Showing posts with label Ideas and Inspirations. Show all posts
Showing posts with label Ideas and Inspirations. Show all posts

September 23, 2011

Arming Your Hero - Part 7

In this installment of the 'Arming Your Hero' series, we'll be looking at war machines and siege weapons. While they don't often have prominent roles in fantasy stories, these weapons are an important part of medieval-style warfare that writers should have at least a working knowledge of. If your hero is commanding an army that's laying siege to a castle, fortress, or city, they may want to use one or more of these weapons. Or, if your hero is the one being besieged, here's what he can probably expect to encounter.

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This is a battering ram--probably the most well-known siege weapon in existence. The ram itself was made from a large tree trunk fitted with a metal head on one end and usually reinforced all along its length with thick metal bands. The head was most often flat on the end, which enabled it to crack stone walls with blunt force. A pointed head (like the one pictured above) was more likely to get stuck if driven into a wall. The tree trunk itself was suspended from the top of the battering ram's frame by ropes or, more often, chains. This enabled soldiers to swing it back and forth, building momentum as they pounded it into walls, gates, or doors. The roof of the battering ram (called the Penthouse) was extremely important. The soldiers inside had to be protected from arrows, spears, rocks, boiling oil, fire, or whatever else the besieged forces had to throw at them. Many times the penthouse was protected by shields overlapping like scales, as pictured above. Often, however, it was only covered by planks of wood, or even just cow hides.



This is a type of catapult known as a mangonel. The design goes as far back as ancient Rome, but the catapult was still being used well into the Middle Ages. Using a tension pulley system, the catapult could launch projectiles over castle or fortress walls, or just fling them into oncoming enemy ranks--up to 1,300 feet away. Projectiles were usually rocks or flaming materials, although in some cases where a siege was particularly long and drawn out, a besieging army would throw dead animal carcasses or even human bodies over the walls to spread disease among the enemy (and produce some extremely negative psychological effects as well). One problem with the catapult design was that it had the potential to 'beat itself to death', so to speak. When the tension holding the arm down was released, the arm flew up at a high rate of speed and slammed into the cross bar at the top of the machine. The impact of the collision launched the projectiles incredible distances, but after a while it could be hard on the structure.


This is a trebuchet. It may well be the most ancient siege weapon design in existence, believed by some to have been invented in China as early as 300 B.C. The earliest trebuchets were called traction trebuchets, and used manpower to pull the arm down and launch the projectile. Traction trebuchets were later replaced by more advanced counterpoise trebuchets, which used a counterweight on the short end of the arm to propel the ammunition. The weapon pictured here is a counterpoise trebuchet. Trebuchets had their downside--it took a great deal of time, precision, and mathematical know-how to build one--but their amazingly accurate aim and power made them worth it. A good trebuchet could throw a 200 pound stone up to 300 yards, and a skilled trebuchet team could launch as many as 2,000 stones at the enemy in a single day. Needless to say, if you want to reduce a city, fortress, castle, or anything else to nothing but rubble, a trebuchet is probably the place to start.


This is a siege tower. It looks like heavy-duty scaffolding, and that's essentially what it is. When the terrain permitted, an army would sometimes wheel a siege tower up to the walls of the castle or fort they were besieging and send their soldiers up to the top, where they could then run out on top of the castle walls and get inside. Many siege towers had a drawbridge-type door that opened onto the top of the wall, providing a ramp the soldiers could walk across. Siege towers could be made in an open design, like the one pictured here, or they could be enclosed and armored. The trouble with siege towers was that they were slow, difficult to maneuver, easy to burn down, and if one was rolled up to your castle's wall you knew exactly where the soldiers would be making their entrance. I suppose if you had enough of them, though, you could simply overwhelm the enemy with numbers.

Another weapon that was invaluable during a siege was a ballista. The ballista was basically a giant crossbow that launched enormous arrows or darts hundreds of yards. The arrows were wooden, but covered in a layer of iron; one arrow launched from a ballista could rip through several soldiers at a time.

It's important to note that siege weapons were most always manufactured on an as-needed basis. Kings and generals didn't keep a supply of the on hand in case they suddenly needed to besiege someone. Siege weapons were heavy and slow, making transport over long distances and/or rough terrain virtually impossible. So war machines were usually constructed for a specific situation.
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Do you use siege weapons in your writing? Which war machines do you think would be most effective?

June 27, 2011

Inspiration...

Webster's Definition:
Inspiration
- 1. a breathing in; drawing of air into the lungs 2. an inspiring, or being inspired mentally or emotionally 3. an inspiring influence; any stimulus to creative thought or action
See Also - brainstorm; creativity; flash; genius; impulse; revelation; spark; fire; vision.

My Definition:

An invitation to explore something ancient and mysterious.


When the seemingly impossible becomes a portal of possibility.


A rare glimpse into the heart of something deep and beautiful.


Beauty that leaves you breathless.


Moments that cause you to wonder if... perhaps... you have seen into another world.

When a vision leaves you knowing you can never communicate its true depth and beauty with accuracy... but you just have to try anyway.


What is your inspiration?

June 20, 2011

Finding Ideas for Fantasy-world Cultures

Part of the joy of writing in the speculative genres is the fact that we get to build whole worlds and cultures entirely from our imaginations. In my opinion, it's probably the most fun part.
But our imaginations have to have raw materials to work with, building blocks to use as foundations for our constructions, and that's what I'm going to talk about in this post.
Most fantasy fiction is set in a world/culture that is basically European in nature. Castles, knights, dragons, enchanted swords, elves, and fairies are standard fare, finding their roots in Western European history and legend. But there are lots of other exciting, colorful, mysterious, and intriguing cultures out there, all of which have tons to offer spec.fic. writers. Personally, I've become totally hooked on studying cultures that are foreign to me and storing what I learn for use in future fiction projects. I recently took a college course on ancient Chinese history, and now I can't wait to write a fantasy culture using some of the elements I learned about. My new ApricotPie fantasy serial does have a Western European flavor, but from the Victorian era rather than the commonly-used Middle Ages. Simmering on the back burner, I have fantasy stories based on ancient Mayan and Arabian cultures.
And there are so many more that could be used. Grab yourself a history book and start asking questions. What might a fantasy culture based on the Eskimo lifestyle look like? What literary possibilities await in the medicinal magic of the Australian Aborigines? What if the builders of the cave dwellings in the American southwest weren't Indians at all? Which might an elf prefer: the precision of the Greek parthenon, or the onion-dome style of St. Petersburg?
You might choose to take the route of historical fantasy. On the other hand, you might create an entirely new world. And remember, you're not limited to using only one culture from our world for one culture from your world. Mix and match! There are plenty of questions to be asked and speculated upon there, too. That's why we call it speculative fiction, after all.
What real-world cultures are your writings based on? In what cultures do you find the most possibilities for speculative fiction?

April 18, 2011

Harmony of the Spheres

I'm currently reading the book Galileo, part of the Christian Encounters series, by Mitch Stokes. In the early pages of the book, Stokes briefly outlines the essentials of Pythagorean beliefs, namely: that the universe at its core is fundamentally mathematical.
Astronomer Johannes Kepler believed that the precise mathematical movements of the planets actually produced music--"the harmony of the spheres".



It's not exactly hard science, but it got me thinking about the possibilities of a universe where the movements of the planets and other heavenly bodies do produce some form of celestial music or other phenomenon.
What might such a world be like? What sort of mysteries might such a universe hold?
What adventures might await an ambitious explorer?

April 11, 2011

A common complaint from writers:

"I have nothing to write about!"
Most every writer out there, at some point or another, will utter this complaint. My response to this is:
"I don't believe you!" (My friends love me for being so sympathetic.)
But seriously, look around you! There is always, always something you can write about if you know how to look. I'm not saying that you should necessarily write about every little mundane detail of your life (unless of course your life is exceptionally fascinating), but I am saying that there are stories, scenes, and little dramas that unfold right in front of us every day if we're paying enough attention to see them. Here are some fun examples from my own life just this past week.
Monday afternoon my cell phone rang. I answered it to hear my friend Joe say "Hi, Mary. Would you be able to cut my hair this afternoon?"
I paused and said "Um... what?"
"Oh," he said, "I have the wrong Mary, don't I?"
Write about a similar mistake and something that happens as a result.
Friday morning I was at a church working with a home-school group and glanced out the window just in time to see a kid ride past on a Rip-Stick, waving a foam sword over his head at the same time.
Write the story behind that scene.
Friday afternoon on my way home I saw a man walking down the sidewalk carrying a to-go meal in a paper bag, a gas can, and a newspaper.
Write about why he's carrying that particular combination of items.
Saturday my family's cows got out and took off at a dead run down the road--twice. Then, while baking bread, I got my hand into the stove's heating element and had to be taken to Urgent Care. That left my sixteen-year-old brother to make and bake the cinnamon rolls that I had rising at the time. They tasted fine, they were just a bit... shall we say, large and shapeless?
Write about a chain of random disasters.
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There is an amazing amount of writing material built into the world around us, waiting to be used. Granted, the microwave bursting into flames may not be the inspiration for your next novel, and the basement flooding may not win any short story awards. But they just might get your creative juices flowing again, and that is what matters. Because writers write. Other people make excuses.

July 26, 2010

The Secret Fire

By guest blogger, Galadriel

Why are we creative? Why do we seek to write, sing, and paint? How can we make something from nothing?

Tolkien’s The Silmarillion speaks of the creation of the Ainur, the Holy Ones, by Ilúvatar’s hand, by the Flame Imperishable, the secret fire. What is this secret fire? Whatever it consists of, the Secret Fire is heavily associated with sub-creation, the making of a world in which both onlookers and the creator can enjoy.
After rashly making the Dwarves, Aulë the Smith, one of the Valar, says to Ilúvatar, “The making of things is in my heart from my own making by thee and the child (that) makes a play of the deeds of his father…(does so) because he is the son of his father.”
The making of things is in my heart from my own making by thee. Tolkien’s essay “On Fairy-Stories” goes further into this concept, but Aulë’s words struck me with their poignancy. We are creative because we were created in the image of the great Creator God. But our acts of creation are not as powerful as his, for while we may paint a rainbow or sculpt a stallion, only he can make the rainbow or the stallion. No matter how real our work is, it is only a mirror of God’s work.
But earlier in The Silmarillion, even before the making of the Dwarves, Ilúvatar sits and listens to the music of the Ainur. He then takes them to the edge of the Void and shows them a vision of the world that is to come. When the vision fades, he speaks of their desire for this vision “shall verily be; not only in your thought, but even as ye yourselves are, and other. Therefore I say: ‘Eä!’ Let these things Be! And will send forth into the Void the Flame Imperishable, and it shall be at the heart of the world.”
At this point, one can see that the Flame Imperishable, the Secret Fire, is of Ilúvatar, and with Ilúvatar, and yet separate from him, for it burns at the heart of the world. But perhaps the most startling reference to the fire lies in a comment about the world after the end of days, when “the themes of Ilúvatar shall be played aright, and take Being in the moment of their utterance…and Ilúvatar shall give to their thought the Secret Fire.”
And the choir that is to sing the themes of Ilúvatar after the end of days does not consist merely of the Ainur, or even the Elves, but of all the Children of Ilúvatar, both Elves and Men.
Would Ilúvatar truly give the Flame Imperishable to the work of mere mortals? Could the stories of Men be given existence in the same plane, the same reality, as the authors?
Such a concept is too hard to grasp. Can you imagine walking with your characters as you walk with your parents or siblings? If you knew that someday, somewhere, your words were given the Secret Fire—that everything you wrote came to pass exactly as you foretold—how would that change your writing?

June 28, 2010

Stories show up in the strangest of places...

I'm not really a fan of the Christian band 'Skillet', but the other day while my brother Caleb and I were doing dishes, he hooked up his iPod to my brother James' guitar amplifier (who needs surround sound?) and we were listening to Skillet's song 'Looking for Angels'. I don't even remember all of the lyrics, except for the line "Angels show up in the strangest of places."
Now Galadriel's comment on my last post has me thinking about how we writer-folk find stories in the weirdest and 'strangest of places', so I thought we might spend some time discussing the subject.
Music is where I find a lot of my ideas. Sometimes it's when I hear a song for the first time, and sometimes it's a song I've heard dozens of times that just strikes me in a new way all of a sudden.
Sometimes I find ideas in conversation. Sometimes I find them in a painting or photograph. Sometimes I find them in real-life circumstances. Sometimes they show up without prompting from any particular thing at all, as far as I can tell.
What about you? In what strange and unexpected places have you found ideas and inspiration?