I am pleased to have Terry W. Ervin II back on my blog (you'll remember him from his excellent article on participating in panels). We're celebrating the release of his newest book, Relic Hunted, which released on January 18th. You can learn more about Terry and his books on his website. You can also feast upon the treat he's offered us today: how to write warfare in fiction (an article I personally requested, because we need to know!).
Take it away, Terry!
~*~
Writing
Warfare in Fiction
Epic
combat scenes are a common fare in fantasy and science fiction novels. Think: Armored
phalanxes armed with spears and catapults, backed by earth wizards and
flame-spewing dragons vs. necromancer-controlled zombie hordes, goblin mobs and
brutish ogres, backed by propeller-driven
dive-bombers and mechanized tanks
reminiscent of WW II technology.
Okay,
maybe that combination isn’t ‘common fare’ (unless you’ve happened to stumble
across my First Civilization’s Legacy
Series). The question is: How can an author bring such battles to life for
the reader. Infuse them with excitement and, well, believability?
Personally,
I have absolutely zero military combat experience. I don’t count the several
years of U.S. Civil War reenactment, where I learned 19th Century
drills and military tactics, including the basics wielding a bayonet and saber.
I am competent in firearm safety and basic use, my experience mainly with
shotguns and revolvers. That’s it.
Add
to that, how can I convincingly write about what no author, let alone human,
has experienced? For example, an interstellar taskforce made up of carriers,
cruisers and destroyers encountering a hostile alien fleet, from large
formations down to ship to ship combat using pulse lasers, nuclear tipped
missiles, railguns, ion cannons, fusion beams, and more?
It
can be done, as proven by a multitude of authors. Admittedly, sometimes
accomplished more convincingly than others. In any case, here’s what has worked
for me.
The
first thing that I’ve done is a lot of reading, supplemented by watching
various programs and documentaries that focus on various wars and conflicts
humanity has engaged in over the years. My reading includes a variety of books
which, if listed in detail, would take up several pages. Nevertheless, I’ll
share four examples in several categories:
- Books that provided ideas of
overall units, weapons and tactics on a large scale:
- How to Make War by James F.
Dunnigan
- The Face of Battle by John
Kegan
- 50 Weapons that Changed
Warfare by William Wier
- Jane’s Fighting Ships of WW
II by Antony Preston
- Books that covered tactics,
responses and reasoning, including personal experiences and insight from
larger to smaller scale:
- The Battle of Leyte Gulf by
Edwin P. Hoyt
- Citizen Soldier by Stephen
E. Ambrose
- Iron Coffins by Herbert A.
Werner
- Modern
Air Combat: The Aircraft, Tactics and Weapons Employed in Aerial Warfare
Today by Bill Gunston and Mike Spick
- Novels that included
depiction/tales of combat at various levels, using a variety of technologies,
including magic, and equipment:
- Red Storm Rising by Tom
Clancy
- The Chronicles of Thomas
Covenant the Unbeliever by Stephen R. Donaldson
- The Chronicles of Amber by Roger
Zelazny
- World War Series by Harry
Turtledove
There
is also the audiovisual aspect garnered from television and movies that proved
useful in supplementing the various reading material studied:
- Babylon 5
- The Lord of the Rings
Trilogy
- Saving Private Ryan
- Gettysburg
I
can add that playing some strategic war games, mainly during my college years,
such as Star Fleet Battles, Panzer Leader, Kingmaker, Diplomacy, and Global
Supremacy also laid some of the foundation for depicting fictional strategies
and tactics.
All
of that said, I believe that #3 above is the most important and useful as it’s
directly relevant in exclusively using words to depict and provides specific
and varied ‘how to’ examples for me as an author.
Maybe
as a writer you’re feeling overwhelmed and, as a reader, thankful it’s not your
job. Really, it’s not as bad as all that.
Identify
the scope of what’s trying to be achieved when writing a battle or combat scene.
I remind myself I’m telling a story, not writing an extensive training manual
or doctrine to be studied and employed.
Identify
the POV used and focus on the knowledge and observable aspects from that
perspective. Yes, as the author, I have a wider understanding of the war,
battle or conflict, all the way down to the individual vs. individual level.
Having that allows for depth and consistency, and much of that content won’t
make the pages of the novel as it isn’t necessary in conveying the story to the
reader. Think world building. An author may create an extensive world, with
names and places, culture and history, but only a fraction of it graces the pages
of a novel.
In
my Crax War Chronicles, the main
character, Security Specialist Keesay, has a far different perspective and
available knowledge than his superiors, whether he’s serving in the trench
line, fending off the advancing Crax air and armored offensive, or attempting
to survive a Crax hit-and-run landing assault, assigned to defend the research
lab deep within the Io colony, until help arrives—if it arrives.
Being
written in first person POV, the only description and events available to the
reader are those available to Specialist Keesay. But, as the writer, I’ve
already determined the Crax objectives, ships, equipment and numbers they have
available, and the tactics and backup plans they’ll use. I also have the
resources, plans and strategies Specialist Keesay’s side will employ.
From
there I just write what happens. What Keesay personally observes, is told or
witnesses through cameras, sensors or other reports. His emotions and
responses, and those of the characters around him. I keep in mind the
effectiveness of grenades, shotguns, magnetic pulse pistols and medium-duty
laser carbines, as well as the caustic pellets, molecular saws and tactics of
the armored and energy shield-protected Crax, and of their Stegmar Mantis
allies, with their CO2 powered firearms sending sprays of
toxin-coated needles.
In
addition to thoughts and actions, I include the senses. Yes, sight and sounds,
but tactile and especially smells are important in relaying the desperate
struggle to the reader.
But
how do you get it to flow? Make it real to the reader?
First,
I remember that I am telling a story, and relay sufficient action, movement,
thoughts and emotion, dialogue, and sensory description to the readers so that
they can create the action in their minds’ eye. No amount of words and
description can match the readers’ imagination.
Then
I work to pace it. Get the wording and description right. The amount of
dialogue and movement and reactions set properly for the reader to make it—the
conflict occurring—theirs.
How
do I know if I’m doing it right? I draft and re-draft. I read it orally, and
share with a trusted reader. If I’m stuck or unsure, I go to the work of
another author or two (category #3 above), ones who I’ve enjoyed reading and
have relevant examples of combat—similar to what I’m trying to achieve. I read
and re-read those sections, paying attention to wording and pacing and
description and more. Determine what made it work for me. Then I apply what I
learned (or re-learned) to my own scene and writing style. Make it as real and
believable of a fictional combat, of a struggle, as I can.
I’ve
been told in person and through reviews that I do a good job of writing combat
scenes. If you’re a reader interested in epic action-adventure fantasy with a
fair bit of combat (the main character is a mercenary), then consider giving my
First Civilization’s Legacy Series a
try. If you enjoy science fiction, with a para-military/space opera bent,
consider my Crax War Chronicles. And
if you’re a writer, and are struggling to write some of those difficult combat
scenes, take a look at what I have to offer, and maybe one or more of my books
will end up in your own category #3 above. Or, contact me if you would like
more information on the books listed and not listed in the categories #1-3
above.
~*~
Terry W. Ervin II is an English and science teacher who enjoys
writing fantasy and science fiction. His First
Civilization’s Legacy Series (fantasy) includes Flank Hawk, Blood Sword,
and Soul Forge.
The Crax War Chronicles, his science fiction series, includes Relic Tech and Relic Hunted (his most recent release from Gryphonwood Press).
In addition to writing novels, Terry’s short stories have appeared
in over a dozen anthologies, magazines and ezines. Genre Shotgun is a collection containing all of his previously
published short stories.
To contact Terry or learn more about his writing endeavors, visit his website
at www.ervin-author.com and his blog, Up Around the Corner at uparoundthecorner.blogspot.com
