my 10 holy grail pieces of writing advice for beginners
from an indie author who's published 4 books and written 20+, as well as 400k in fanfiction (who is also a professional beta reader who encounters the same issues in my clients' books over and over)
show don't tell is every bit as important as they say it is, no matter how sick you are of hearing about it. "the floor shifted beneath her feet" hits harder than "she felt sick with shock."
no head hopping. if you want to change pov mid scene, put a scene break. you can change it multiple times in the same scene! just put a break so your readers know you've changed pov.
if you have to infodump, do it through dialogue instead of exposition. your reader will feel like they're learning alongside the character, and it will flow naturally into your story.
never open your book with an exposition dump. instead, your opening scene should drop into the heart of the action with little to no context. raise questions to the reader and sprinkle in the answers bit by bit. let your reader discover the context slowly instead of holding their hand from the start. trust your reader; donn't overexplain the details. this is how you create a perfect hook.
every chapter should end on a cliffhanger. doesn't have to be major, can be as simple as ending a chapter mid conversation and picking it up immediately on the next one. tease your reader and make them need to turn the page.
every scene should subvert the character's expectations, as big as a plot twist or as small as a conversation having a surprising outcome. scenes that meet the character's expectations, such as a boring supply run, should be summarized.
arrive late and leave early to every scene. if you're character's at a party, open with them mid conversation instead of describing how they got dressed, left their house, arrived at the party, (because those things don't subvert their expectations). and when you're done with the reason for the scene is there, i.e. an important conversation, end it. once you've shown what you needed to show, get out, instead of describing your character commuting home (because it doesn't subvert expectations!)
epithets are the devil. "the blond man smiled--" you've lost me. use their name. use it often. don't be afraid of it. the reader won't get tired of it. it will serve you far better than epithets, especially if you have two people of the same pronouns interacting.
your character should always be working towards a goal, internal or external (i.e learning to love themself/killing the villain.) try to establish that goal as soon as possible in the reader's mind. the goal can change, the goal can evolve. as long as the reader knows the character isn't floating aimlessly through the world around them with no agency and no desire. that gets boring fast.
plan scenes that you know you'll have fun writing, instead of scenes that might seem cool in your head but you know you'll loathe every second of. besides the fact that your top priority in writing should be writing for only yourself and having fun, if you're just dragging through a scene you really hate, the scene will suffer for it, and readers can tell. the scenes i get the most praise on are always the scenes i had the most fun writing. an ideal outline shouldn't have parts that make you groan to look at. you'll thank yourself later.
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Small fantasy worldbuilding elements you might want to think about:
A currency that isnât gold-standard/having gold be as valuable as tin
A currency that runs entirely on a perishable resource, like cocoa beans
A clock that isnât 24-hours
More or less than four seasons/seasons other than the ones we know
Fantastical weather patterns like irregular cloud formations, iridescent rain
Multiple moons/no moon
Planetary rings
A northern lights effect, but near the equator
Roads that arenât brown or grey/black, like San Juanâs blue bricks
Jewelry beyond precious gems and metals
Marriage signifiers other than wedding bands
The husband taking the wife's name / newlyweds inventing a new surname upon marriage
No concept of virginity or bastardry
More than 2 genders/no concept of gender
Monotheism, but not creationism
Gods that donât look like people
Domesticated pets that arenât re-skinned dogs and cats
Some normalized supernatural element that has nothing to do with the plot
Magical communication that isnât Fantasy Zoom
âBooksâ that arenât bound or scrolls
A nonverbal means of communicating, like sign language
A race of people who are obligate carnivores/ vegetarians/ vegans/ pescatarians (not religious, biological imperative)
Iâve done about half of these myself in one WIP or another and a little detail here or there goes a long way in reminding the audience that this isnât Kansas anymore.
Quick Writing Tip: Make a Note to Your Future Self in Your WIP
This one saves me on the regular. When youâre done with your writing session, make a note to yourself in your document about what you were working on and what you intend to do the next time you open your WIP. It helps if you make this note right at the spot you were working on, and another reminder at the top of the document. I like to change the font color and increase the size so I see it right away the next time I open my document.
You might not always go back to what you were working on before. But this trick can save you a lot of time reading through your WIP and trying to remember where you were going. Plus it can keep your WIP from becoming a giant mess of half-started ideas and editing tweaks.
Some examples of recent notes Iâve made to myself in my WIP:
ââŠworking on adding more detail to the dormitory scene. Two more paragraphs to go⊠left off HERE.â
ââŠgot confused about the layout of the house and stopped to make a map. Refer to map and finish editing this scene.â
ââŠchanging scene from past to present tense⊠left off HEREâ
ââŠfinish writing the breakfast sceneâ
At the very least, making a note to yourself will give you a clear direction the next time you approach your WIP. If you choose not to follow it, thatâs fine, but itâs nice to have the option, and it only takes a few seconds to jot down a reminder to yourself.
Blood is warm. if blood is cold, youâre really fucking feverish or the person is dead. itâs only sticky after it coagulates.
It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.
Unless in a state of shock or fight-flight mode, a character will know theyâre bleeding. stop with the âi didnât even feel itâ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.
blood flow ebbs. sometimes itâs really gushinâ, other times itâs a trickle. could be the same wound at different points.
itâs slow. use this to your advantage! more sad writer times hehehe.
Stab wounds:
I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.
also, bleeding takes FOREVER to stop, as mentioned above.
if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)
whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites
Concussion:
despite the amnesia and confusion, people ainât that articulate. even if theyâre mumbling about how much they love (person) - if thatâs ur trope - or a secret, itâs gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.
if the concussion is mild, theyâre gonna feel fine. untilâŠ.bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.
Fever:
you die at 110F. no 'oh no his fever is 120F!! ahhh!â no his fever is 0F because heâs fucking dead. you lose consciousness around 103, sometimes less if itâs a child. brain damage occurs at over 104.
ACTUAL SYMPTOMS:
sluggishness
seizures (severe)
inability to speak clearly
feeling chilly/shivering
nausea
pain
delirium
symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.
ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.
fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.
keep writing u sadistic nerds xox love you
ALSO I FORGOT LEMME ADD ON:
YOU DIE AT 85F
sorry I forgot. at that point for a sustained period of time you're too cold to survive.
pt 2
also please stop traumadumping in the notes/tags, that's not the point of this post. it's really upsetting to see on my feed, so i'm muting the notifs for this post. if you have a question about this post, dm me, but i don't want a constant influx of traumatic stories. xox
Internet Archive Responds to Appellate Opinion in Hachette v. Internet Archive | Internet Archive Blogs
Let Readers Read: An Open Letter to the Publishers in Hachette v. Internet Archive:
Internet Archive has created a petition/letter to publishers asking to restore access to everything (500,00 items) removed from the library. Please sign it.
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Free to watch âą No registration required âą HD streaming
Surviving the Wilderness: Writing Realistic 'Lost in the Woods' Scenarios
The wilderness, with its vastness and unpredictability, can turn from serene to menacing in an instant. For writers, depicting a character who is lost in the woods offers a rich tapestry of emotions, challenges, and survival instincts to explore. But to do so effectively requires a blend of authenticity, attention to detail, and understanding the real-world repercussions of such an event.
Whether your character is an experienced outdoorsman or a city dweller thrown into the wild, this guide will help you craft a realistic narrative that resonates with readers.
1. Setting Up the Scenario
A. Choosing the Right Wilderness Environment
The first step in creating a believable lost-in-the-woods scenario is choosing the appropriate setting. Different types of wilderness present different challenges, and the environment you choose will shape the narrative.
Type of Forest: Consider the differences between dense forests, temperate rainforests, boreal woods, and tropical jungles. A dense forest might offer limited visibility and a disorienting array of trees, while a tropical jungle could present humidity, dangerous wildlife, and thick undergrowth. Each environment comes with unique hazards and characteristics that will impact your characterâs journey.
Seasonal Considerations: The time of year plays a significant role in the story. In winter, your character might face snow, freezing temperatures, and the challenge of finding food. In summer, they might struggle with dehydration, heat exhaustion, or the difficulty of navigating through thick foliage. The season will also affect the availability of resources, like water and shelter.
Location-Specific Details: Consider the unique features of the chosen location. Is it known for dangerous wildlife, such as bears or wolves? Does the terrain include steep cliffs, rivers, or swamps? Researching the specific area can add layers of realism to your story, providing challenges that are true to the environment.
B. Character Background
The characterâs background is crucial in determining how they will respond to being lost. Their level of experience, purpose for being in the woods, and psychological state all influence their actions.
Experience Level: Are they an experienced hiker with survival skills, or are they a city dweller with little knowledge of the outdoors? An experienced character might know how to build a shelter and find water, while an inexperienced one might make dangerous mistakes. Balancing their skills with the challenges they face can create tension and interest.
Purpose of the Trip: Why is your character in the woods? Whether theyâre on a leisurely hike, conducting research, or fleeing from danger, their purpose will affect their preparedness and mindset. A hiker might have a map and supplies, while someone fleeing might have nothing but the clothes on their back.
Psychological State: Consider the characterâs mental condition before they get lost. Are they overconfident, stressed, or fearful? Their psychological state will influence their decisionsâoverconfidence might lead to risky choices, while fear could cause them to panic. Understanding their mindset will help you write a more nuanced and realistic portrayal.
C. The Catalyst: How They Get Lost
The moment when a character realizes they are lost is a critical point in the narrative. How this happens can be gradual or sudden, depending on the story you want to tell.
Common Triggers: Characters can become lost for various reasons, such as deviating from a marked trail, encountering sudden weather changes, sustaining an injury, or simply having poor navigation skills. Each trigger offers different narrative possibilitiesâan injury might limit their mobility, while poor navigation could lead them deeper into danger.
Pacing: Decide how quickly your character realizes they are lost. It could be a slow realization as they fail to find familiar landmarks, or it could be immediate, such as after an unexpected event like a storm or injury. The pacing of this moment will set the tone for the rest of the story.
2. Writing the Experience of Being Lost
A. The Initial Panic
When a character first realizes they are lost, their initial reactions are often driven by panic. This moment is crucial for establishing the tone of the story and the characterâs mental state.
Physical Reactions: Describe the characterâs immediate physical responses, such as an elevated heart rate, adrenaline rush, sweating, and shortness of breath. These physiological reactions are the bodyâs natural response to fear and uncertainty.
Mental Reactions: Mentally, the character might experience denial, anxiety, or confusion. They might try to convince themselves that they arenât really lost or that theyâll find their way back soon. This denial can lead to irrational decisions, like wandering in circles or making impulsive choices.
Immediate Actions: The characterâs first actions after realizing theyâre lost are critical. They might attempt to retrace their steps, call for help if they have a phone signal, or check the time to gauge how long theyâve been lost. These actions are often driven by the hope of quickly resolving the situation.
B. The Descent into Survival Mode
Once the character accepts that they are truly lost, the story shifts from panic to survival. This is where the characterâs skills, or lack thereof, come into play.
Acceptance of the Situation: The character moves from panic to a more rational state of mind. They begin to assess their situation and prioritize their needs. This shift marks the beginning of their survival journey.
Basic Needs: The character will need to address their most immediate survival needs: shelter, water, food, and fire. Describe their efforts to find or create shelter, locate water sources, forage for food, and start a fire. Each of these tasks presents its own challenges and dangers.
Navigational Challenges: As the character tries to find their way, they will face navigational challenges. Dense foliage, fog, and the lack of clear landmarks can make it difficult to maintain a sense of direction. The character might struggle with the disorientation that comes from being surrounded by identical trees or losing sight of the sun.
C. Emotional and Psychological Effects
The emotional and psychological toll of being lost is significant and should be explored in depth.
Isolation and Fear: The characterâs sense of isolation can amplify their fear. The fear of predators, injuries, or never being found can become overwhelming. This fear might cause the character to make rash decisions, or it could paralyze them, preventing them from taking action.
Hope vs. Despair: The characterâs emotional journey will likely fluctuate between moments of hope and despair. They might find something that gives them hope, such as a sign of civilization or a source of water, only to be crushed when they realize it was a false lead.
Hallucinations and Delusions: In extreme situations, such as severe dehydration or starvation, the character might experience hallucinations or delusions. These can add an element of psychological horror to the narrative and further illustrate the severity of their situation.
D. Interaction with Nature
The characterâs interaction with the natural environment is a key aspect of their survival story.
Wildlife Encounters: Depending on the location, the character might encounter dangerous wildlife, such as bears, wolves, or snakes. Describe these encounters realistically, focusing on the characterâs fear and the steps they take to avoid or confront these animals.
Environmental Hazards: The natural environment presents its own set of dangers, such as quicksand, poisonous plants, and unstable terrain. The character might have to navigate these hazards while dealing with their growing exhaustion and fear.
Natural Resources: The character can use nature to their advantage by finding water, edible plants, or materials for building a shelter. This not only adds realism to the story but also gives the character moments of small victories that can keep them going.
3. Survival Tactics: What Works and What Doesn't
A. Basic Survival Skills
Understanding and depicting basic survival skills is crucial for writing a realistic lost-in-the-woods scenario.
Finding Water: Water is the most critical resource for survival. Describe how the character identifies potential water sources, such as streams or dew on leaves, and how they purify water to make it safe to drink. If they canât find water, their condition will deteriorate rapidly, leading to severe dehydration.
Building Shelter: The character needs shelter to protect themselves from the elements. Whether they find a natural shelter, like a cave, or build one from branches and leaves, this task is essential for their survival. The process of building shelter also gives the character a sense of purpose and control over their situation.
Starting a Fire: Fire is essential for warmth, cooking, and protection from predators. Describe the challenges of starting a fire in the wild, especially if the wood is wet or the character lacks the proper tools. The ability to start and maintain a fire can be a turning point in the characterâs survival story.
Foraging for Food: Finding food in the wild is difficult and dangerous. The character might forage for berries, roots, or small animals. Describe the risks of eating unknown plants or the difficulty of catching and preparing small game.
B. Navigational Techniques
Navigation is a critical aspect of survival, and the characterâs ability to orient themselves can mean the difference between life and death.
Reading the Environment: The character might use the sun, stars, or natural landmarks to navigate. Describe how they attempt to determine their direction, and the challenges they face if the sky is cloudy or if theyâre in a dense forest where the canopy blocks out the sun. Their ability to read the environment will depend on their prior knowledge and experience.
Using Makeshift Tools: If the character has access to materials like sticks, rocks, or even a piece of reflective metal, they might create makeshift tools like a compass or use shadows to determine direction. These improvisational skills can add a layer of resourcefulness to the characterâs survival tactics.
Trail Marking: If the character decides to explore the area in hopes of finding a way out, they might mark their trail to avoid walking in circles. They could use stones, branches, or even carve symbols into trees. This tactic not only helps with navigation but also adds to the tension if they realize theyâve returned to a previously marked spot, indicating theyâve been moving in circles.
C. Mistakes and Misconceptions
Realistic survival stories often include mistakes that characters make, especially if they are inexperienced.
Following Streams Incorrectly: A common misconception is that following a stream will always lead to civilization. While it can lead to water sources, it might also take the character deeper into the wilderness. Highlight the risks of relying on this tactic without proper knowledge.
Overestimating Stamina: Characters might push themselves too hard, assuming they can keep going without rest. Overestimating their stamina can lead to exhaustion, injuries, or even fatal mistakes. Describing the physical toll of these decisions can add realism and tension to the narrative.
Eating Dangerous Plants: Foraging for food can be deadly if the character lacks knowledge of the local flora. Describe how they might mistake poisonous plants for edible ones, leading to illness or hallucinations. This mistake can be a significant plot point, demonstrating the dangers of the wilderness.
4. Realistic Repercussions of Being Lost
A. Physical Consequences
Being lost in the wilderness for an extended period can have severe physical repercussions.
Dehydration and Starvation: The longer the character is lost, the more their body will deteriorate. Dehydration can set in within a few days, leading to confusion, dizziness, and eventually death. Starvation takes longer but will cause weakness, muscle loss, and an inability to think clearly.
Injuries: Describe any injuries the character sustains, such as sprains, cuts, or broken bones. These injuries will hinder their ability to move and survive. If left untreated, even minor injuries can become infected, leading to serious complications.
Exposure: Depending on the environment, the character might suffer from exposure to the elements. Hypothermia can occur in cold conditions, while heatstroke is a risk in hot climates. Both conditions are life-threatening and require immediate attention.
B. Psychological Consequences
The psychological toll of being lost is often as severe as the physical consequences.
Post-Traumatic Stress Disorder (PTSD): Even after being rescued, the character might suffer from PTSD, experiencing flashbacks, nightmares, and severe anxiety. Describe how their ordeal has changed them, affecting their ability to return to normal life.
Survivorâs Guilt: If the character was lost with others who didnât survive, they might experience survivorâs guilt. This emotional burden can be overwhelming, leading to depression and difficulty coping with their survival.
Long-Term Anxiety: The fear of being lost again can cause long-term anxiety and phobias. The character might avoid certain environments or experience panic attacks in similar situations.
C. Legal Consequences
There are also legal and financial repercussions to consider, especially if the characterâs actions led to their getting lost.
Search and Rescue Costs: In many places, the cost of search and rescue operations can be billed to the person who was lost, especially if they were negligent or broke the law. This can be a significant financial burden and add a layer of realism to your story.
Negligence and Liability: If the characterâs actions endangered others, such as leaving a marked trail or ignoring warnings, they might face legal consequences for negligence. This could include fines, community service, or even jail time, depending on the severity of their actions.
Impact on Relationships: The ordeal of getting lost can strain relationships with family and friends. Describe how their loved ones reactâdo they blame the character, or are they just relieved theyâre safe? The legal and financial consequences can also impact these relationships, leading to tension and conflict.
5. Writing Tips: Making It Believable
Crafting a realistic and compelling lost-in-the-woods narrative requires attention to detail and an understanding of the human experience in such extreme situations. Here are some tips to make your story believable:
A. Research and Authenticity
Understand the Terrain: Before writing, research the specific environment where your character will be lost. Whether it's a dense forest, a mountainous region, or a desert, understanding the flora, fauna, and climate will help you create an authentic setting. Pay attention to details like the types of trees, animals, weather patterns, and geographical features.
Learn Basic Survival Techniques: Familiarize yourself with basic survival skills, such as building a shelter, finding water, and starting a fire. Even if your character is inexperienced, knowing the correct methods will allow you to portray their struggles accurately.
Incorporate Local Myths and Folklore: If your story is set in a particular region, consider integrating local myths or folklore about the wilderness. This can add depth to the narrative and give the environment a more ominous or mystical feel.
B. Character Realism
Establish Their Skills Early: If your character has any survival skills, establish them early in the story. This could be through flashbacks, previous experiences, or hints in their background. This will make their actions in the woods more believable.
Show Their Vulnerability: Even the most prepared individuals can make mistakes. Show your characterâs vulnerability by having them face setbacks, make poor decisions, or struggle with their emotions. This makes them more relatable and human.
Reflect Their Mental State: The character's psychological state should evolve throughout the story. Show how their thoughts shift from initial panic to determination, despair, and finally, either acceptance or a desperate push for survival. Use internal monologue, dreams, or hallucinations to illustrate their mental state.
C. Plot and Pacing
Balance Action with Reflection: While the physical actions of survival are crucial, so is the internal journey of the character. Balance scenes of intense activity, like building a shelter or escaping a predator, with quieter moments of reflection or memory.
Use Sensory Details: Engage the readerâs senses by describing the environment through sights, sounds, smells, and even touch. The rustling of leaves, the scent of pine, or the rough bark of a tree can immerse readers in the setting and heighten the tension.
Avoid Convenient Resolutions: Survival stories are often about struggle and perseverance. Avoid giving your character an easy way out, such as a sudden rescue or finding a cabin with supplies. Instead, focus on their gradual adaptation and the hard choices they have to make.
D. Dialogue and Interactions
Internal Dialogue: In situations where the character is alone, internal dialogue becomes crucial. Use it to explore their fears, hopes, and regrets. This can also be a way to explain their thought process and decision-making.
Flashbacks and Memories: If your character is alone, use flashbacks or memories to develop their backstory and explain their motivations. These can also serve as a contrast to their current situation, highlighting how far theyâve come or what theyâve lost.
Interactions with the Environment: Treat the wilderness as a character in itself. The environment should interact with the character, creating obstacles, providing resources, and affecting their mood and decisions.
Looking For More Writing Tips And Tricks?Â
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Creating a currency might seem difficult, but it does not have to be. In this post I will help guide you along the path of creating your own fantasy currency, while also showing some historical examples from around the world.
Trade Instead of Physical Currency
While it might seem strange to some today, money was not the only thing you could use as payment. For example, in some places you could pay your taxes, work, or rent in: salt, eels, beer, saffron, or even urine. Work was also a currency; for example, if you wanted to use someoneâs flour mill, you might have to work the owners field as payment.
The Roman Legions sometimes also used salt as currency. Due to the high value of salt, an ancient Roman proverb said that people who did their job well were âworth their salt.â (Or âworth their weight in salt.â
Ancient Origins
The more isolated an area, the more likely it is that they will mostly or wholly use trade as their economy.
The Details
Increments:
Technically, all you need is one coin. For example, in America you can buy anything with enough pennies(one cent); anything at all. It is the lowest increment of money they have, and technically all you need. Of course the problem is that the more expensive the item, the more inconvenient that would be. Could you imagine trying to bring enough pennies to buy a car or house?
So for the sake of convenience, other levels of money are added, such as 100 pennies equaling to a dollar. Commonly in money, single digit numbers are used for small-value currency (such as 1 cent and one dollar or 5 cents and 5 dollars), then once you get to higher levels of currency, everything is in increments of 10âs (such as 10 dollar bills, 50 dollar bills, and so on).
As well as all I mentioned, it is also worth noting that the higher you go, the harder it is for the average person to get their hands on. For example, it was not until I was working the cash register as an adult that I saw my first $100 bill.
For your own currency, start with the absolute lowest number, then decide how many more official levels you would like. In medieval England, there were13 coin types.
Names:
Rather than just calling something by their number value, many places also come up with names for them as well. For example, 25 cents in Canadian coins are called âquarters,â 10 cents are called âdimes,â and 5 cents are called ânickles.â
Slang Terms(Optional):
As if having the number value and the names are not enough for people, some places also have slang terms for their money. For example, some places base their names off of the color (such as a red 20-dollar note being called a lobster), while others might have names based off the imagery on said currency.
Areaâs of Use:
Just like how you could get a coin from a different country and know it is not from your own, that also occurred in history. It is important to know what areas had what currency, and also what areas would accept other types of currency.
Your currency from your one kingdom might not be worth anything to a neighboring one. In fact, if your two kingdoms are enemies, carrying your own currency in their kingdom could put you at risk.
Sometimes, currency is more local. For example, in an isolated fishing community, the locals might still use shell coins despite the capital city of their kingdom using metal coins. This is simply because they have no one making metal coins for their small community, so they have no use for them. However, this also means that if any of them were to want to visit the city, they would need to find a way to get the correct currency.
Appearance:
Material:
Commonly for currency, you would try to pick a material that is hard for the average person to easily get their hands on. This is mostly to make it so not everyone can simply create their own money, and because rare things tend to hold more value to people. For example, gold is not easy for the average person to find, so it is still used as a currency today under the free-market system.
However, your currency can be made out of absolutely any material you prefer. In history, leather, shells, clay tokens, wooden tokens and tallyâs, and metal coins, have all been used.
âShell money is a form of currency that was used in various parts of the world, including Asia, Africa, and Oceania. This type of money makes use of a type of marine snail known as cowrie and therefore is known also as cowrie shell money. In some parts of the world shell money served as currency up until the 19th/20th century.â
Ancient Origins
Imagery:
You can really have anything you want on a coin. For example, the Canadian loonie literally has a loon on one side, and the English monarch on the other. Almost all of the other coins also sport various animals, and Canada isnât the only place that opted for animals. There was a celtic coin with a horse, a greek coin with a crab, and a roman coin with an elephant.
Sometimes the imagery was a symbol that meant a lot to the locals(such as the ruling person, a deity, mythological creature, or another symbol with deep meaning to the locals), while other times it could be just what the area is most known for. For example, a coin with a wheat stalk for an agriculture region.
Shape and Size of Currency:
If all your coins are made out of the same material, currency size would likely dictate the increment of value; such as smaller coins being worth less than bigger coins. This is due to judging the value based on the the amount of the material there, which can sometimes confirmed by weight.
Other times, the shape may be for convenience; such as a bead or a coin with a hole so you can keep them together on a string, or having flat coins for easy stacking.
However, coins can come in any shape you wish; such as the shape of an animal, a spade, or even a knife. While there have been some rather awkwardly shaped coins in history, I do suggest keeping them somewhat small for ease of carrying.
Free Generators
If, after all this, you are still completely lost on where to start, there are free money generators you can try.
I'm creating a fantasy hellscape and death realms so I had some thoughts about that for worldbuilding:
What happens if your hellscape isn't a place of punishment? What alternatives are there to "punishment" as a concept, and what does that say about your fantasy religious system(s) and so on?
like: I'm using a system where it's about how you die. It literally doesn't matter what you were like as a person, if you die in a specific way, you go to the corresponding realm of the dead and you're at the mercy of whoever's realm that is. If they are pretty nice and the place is the one everyone wants to get into, you may need to convince the gatekeeper to let you in when you get there, but that's doable. Also people might then try and manipulate their deaths to fulfil the criteria for getting where they want to go.
It's also fun because then people can go to hellscapes (various) even if they don't deserve it, and what happens then? Can they escape? Can they journey through and find a way out? Can everyone?
Do/how do prayers function in this system?
Are people praying to a deity that can hear them?
How do they try and get said deity's attention and why is that meant to work?
If the deity/deities are very annoyed by the prayers of the living and have deliberately made it difficult for prayers to reach them, what then?
Or, is it more that the living require someone to open a channel of communication so they can be heard, and this also helps the souls of the dead in some way?
Can prayers benefit the dead? How and when?
Can the dead pray for themselves/for the living, so it operates in reverse?
I'm going with the system where you can't pray for yourself, that's an alien concept, because the person who prays becomes a conduit or a channel for somebody else. They have to try and make their mind go blank with repetition of words given to them by the wind - which carries the voices of the restless dead, who died without anyone to pray for them and open a road for them to travel on - and in that moment of blankness, the soul they are praying for can cross over from life to their appropriate death realm. If you don't have someone to pray for you like this, your soul joins the wind forever, and you are just a whisper bringing warnings and bad news to people, and telling them what to pray for everyone else.
This is based on the old folklore that you can hear the voices of the dead on the wind, I think it pops up in Flemish folklore in some form, but also I've heard it elsewhere. I just adapted it.
From this, you can build outwards and work out fantasy religions and philosophy and ideology. Just keep asking questions, layer on layer, and see where this goes, as your answers are the scaffolding and the shape will grow from those first decisions you make.
Like, ok, what's the terminology for these concepts and processes (do they even have words like 'hell' and 'prayer')? How do these terms show up in the language and casual conversation - idioms like "he hasn't got a prayer" or "not a hope in Hell" wouldn't work if prayer isn't something that's synonymous with 'chance this will work out', because in this world, the idea of asking for something in prayer doesn't exist.
So in my world, for example, 'he hasn't got a prayer' wouldn't mean 'he doesn't stand a chance', it means, 'he's going to join the restless dead because he's got no one to pray for him'. That might be used for a very unpopular person: he's so bad, he hasn't got a prayer. (He's such a bad person that he hasn't got anyone who will pray for him when he dies). Or, a very lonely, isolated person: I think that's so sad - living alone without a prayer.
Similarly, if there's no Hell, then all the idioms that use "Hell" as a place of punishment no longer apply, and if there's no equivalent, then "not a hope in Hell" would have to be retired and swapped out for something else that does make sense in this world instead.
Conversely, "living on a prayer" like Bon Jovi would mean "selling my ability to pray for you", like a service that people offer so you don't join the wind, or go to the wrong death realm, or that you'll get passed the gatekeeper if a prayer operates like a ticket to enter, or whatever this might mean in your world.
If this is something that can happen, how are these people seen - as necessary to the community, or as unscrupulous opportunists? Bit of both? There's a whole interesting series of characters you could develop from just that concept, which might draw parallels with the sin-eater figure. And what happens if someone who doesn't deserve a lovely afterlife pays someone to pray for them so that they get entry into a lovely death realm?
There's a lot to play with when you just take one idea away, and try to swap it for something else. In this case: Hell isn't a place of punishment, so what is it then, and does it exist at all, and if not, what is there instead and how does it work?
That's a good place to start with building fantasy religions. I've already done a few other posts on my thoughts there!
EDIT: I'm doing a workshop on Build A Hellscape at the Devils and Justified Sinners online conference, Saturday 24th Aug 2024, 9AM UK Time. Sign up below:
Tons of stories actually start with an awesome idea that is fleshed out.
You can always work out how to make the awesome fit into these rules.
1. An authorâs ability to solve conflict with magic in a satisfying way is directly proportional to how well the reader understands said magic.
Deus ex machina is to be avoided at all costs.
There is a sliding scale of âsense of wonderâ and âsolving problems with magicâ/scientific explanation of magic. You lose wonder as you increase science, and vice versa.
Main characters tend to use magic tools instead of magic itself to do this. Think monkeyâs paw stories.
Ex. The One Ring is more science, and Gandalf in LotR is more wonder, especially since most of his magic is offscreen. His magic is there to keep the hobbits small and relatable to readers. The One Ring is used by Frodo to solve problems.
This is also a law of foreshadowing, especially since wonder can become science later in the book or another book in the series. Can also be how a magic mystery is solved.
2. Flaws or limitations are more interesting than powers.
Cost and stakes for using magic plays a big part into limitations, too.
Basic limitations as a plot device: someone has better magic; characters cannot use magic; a characterâs magic isnât working/lost; a character/people donât understand the magic enough
Magic limitations can be combined with character flaws/limits, and social aspects too.
Work with the limitations! Characters donât need to overcome every weakness, but it should add to the story somehow.
3. Expand what you already have before you add something new.
For magic systems, think of the Judeo-Christian-Muslim split versus ALL the world religions. Those 3 share the same foundations despite being vastly different.
Quality vs quantity
You arenât required to have languages. Similarly, you donât need to overwork the magic.
If you add a secondary magic system, your first must have indicated holes in the magic to be filled. It also helps to sprinkle in hints and foreshadowing of a second one and its abilities.
And all of these rules can be applied to your setting and characters in a general sense, too!
I just think everyone should take a moment to consider the question "what is your visual shorthand for cruelty?" and then follow it up with a critical "and who taught you that?"
specific examples include but are not limited to
why is an evil timeline character design disabled? (why do the heroes go through equally punishing battles and never lose an arm, a leg, an eye?)
why are the futuristic scifi terrorists uniformly darker skinned? (why are the heroes so much lighter?)
why is the greedy boss fat? (why are the heroes skinny?)
why is the criminal mastermind heavily scarred? (why is the brooding, traumatized hero unscathed?)
why is the predatory creep a bearded person in a dress and makeup? (why are none of the heroes trans women?)
guys the point is "reflect on how you have learned bigotry through exposure and you parrot it in your own works and in the fandoms you engage with without self awareness" not "tell me, specifically, what random motifs you think are evil"
on the flipside, to everyone adding notes about hooked noses, turbans + headscarves, nonwhite features and cultural clothing in general, mental and physical disorders, and surely others I've missed in recollection: you are entirely right and should say it.
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I get a lot of questions about religious world building. I tend not to answer them (because I charge by the word) but lemme give y'all some advice:
Make sure your religion would still be interesting if gods and magic weren't real. The real-world Catholic Church is interesting because of how social and political power flows through it. Judaism is interesting because of the history and culture it represents. Islam is interesting because of the non-religuous innovations that it fostered. Et cetera et cetera. Real world religions are varied and complex in a thousand different ways.
When you are considering fashion or beauty standards in the world that you're writing, remember that beauty and fashion standards are totally context-dependent, change quickly, and are often fairly arbitrary.
I think about eyebrows. We went in the U.S. from wanting pencil thin eyebrows to wanting thick eyebrows in my lifetime--which means that I went from my eyebrows being "manly" to them not being without actually doing anything.
If thin is beautiful in the world you're writing--why? If lighter skin is beautiful in the world you're writing--why? If straight hair is beautiful in the world you're writing--why? If showing more or less skin is beautiful in the world you're writing--why?
So consider the rest of the world that you're writing in. If certain fabrics are rare, those might be seen as more fashionable simply becuase there is a scarcity of them. If it's a world where being a farmer or outdoor laborer is seen as patriotic or virtuous, maybe being tanned, callused, or muscular is seen as beautiful for everyone.
But also a lot of our beauty standards have racist origins. Colorism in a lot of countries is a direct result of European imperialism. In some Western countries there is a preference for small noses and a dislike of larger noses that are often associated with, among other groups, the Jewish community. Enemy groups are often viewed as less desirable, and so people with associated features are often viewed as less beautiful.
At the same time, you have views on things like eyebrows and blush placement and bangs and peplums and high-waisted pants and jewelry and piercings and tattoos that are frequently changing based on a whole host of cultural reasons.
There are a lot of ways that you can go with fashion and beauty in your worldbuilding, but sticking with the beauty standards of the world you're writing in often ends up feeling out of place in the story.
PSA to all you fantasy writers because I have just had a truly frustrating twenty minutes talking to someone about this: itâs okay to put mobility aids in your novel and have them just be ordinary.
Like. Super okay.
I donât give a shit if itâs high fantasy, low fantasy or somewhere between the lovechild of Tolkein meets My Immortal. Itâs okay to use mobility devices in your narrative. Itâs okay to use the word âwheelchairâ. You donât have to remake the fucking wheel. Itâs already been done for you.
And no, it doesnât detract from the ârealismâ of your fictional universe in which you get to set the standard for realism. Please donât try to use that as a reason for not using these things.
There is no reason to lock the disabled people in your narrative into towers because âthatâs the way it wasâ, least of all in your novel about dragons and mermaids and other made up creatures. There is no historical realism here. You are in charge. You get to decide what that means.
Also:
âDepiction of Chinese philosopher Confucius in a wheelchair, dating to ca. 1680. The artist may have been thinking of methods of transport common in his own day.â
âThe earliest records of wheeled furniture are an inscription found on a stone slate in China and a childâs bed depicted in a frieze on a Greek vase, both dating between the 6th and 5th century BCE.[2][3][4][5] The first records of wheeled seats being used for transporting disabled people date to three centuries later in China; the Chinese used early wheelbarrows to move people as well as heavy objects. A distinction between the two functions was not made for another several hundred years, around 525 CE, when images of wheeled chairs made specifically to carry people begin to occur in Chinese art.[5]â
âIn 1655, Stephan Farffler, a 22 year old paraplegic watchmaker, built the worldâs first self-propelling chair on a three-wheel chassis using a system of cranks and cogwheels.[6][3] However, the device had an appearance of a hand bike more than a wheelchair since the design included hand cranks mounted at the front wheel.[2]
The invalid carriage or Bath chair brought the technology into more common use from around 1760.[7]
In 1887, wheelchairs (ârolling chairsâ) were introduced to Atlantic City so invalid tourists could rent them to enjoy the Boardwalk. Soon, many healthy tourists also rented the decorated ârolling chairsâ and servants to push them as a show of decadence and treatment they could never experience at home.[8]
In 1933 Harry C. Jennings, Sr. and his disabled friend Herbert Everest, both mechanical engineers, invented the first lightweight, steel, folding, portable wheelchair.[9] Everest had previously broken his back in a mining accident. Everest and Jennings saw the business potential of the invention and went on to become the first mass-market manufacturers of wheelchairs. Their âX-braceâ design is still in common use, albeit with updated materials and other improvements. The X-brace idea came to Harry from the menâs folding âcamp chairs / stoolsâ, rotated 90 degrees, that Harry and Herbert used in the outdoors and at the mines.[citation needed]
âBut Joy, how do I describe this contraption in a fantasy setting that wont make it seem out of place?â
âIt was a chair on wheels, which Prince FancyPants McElferson propelled forwards using his arms to direct the motion of the chair.â
âIt was a chair on wheels, which Prince EvenFancierPants McElferson used to get about, pushed along by one of his companions or one of his many attending servants.â
âBut itâs a high realm magical fantasââ
âIt was a floating chair, the hum of magical energy keeping it off the ground casting a faint glow against the cobblestones as {CHARACTER} guided it round with expert ease, gliding back and forth.â
âBut itâs a stempunk novââ
âUnlike other wheelchairs heâd seen before, this one appeared to be self propelling, powered by the gasket of steam at the back, and directed by the use of a rudder like toggle in the front.â
Give. Disabled. Characters. In. Fantasy. Novels. Mobility. Aids.
If you can spend 60 pages telling me the history of your world in innate detail down to the formation of how magical rocks were formed, you can god damn write three lines in passing about a wheelchair.
Signed, your editor who doesnât have time for this ableist fantasy realm shit.
[Image Description: Art, maybe a woodcut, of a Chinese man with a beard being pushed in a historical wheelchair. The wheelchair is like a seat with two wheels and two long handles, and the person pushing him is looking behind him and has his hair in a bun. There are three men in front of the two of them, and they seem to be heading in the same direction to a bridge. There are stylized trees and mountains in the background. End ID.]
grabbing new writers by the shoulders. it is important to write what you love and to love what you write. if you spend all your time trying to make something other people will approve of you will hate yourself and everything around you. learn at your own pace. you have time. iâm proud of you
Assassination Methods Through the Decades: A Writerâs Handbook
When it comes to writing about assassination, historical accuracy and understanding the evolution of methods can significantly enhance the authenticity and impact of your narrative. This guide is designed to help writers explore the diverse and often brutal methods of assassination that have been used throughout the centuries. From the poisonings of ancient times to the covert killings of medieval assassins, hereâs a comprehensive guide bound to give you the perfect inspiration for your assassination scenes.Â
Ancient and Medieval Assassination Methods
Poisoning
Poisoning is one of the oldest methods of assassination, dating back to ancient civilizations such as Greece, Rome, and Egypt. The allure of poison lies in its ability to kill without physical confrontation, often leaving little trace of the perpetrator.
Common Poisons:
Hemlock: Famously used in the execution of Socrates, hemlock was a slow-acting poison that caused paralysis, leading to death by respiratory failure.
Arsenic: Known as the "inheritance powder," arsenic was a favorite among those seeking to kill discreetly. Its symptoms could be mistaken for natural illness, making it a popular choice in political and familial power struggles.
Belladonna: Also known as deadly nightshade, belladonna was used in both small and large doses to incapacitate or kill. The poison caused hallucinations, dilated pupils, and eventually death.
Historical Examples:
Socrates (399 BC): The Greek philosopher was sentenced to death by drinking a concoction containing hemlock, a method chosen for its relative humanity compared to other executions.
Emperor Claudius (54 AD): It is widely believed that the Roman Emperor Claudius was poisoned by his wife, Agrippina, using a dish of poisoned mushrooms to secure her son Nero's place on the throne.
Administration Methods:
Poisons were often mixed into food or drink, applied to the skin via ointments, or even introduced into the body through small, concealed needles. Assassins needed to be knowledgeable in the art of dosage to ensure a successful kill without immediate detection.
Symptoms:
Victims of poisoning would often suffer a range of symptoms depending on the poison used. These could include severe abdominal pain, vomiting, diarrhea, convulsions, and eventually, death. The slow progression of symptoms allowed the assassin time to escape, and in many cases, the cause of death was not immediately apparent, lending an air of mystery to the assassination.
Bladed Weapons
Before the advent of firearms, blades were the primary tools of assassins. Daggers, swords, and other sharp instruments were favored for their portability and effectiveness in close combat situations.
Types of Blades:
Daggers: Small, easily concealed, and lethal at close range, daggers were the weapon of choice for many assassins. The Roman pugio and the medieval stiletto were particularly popular.
Swords: Larger and more visible, swords were often used in assassinations where the element of surprise was not necessary, such as in the heat of battle or a public execution.
Kris: A wavy-edged dagger used in Southeast Asia, the kris was known for its spiritual significance as well as its lethality.
Famous Assassinations:
Julius Caesar (44 BC): Perhaps the most famous assassination in history, Caesar was stabbed 23 times by a group of Roman senators led by Brutus and Cassius. The attack was swift and brutal, demonstrating the effectiveness of a well-coordinated knife attack.
King Duncan (11th century): The assassination of King Duncan by Macbeth (as famously dramatized by Shakespeare) is an example of a stealthy, intimate kill using a blade, where the act was both personal and symbolic.
Techniques:
Assassins using bladed weapons often relied on stealth, speed, and precision. A well-placed stab to the heart, throat, or kidneys could kill instantly or within moments, leaving the assassin time to escape. In some cultures, assassins were trained in martial arts that emphasized quick, lethal strikes.
Weapon Concealment:
Blades were often concealed in clothing, boots, or even within the folds of long hair or turbans. The art of hiding a weapon until the crucial moment was key to the success of many assassinations.
Strangulation and Garroting
Strangulation was another favored method of assassination in ancient and medieval times, especially for those who sought to avoid bloodshed or noise. The garrote, a weapon used to strangle a victim, was particularly effective in this regard.
Tools Used:
Garrote: A length of wire, cord, or fabric used to strangle a victim from behind. The garrote was silent, deadly, and could be easily concealed, making it a popular choice for assassins throughout history.
Hands: In cases where no weapon was available, assassins might rely on their own hands to strangle a victim. This method required physical strength and proximity but could be effective in the right circumstances.
Historical Examples:
Sicarii (1st century AD): A group of Jewish zealots who used short daggers to stab Roman collaborators in crowded places. The Sicarii were also known for strangling their enemies with garrotes.
Medieval Europe: Strangulation was sometimes used as a method of execution for nobles, where a public beheading or hanging might be considered dishonorable.
Execution:
The assassin would typically approach the victim from behind, loop the garrote around their neck, and tighten it quickly and forcefully, cutting off the victim's air supply. Death would occur within minutes due to asphyxiation or a broken neck.
Advantages and Risks:
The main advantage of strangulation was its silence. Unlike a stabbing or poisoning, strangulation could be done without alerting others nearby. However, it required physical strength and a certain level of risk, as the victim might struggle or fight back.
Renaissance and Early Modern Era
Firearms
The Renaissance and early modern era marked a significant turning point in the history of assassination methods with the introduction of firearms. Gunpowder, first developed in China, made its way to Europe and fundamentally changed the dynamics of warfare and personal combat, including assassination.
Introduction of Gunpowder and Early Firearms in Assassinations:
The development of gunpowder-based weapons provided assassins with a new tool that could kill from a distance, reducing the risk of capture. Early firearms such as matchlock and flintlock pistols were bulky and required significant skill to use effectively, but their lethality made them a preferred choice for assassins by the 16th century.
Firearms allowed for quick, deadly strikes that were difficult to defend against, making them ideal for assassinations where the element of surprise was crucial. The loud noise and smoke, however, meant that escape required careful planning.
How Accuracy and Concealability Impacted Methods:
Early firearms were not known for their accuracy, which necessitated close-range attacks. Assassins often had to be within a few feet of their target to ensure a successful hit. As a result, these weapons were usually concealed under cloaks or in specially designed holsters that allowed for a quick draw.
Over time, improvements in gun design, such as rifling and better gunpowder, increased accuracy and allowed for slightly longer-range assassinations. Despite these advancements, concealability remained a critical factor, as firearms were often large and unwieldy compared to daggers or poison.
Key Assassinations Involving Firearms:
Assassination of King Henry IV of France (1610): King Henry IV was assassinated by François Ravaillac, a Catholic fanatic who stabbed the king while his carriage was stopped in traffic. While this was a stabbing, the period saw a rise in the use of firearms for such purposes. Henry IV's era was marked by religious turmoil, where firearms began to play a role in political assassinations.
The Renaissance period also saw the refinement of more discreet methods of assassination, particularly the use of poison rings and needles. These tools allowed for covert poisoning, often in social settings where other weapons might not be feasible.
Discreet Poisoning Techniques:
Poison Rings: These rings contained a small hidden compartment that could hold a lethal dose of poison. The wearer could discreetly slip poison into a drink or onto food with a simple flick of the ringâs lid. Poison rings were popular among nobility and were often used in court intrigues where open violence would have been impossible.
Poison Needles: These were small, sharp needles often coated with a fast-acting poison. They could be hidden in clothing or other objects and used to deliver a quick, often unnoticed prick that would introduce the poison into the victimâs bloodstream. Needles were ideal for use in crowded settings, such as royal courts or banquets, where the assassin could blend into the crowd after delivering the fatal dose.
Notable Instances of Usage:
Lucrezia Borgia (1480-1519): While the extent of her involvement in poisoning is debated, Lucrezia Borgia, a member of the infamous Borgia family, is often associated with the use of poison rings to eliminate her political enemies. The Borgia familyâs reputation for cunning and ruthlessness made poison one of their favored tools for securing power.
Catherine de' Medici (1519-1589): The French queen consort and mother to several kings of France, Catherine de' Medici, was rumored to have employed poison rings and needles to remove rivals and control court politics during the Wars of Religion in France.
Explosives
The early use of explosives in assassination attempts represented a shift towards more destructive and indiscriminate methods of killing, often targeting not just the primary victim but also anyone nearby. Explosives became a favored tool in situations where a dramatic statement was intended, or where traditional methods of assassination were not feasible.
The Early Use of Explosives in Assassination Attempts:
Explosives were first used in assassination attempts during the Renaissance and early modern periods, although their use was limited by the difficulty of creating and handling reliable explosive devices. Gunpowder was the primary explosive material, and it required careful handling to avoid premature detonation.
The use of explosives was often tied to larger political or religious motivations, as the collateral damage caused by an explosion could have a significant psychological impact on the population or ruling class.
The Effectiveness and Risks Involved:
Explosives were highly effective in causing mass casualties and instilling fear, but they also carried significant risks for the assassin. Improper handling could result in accidental detonation, and the use of explosives often made it difficult for the assassin to escape unnoticed.
The unpredictability of early explosives also meant that they could fail to detonate or cause less damage than intended, leaving the assassin vulnerable to capture and execution.
Historical Example:
The Gunpowder Plot (1605): One of the most famous early uses of explosives in an assassination attempt was the Gunpowder Plot, in which a group of Catholic conspirators, including Guy Fawkes, attempted to blow up the House of Lords during the State Opening of Parliament, with the aim of killing King James I and much of the Protestant aristocracy. The plot was foiled, but it demonstrated the potential of explosives as a tool for political assassination.
The Industrial Revolution and Early 20th Century
Sniper Rifles
The Industrial Revolution brought about significant advancements in weaponry, including the development of sniper rifles. These long-range firearms allowed assassins to strike from a distance, often without being seen or heard.
The Rise of Long-Range Assassinations:
Sniper rifles were designed for accuracy over long distances, enabling assassins to kill targets from hundreds of meters away. This development allowed for greater safety and discretion, as the assassin could remain hidden while observing the target through a scope.
The advent of rifling, which gave bullets a stable, spinning motion, greatly improved accuracy and range. Coupled with telescopic sights, these rifles became the preferred tool for military and political assassinations during the late 19th and early 20th centuries.
Famous Cases:
Assassination of Archduke Franz Ferdinand (1914): Although Archduke Franz Ferdinand was ultimately killed by a handgun, the era in which he was assassinated saw the rise of snipers as a significant threat. The tensions and technologies of the time set the stage for future political assassinations using sniper rifles.
Assassination of President John F. Kennedy (1963): Although beyond the early 20th century, the assassination of JFK by a sniper is a prominent example of how sniper rifles became synonymous with political killings. This event marked a turning point in the history of assassination, highlighting the lethal effectiveness of long-range firearms.
Car Bombs
The introduction and evolution of vehicular explosives, particularly car bombs, added a new dimension to assassination tactics in the 20th century. Car bombs became a favored method due to their potential for mass destruction and the ability to target individuals in transit.
Introduction and Evolution of Vehicular Explosives:
The use of car bombs began in earnest during the early 20th century, particularly in conflicts where traditional methods of assassination were either too risky or ineffective. These bombs could be planted in vehicles and detonated remotely, offering a high degree of control over the timing and impact of the explosion.
Over time, car bombs became more sophisticated, with the addition of remote triggers, time delays, and increased explosive power. They were used not only in targeted assassinations but also in acts of terrorism aimed at destabilizing governments or instilling fear in the populace.
Techniques for Planting and Detonating:
Planting a car bomb required detailed planning, as the vehicle needed to be accessed and rigged with explosives without arousing suspicion. Detonation methods varied from simple timed fuses to complex remote-controlled devices, allowing the assassin to maintain distance from the blast.
The challenge for assassins was ensuring the target was inside or near the vehicle at the moment of detonation. This often involved careful observation of the targetâs routines and the use of decoys or distractions to ensure the bombâs effectiveness.
Chemical and Biological Agents
The 20th century saw the development and use of more advanced chemical and biological agents in assassinations. These methods, often invisible and insidious, allowed for killings that were difficult to trace and could be disguised as natural causes.
Use of More Advanced Poisons and Toxins:
With advancements in chemistry and biology, assassins gained access to a range of deadly substances that could kill quickly or slowly, depending on the agent used. Toxins like ricin, cyanide, and various nerve agents became tools of state-sponsored assassinations, particularly during the Cold War.
Chemical agents could be introduced through food, drink, or even via contact with the skin or inhalation, making them versatile and deadly. Biological agents, on the other hand, could cause diseases that mimicked natural illnesses, allowing assassins to kill without immediate suspicion.
Historical Examples:
Ricin: Ricin, a highly potent toxin derived from castor beans, was famously used in the assassination of Bulgarian dissident Georgi Markov in 1978. Markov was attacked with a modified umbrella that injected a tiny pellet containing ricin into his leg, leading to his death a few days later.
Cyanide: Cyanide has been used in various assassinations due to its rapid action and high lethality. One of the most notorious uses of cyanide was in the mass suicide-murder in Jonestown in 1978, where members of the Peoples Temple ingested cyanide-laced punch, although this was not an assassination in the traditional sense, it demonstrated the deadly effectiveness of the poison.
These innovations in assassination methods during the Industrial Revolution and early 20th century reflected the growing complexity of warfare and espionage, as well as the increasing role of technology in shaping the tactics of assassins.
Modern and Contemporary Assassination Methods
Silenced Firearms
In the modern era, the evolution of silenced firearms, or firearms equipped with suppressors, has played a significant role in covert assassinations. The suppressor, commonly known as a silencer, reduces the noise and muzzle flash of a firearm, allowing assassins to operate with a higher degree of stealth.
The Evolution of Suppressors and Their Use in Covert Assassinations:
Suppressors were first developed in the early 20th century and have since become a staple in the arsenal of assassins. Initially, suppressors were bulky and limited to specific firearms, but advancements in technology have made them more compact, effective, and adaptable to a wide range of weapons.
Silenced firearms are ideal for close-quarters assassinations where discretion is paramount. The reduced noise levels prevent immediate detection, giving the assassin time to escape or even carry out multiple hits without alerting nearby individuals.
High-Profile Cases:
Cold War Assassinations: During the Cold War, silenced firearms were frequently used by intelligence agencies on both sides of the Iron Curtain. The KGB, CIA, and MI6, among others, employed suppressors in various covert operations to eliminate targets without drawing attention.
Georgi Markov (1978): Although Markovâs assassination in London involved a poison-tipped umbrella, the use of suppressors was prevalent in the same period for similar covert operations. This era exemplified the silent, precise methods preferred by state-sponsored assassins.
Remote-Controlled Devices
The rise of remote-controlled devices, including drones and other modern technologies, has introduced a new dimension to assassination methods. These devices allow assassins to strike from a distance, often from thousands of miles away, with precision and minimal risk.
Drones and Other Modern Technologies in Assassination:
Drones, equipped with cameras and weapons, have revolutionized modern warfare and assassination. These unmanned aerial vehicles can be operated remotely, providing real-time surveillance and the ability to deliver lethal force with pinpoint accuracy. Drones are particularly effective in targeting individuals in difficult-to-reach or heavily guarded locations.
Other remote-controlled devices, such as bombs or cars rigged to detonate via remote, offer similar advantages. These methods allow the assassin to maintain a safe distance from the target, reducing the likelihood of capture or identification.
Notable Instances in Recent History:
Qasem Soleimani (2020): One of the most high-profile drone assassinations in recent history was the killing of Iranian General Qasem Soleimani by a U.S. drone strike in Baghdad. This event highlighted the capabilities of drone technology in executing precise, targeted killings with global political implications.
The Killing of Anwar al-Awlaki (2011): The American-born cleric and al-Qaeda leader was targeted and killed by a drone strike in Yemen, marking a significant moment in the use of remote-controlled devices in the War on Terror.
Cyber-Assassination
As technology continues to advance, the concept of cyber-assassination has emerged as a new frontier in covert operations. This method involves using cyber means to assassinate individuals, such as hacking into medical devices or other critical systems.
The Concept of Assassination Through Cyber Means:
Cyber-assassination leverages the vulnerabilities in modern technology, particularly medical devices like pacemakers or insulin pumps, which can be hacked to deliver a fatal outcome. This method represents a shift from physical to digital assassination, where the target can be killed without the assassin ever being in the same country, let alone the same room.
Cyber-attacks can also target critical infrastructure, leading to deaths through indirect means such as causing traffic accidents by hacking self-driving cars or disrupting life support systems in hospitals.
Ethical and Legal Implications:
The rise of cyber-assassination raises significant ethical and legal questions. Unlike traditional assassination methods, which can be physically traced, cyber-attacks are often difficult to attribute, making accountability a major issue. This anonymity can lead to increased use of such methods by state and non-state actors alike.
Legal frameworks have yet to fully catch up with the technological realities of cyber-assassination. As a result, there is a grey area regarding the legality of such actions, particularly in the context of international law and the rules of engagement in warfare.
Assassination Methods by Region
Europe
Throughout history, Europe has seen a variety of assassination methods, each influenced by the regionâs diverse cultures, political climates, and technological advancements.
Specific Methods Popular in Different European Countries Across Various Eras:
In medieval Europe, poison was a favored method, particularly among the Italian nobility. The use of poisoned food, drink, and even clothing was common in the courts of Italy, where political intrigue and betrayal were rife.
During the French Revolution, the guillotine became the symbol of state-sanctioned assassination, used to eliminate political enemies swiftly and publicly. The Reign of Terror saw the use of this method to instill fear and maintain control.
In more recent history, Eastern Europe, under Soviet influence, saw the use of more covert methods, such as radioactive poisoning, exemplified by the assassination of Alexander Litvinenko in 2006 in London.
Asia
Asia's vast and diverse history has given rise to a wide range of assassination techniques, each influenced by the unique cultural, political, and historical contexts of its various regions.
South Asia (India, Pakistan, and Surrounding Areas):
In ancient and medieval India, assassination was often a tool used in dynastic struggles. One notable method was the use of Vishkanyaâyoung women supposedly trained from childhood to tolerate and deliver poison. These women were allegedly used to assassinate powerful enemies by poisoning them through intimate contact.
During the Mughal Empire, political intrigue often involved the use of poisoning and covert killings to eliminate rivals. The struggle for succession in royal courts frequently led to the use of assassination as a means to secure power.
East Asia (China, Korea, Japan):
Ninja Tactics (Japan): In feudal Japan, ninjas were often employed as assassins due to their skills in stealth, espionage, and the use of a variety of weapons. Techniques such as silent killing with swords, blow darts, and the use of shuriken (throwing stars) were common. Ninjas were masters of disguise and could infiltrate enemy strongholds to eliminate targets without detection.
While ninja tactics are widely known, East Asiaâs history of assassination is much broader. In ancient China, assassins were sometimes employed by rival states or within the imperial court to eliminate threats. Famous historical accounts like the attempted assassination of Qin Shi Huang, the first Emperor of China, highlight the role of assassins in shaping the regionâs history.
Koreaâs history also includes instances of political assassinations, particularly during the Joseon Dynasty, where court intrigue and power struggles often resulted in the discreet elimination of rivals.
East Asia (China, Korea, Japan):
Poison Darts: In regions like Borneo and the Philippines, blowguns with poison-tipped darts were used by indigenous tribes to silently kill enemies. These weapons were effective for their stealth and the ability to deliver deadly toxins without the need for close combat.
Central Asia:
In Central Asia, particularly during the time of the Silk Road, assassins were sometimes employed by powerful khans and warlords to secure trade routes and eliminate threats. Assassination was a strategic tool in maintaining control over vast and often unruly territories.
Middle East
The Middle East has a rich and complex history where assassination has played a role in political and dynastic power struggles, often tied to the regionâs diverse empires and cultural traditions.
Historical Assassinations Involving Political Power Struggles:
The Middle East, home to some of the worldâs oldest civilizations, has seen assassinations employed as a tool of political maneuvering for millennia. In ancient Mesopotamia, assassinations were sometimes used to secure thrones and eliminate rivals within royal families.
During the time of the Ottoman Empire, the practice of fratricideâwhere newly crowned sultans would eliminate their brothers to prevent future challenges to their ruleâwas a brutal form of state-sanctioned assassination.
The Byzantine Empire, centered in what is now modern-day Turkey, also witnessed political assassinations as a common method for securing power, with emperors and high-ranking officials often falling victim to their rivals.
The Americas
The Americas, particularly the United States and Latin America, have experienced a range of political assassinations, often with far-reaching consequences.
Political Assassinations in the U.S. and Latin America:
In the United States, the assassinations of presidents like Abraham Lincoln, John F. Kennedy, and civil rights leaders such as Martin Luther King Jr. have left indelible marks on the nationâs history. These high-profile killings were often carried out by lone gunmen or small conspiracies and had profound impacts on the countryâs political landscape.
Latin America has seen numerous political assassinations, often linked to dictatorial regimes, revolutionary movements, and drug cartels. Figures like Che Guevara and Salvador Allende were assassinated or killed under controversial circumstances, reflecting the volatile political environments in many Latin American countries during the 20th century.
This overview of assassination methods by region highlights the diverse and evolving tactics used across different parts of the world, shaped by the cultural, political, and technological contexts of each region.
Common Misconceptions About Assassination
The Myth of the Clean Kill
In fiction, assassinations are often depicted as clean and precise, with the target silently slumping over after a single blow or shot. However, in reality, even well-planned assassinations can go awry. Bodies donât always react predictably to trauma, and factors like adrenaline, the environment, and unexpected movements can complicate even the most meticulously planned kill. A supposedly lethal blow may not immediately incapacitate the target, leading to prolonged struggles, noise, and potential witnesses.
Silencers and Stealth
In movies and TV shows, silencers (or suppressors) are often shown completely muffling the sound of a gunshot, reducing it to a mere whisper. In reality, while suppressors do reduce the noise, they donât make it silent. The sound of a suppressed gunshot can still be quite loud, akin to a clap or the popping of a balloon, and depending on the environment, it may still attract attention. Additionally, the sound of the bullet impact and mechanical noise from the firearm are not silenced, further dispelling the myth of a completely stealthy kill.
Poison Timing
Popular media often portrays poisons as acting instantaneously, with victims collapsing mere seconds after ingestion or injection. In truth, the effects of poisons vary widely depending on the substance, dose, and the victimâs physiology. Some poisons, like cyanide, can act within minutes, but others might take hours or even days to fully incapacitate or kill. Symptoms might develop gradually, and in some cases, the victim might not even realize theyâve been poisoned until itâs too late. This misconception can lead to unrealistic portrayals of poisoning in fiction.
Resources
Books
Recommended Reading for Research on Assassination Techniques:
"Assassination Generation" by Lt. Col. Dave Grossman â This book explores the psychology of killing and its portrayal in the media, providing insight into both real-life and fictional assassinations.
"Hitmen: The True Stories of Assassins, Contract Killers, and Political Hired Guns" by Nigel Cawthorne â A collection of real-life accounts detailing the methods and motives of professional assassins throughout history.
"The Art of Political Murder: Who Killed the Bishop?" by Francisco Goldman â A detailed investigation into the assassination of Bishop Juan Gerardi in Guatemala, offering a deep dive into the intersection of politics and murder.
Documentaries
Visual Resources That Depict Historical Assassinations:
"Killing Oswald" â A documentary that explores the conspiracy theories surrounding the assassination of President John F. Kennedy, delving into the methods and motives behind one of the most famous assassinations in history.
"The Men Who Killed Kennedy" â A controversial documentary series that investigates various theories about the assassination of JFK, offering insights into different assassination methods and their implications.
"Assassins: The Story of Medieval Hitmen" â This documentary provides an in-depth look at the history of assassins in the medieval period, focusing on their training, methods, and the political impact of their actions.
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Gasp! Oh no. Dare come yet more writing advice burning adverbs at the stake? Vindictively, gleefully, manically dancing in the ashes?
No.
This is not about whether or not you should use them, but their frequency and obvious places to replace them. Most bad adverbs are the common ones that could be replaced by verbs we all know.
âShe ran quicklyâ // âShe sprintedâ
âHe said angrilyâ // âHe snappedâ âHe chidedâ âHe chastisedâ
vs.
âHe ate voraciouslyâ
âShe swayed solemnlyâ
âShe laughed sadlyâ
Bonus if you can add in some alliteration like âswayed solemnlyâ
If you can come up with an obvious verb to replace your verb + adverb combo, do so. If it would take more words or the closest applicable verb doesnât hit the same vibe, then leave it. Adverbs should enhance the verb, not be redundant. Verbs shouldnât be pretentious just to avoid them.
âShe smiled happilyâ â most smiles are happy. Happily is redundant.
âHe ran quicklyâ âa run is, by nature, quick
Which is what I mean with managing your adverb frequency. As most end in the -ly, too many in succession, on top of the repeat syntax of Subject - Verb - Adverb looks boring and dull (and so does beginning every sentence with the subject). It helps with your cadence and flow if you donât have entire paragraphs at a time all starting with âHe [verb]â or âShe [verb]â or âThey [verb].â We don't speak like this in natural conversation.
But at the end of the day, there are some juicy adverbs that have no equal without busting out the thesaurus for some obscure lexical nugget that no one would understand anyway.
I am a little high but what if people proposed with beautiful, intricate knives. Ladies would gather around the table and be like âguess what finally happened!!â And pull this beautiful, intricate dagger out of her purse and all the other ladies would gasp and congratulate her
Ok but this is amazing becuase knives are dangerous and you can use them to hurt other people but when someone proposes with one itâs symbolic like âyes I love you and trust you so much Iâm asking you a very vulnerable question with something you could hurt me with but I know you wonâtâ