel pleasure through skin contact, a suit of high-tech powered armor, a sudden ability to use magic or extrasensory perception, or some other plot device. Whatever this superpower may be, its key feature is that its insertion into the story automatically elevates the protagonist into an untouchable, desirable being head and shoulders above everybody else. He doesn’t have to learn how to charm or think or fight; the superpower automatically takes care of that. He may encounter challenges and rivals, but thanks to his superpower, he will always prevail.

The superpower itself serves only to fulfil the loser’s greatest desires. When activated, it is an unstoppable instant-win device. In Korean webcomic Love Parameter, hopeless nerd Young Hoon receives a special pair of glasses, allowing him to read the parameters of everyone around him. When he wants to seduce a woman, the glasses tell him exactly what to say. All he needs to do is follow the script, and every woman he meets falls into his bed. Likewise, in Sweet Guy, Go Ho-Sang develops the miraculous ability to make anybody instantly feel good at a touch. He is the very model of a modern Korean loser — dead-end customer service job, unfashionable clothes, zero social skills — but after developing the power, no end of sexually aggressive women pursue him day and night.

In these stories the superpower is a crutch. Young Hoon doesn’t have to dress well, exercise or make himself more desirable; he just has to follow the script on his spectacles, and all the hot women come running at his beck and call. Ho-Sang never has to learn how to speak to women; he merely needs to ‘accidentally’ touch his target, or at most cook up an excuse to touch her, and a neverending stream of beauties will rush him into bed. Quite conveniently, they are all aggressive go-getter types, so he never needs to learn how to talk to women — not even his love interest. Take away their superpowers, and they will still be losers.

In traditional superhero stories, we see heroes using their powers for a higher and nobler cause, such as justice or protecting civilisation from world-eating monsters. They use their powers for a cause higher than themselves, face and overcome incredible challenges, and emerge as heroes worthy of the title. Superpowered loser stories are an inversion: they are about the loser relying on his superpower only to feed his ego and place himself above other men. There is no higher cause, there is no challenge to be a greater man, there is only the bacchanalian celebration of the ego.

Stories about superpowered losers are weak because the protagonists remain losers. Actions transform people. Events give people the impetus to choose to be better. Losers choose to remain static, to maintain the core traits that kept them as losers and instead lean on their superpowers. As their superpowers will never fail, they have no incentive to get better, no obstacle they have no doubt of overcoming, no reason to do anything with their powers other than feed their ego. As a result, there is no drama, no tension, no believable conflict — only the boring certainty that things will go his way and the inevitable pain of watching the loser stumble through the rest of life.

Rehabiliating the Loser


Yes, that means you.

To make a story about a superpowered loser work, the writer has to do two things: the loser must choose to use the superpower for a greater good, and the superpower cannot be a crutch. By pursuing a higher purpose, the protagonist has the motivation to become stronger, and will encounter supervillains that force him to keep honing his skills. The combination of internal and external desires combine to catalyse the loser’s transcendence. There are two ways to do this.

The first way is for the superpower to transform the protagonist. In DICE: The Cube That Changes Everything, Dongtae is a loser who is constantly bullied and shunned by everyone. One day, he picks up a mysterious die, becoming a participant in a game that allows players to complete quests in exchange for more dice. When rolled, these dice grant dicers points that can be invested in their stats or exchanged for goods. Dongtae uses the dice to become stronger, faster and more intelligent, and roundly chastises the bullies.

But there are more dicers out there. As gamemaster ‘X’ spreads the dice across the Korea, Dongtae’s school is thrown into chaos. His schoolmates will do anyything for more dice, including hunting and harming other dicers or innocents. Dongtae vows to challenge X and end the madness once and for all.

This story works on two levels. First, the proliferation of dice ensures that using them does not automatically lead to an effortless win, at least not against other dicers. While dice-granted abilities are powerful, none of them render the user invincible; a dicer must still use his powers intelligently or he will be defeated. Further, dicers who invest points in the wrong stats quickly pay the price when facing more skilled opponents. Second, Dongtae’s powers catalyse his character evolution. His motivation for using the dice stems from a desire to not be a loser, but as the story progresses, he chooses to use his powers to protect his friends and confront X. By using his power for a cause greater than himself, he leaves behind his adolescent wish fulfilment fantasies and takes on the mantle of a hero. As he encounters ever-more-powerful villains, he must strive to get better and attain more skills just to survive –- yet the dice quests force him to choose between expeditiously gaining more dice and doing the right thing.

The second way to rehabilitate a superpowered loser is to have other characters build him up. In Zetsuen no Tempest, the Tree of Genesis threatens to destroy human civilisation. Halfway through the series, Hanemura Megumu makes his debut. Hanemura is a weak-willed and wimpy construction worker who just broke up with his girlfriend…and who was incidentally chosen by the Tree of Exodus to defeat the Tree of Genesis.

As the Magician of Exodus, Hanemura may be the avatar of destruction, but he is still a loser. The other main characters train him to become worthy of his powers. He is beaten black and blue repeatedly, and keeps whining whenever that happens, but he still comes back for more. At the series’ end, Hanemura saves the world from catastrophe, and prepares to reconcile with his ex-girlfriend.

Once again, we see the superpowered loser choosing to use his powers for the greater good and to put in the effort to overcome his failings. Here, instead of the superpowers catalysing his growth, other characters force him to grow. Where superpower-as-catalyst brings out the protagonist’s innate drive, this approach uses characters to catalyse the loser’s development. The former approach makes for a story that allows the protagonist to dig deep and find himself, while the latter has plenty of opportunities for character drama.

The third way of reversing the superpowered loser trope is simply to play it straight. The superpower is a crutch and the loser is still a loser. Sure, he can elevate himself above others for a while, but there are always better men — and when reality hits, it hits hard. A villainous example of this are many of the evil vampires in Hellsing. They believe that their vampire powers make them unstoppable, but Alucard curbstomps them without breaking a sweat, usually by showing them the error of their ways through absorbing their most powerful attacks without even a scratch.

This approach knocks out the superpower, revealing it for the crutch it really is. Assuming the loser survives the fall, he now has the impetus to become stronger and stop relying on his gift. To complete the transformation, the sudden shock causes the loser to re-evaluate his life and strive to become a better man.


You ready to be a hero?

Zero to Hero

The superpowered loser is a tired trope because it is mere wish fulfilment. Instead of pursuing transcendent goals, it is all about elevating and preserving the ego. This inevitably leads to a boring story without drama, tension or opportunity for character development. Instead, give the loser a reason and a drive to be great, and watch him become a superhero.


Photo Credits:

Sweet Guy cover: original image from Baka Updates
Hanemura Megumu: Zetsuen no Tempest anime episode 15
Blast of Tempest Volume 10