Writers, Know Your Bites

A while ago, I read someone’s manuscript describing the protagonist being dive-bombed and pecked by a crow. The mood promised shades of Hitchcock’s The Birds until the medics arrived. They took a look at the screaming woman’s wounds and diagnosed them at self-inflicted cuts. There went my suspension of disbelief. So I decided to share my thoughts on bites and what one might include to make the scene believable.

You see, any medic worth his license can tell the difference between stabbing and a bite by the pattern of the wound. What’s more, the medic can figure out what did the biting. Stabbings and cutting leave straight gashes and lacerations, and also internal injuries because they’re deeper than they’re wide (See image below left. The knife travels in a straight line. Mutilation leaves patterned lines.

People dealing with City of Brotherly Death's zombies must know their bites. Bites from birds and other animals may require rabies injections, but that didn’t come up in the story. Some birds can’t exert enough force to break the skin. Birds of prey like hawks, eagles, etc. can put a bad hurt on you. They dive at people and leave a jagged wound with or without bleeding, like the one directly below. Their claws can rip fresh wounds with lightning speed. Bird bites also carry the risk of infection.

People dealing with City of Brotherly Death's zombies must know their bites.A lot’s been said about shark attacks, but they’re not evil creatures that look for humans to eat. Most times, a shark might bite, drag the human through water, and then let go; it has mistaken the human for something it usually eats. In any case, the shark’s bite will leave a pie-shaped wound – perhaps broken bones in addition to tears in the skin or severed limbs. The damage can be fatal.

Bug bites vary depending on the type and whether or not they’re poisonous. A spider bite will leave a faint red mark, perhaps a blister, which will then loosen to form a deep boil like the one below.

People dealing with zombies in City of Brotherly Death must know their bites.

Citizens of City of Brotherly Death, know your bites!Finally, the zombie bite – the worst kind, for the victim will get infected and become undead. Zombies do more damage to the skin than you might think because they don’t feel pain. They won’t care about how hard they bite or indulge any hang-ups about damaging their teeth. As it is, the human jaw can generate 180 psi. We’re capable of tearing flesh and biting off the nose/ear of other people. Zombies exert twice as much force, and if they’ve been reanimated for a long time, the teeth may be jagged and sharp. Note the damage in figures to left and below right.

Citizens of City of Brotherly Death, know your bites!The legs and arms tend to be most vulnerable – it’s natural for a person to throw his arms over his face to ward off attackers. With zombies, this won’t work.  Best defense is to fight or run like hell. Body armor for the hands and feet come to mind. That and a great headshot.

What Motivated Close Liaisons?

Close Liaisons features Mylar balloons and evil aliens.In a word, balloons. I’m referring to “Familiar Stranger,” which takes up two-thirds of the novella. Like me, the protag Cassandra can’t pass a gift shop without stopping in to buy a Mylar balloon. Her apartment is a rainbow-colored forest. It contains balloon trees in each room and Cassandra admires the Mylar fruits that grow on them. At night, nightmares about her uncertain past trouble Cassandra unless she’s got six to eight balloons surrounding her head. Their soft feel and shushing sounds lull her to sleep. Believe me, I know. I used to have a lot of nightmares about Mike’s health until I started sleeping with balloons around my head.

People have said they’re looking for a good juvenile balloon tale from me. I’ve got balloons galore in “Familiar Stranger,” but it’s not a kiddie tale. The helium in them serves as a lethal weapon. Good thing, too, because the bite of the alien centipedes, or hydeons, carries a deadly poison. “Familiar Stranger” originally appeared as “Echoes from a Different World” in Alien Worlds. The anthology got a four-star review; but thought nagged at me that Cassandra developed this close friendship with Yarol, and he traveled all the way to Earth to warn her about the evil Kronos. Cassandra, a nurse, didn’t have political connections. Why didn’t he contact the President or other US official? There had to be some romance to motivate his approaching her. Cassandra and Yarol didn’t exactly play Tiddlywinks when they were alone.

“Familiar Stranger” explores the romantic angle, but the danger remains. Cassandra’s survival depends on whether she’s willing to face her past. To find that out, you’ll have to read the book.

Close Liaisons is available on Kindle. You may download it here.

Keeping the Red out of your Manuscript

Close Liaisons features Barbara Custer's balloons and science fiction.During the last month, I’ve been proofing two manuscripts for NTD books and editing short stories that will appear in Night to Dawn magazine. I prefer Word’s tracking feature, which enables the writer to see what I changed and why. He or she can decide whether to accept or reject the proposed change. Questions or suggestions I might have will appear in a highlighted box or balloon outside the margin. Some tales or pages go back to the author with few or no notes in red; others make the manuscript look like I bled on the pages.

It’s hard to see one’s own mistakes. I’m revving up to approach an editor about my Steel Rose sequel and anticipate seeing my pages bathed in red. Here are five things that prompt me to apply the red ink at Night to Dawn:

  1. 1.     Adverbs. The adverb has its place in the English language, but it makes for BAD fiction writing. They clutter up and weaken the sentences. Most of the time, they’re unnecessary. Don’t tell me the music blasted loudly. “Blast” connotes loudness.
  2. 2.     Passive voice. Passive voice is a stylistic issue that may prevent the reader from understanding what you mean. It also includes linking your action with a “to be” verb, which may weaken the writing. For example in the statement “While the city was threatened, Barbara shopped for balloons,” we don’t know who or what was threatening the city. A better way would be “While the snowstorm threatened the city, Barbara shopped for balloons.” Passive voice may work if you don’t know who was doing the action, but use it with caution.
  3. 3.       Clichés. I’m referring to the old, tired phrases that need to kick the bucket (pun intended). Those sneaky little devils creep into the story as often as balloons hop into my shopping cart at Giant. Too many overused expressions make for a boring tale. Ditch them and replace with original images. Authoright publishes a list of clichés to avoid.
  4. 4.       Knowing the difference between “its” and “it is,” “lie” versus “lay,” “anymore” versus “any more,” “farther” versus “further,” and so on. I believe that most people do; but when you’re overtired, it’s easy to confuse the difference between related words. Start off with fresh coffee.
  5. 5.       Parenthesis and run-on sentences. A run-on sentence occurs when you have two or more independent clauses without a conjunction. Example: I love zombie tales I read them all the time. A comma, period, or coordinating conjunction between the two clauses will fix this. I see a lot of parentheses, too, and in most cases, the sentences work without them. The parenthesis has its place in nonfiction writing, and with fiction, you can use the parenthesis to achieve a desired mood. If I can read the respective sentence without stumbling over the words, you’ve done your job well. Otherwise, I get out the red pen.

About a month ago, I invested in Pro Writing Aid, which has a free version and the premium version for a reasonable price. Their software is tough on passive voice, adverbs, idle words that detract from the sentence, and repetition. I struggle with repetition. Though I catch it on NTD manuscripts, I can’t see it on my own pages. There’s a learning curve, but the Pro Writing Aid makes a great tool for copy editing and proofreading. Not so much for content editing. That’s when you turn to your beta readers and a developmental editor.

Barbara Custer got the red out of Michael Destefano's historical fiction.

Healthcare Workers and Zombies

Barbara Custer included lots of zombies in When Blood Reigns.Before I wrote Steel Rose and City of Brotherly Death, I wondered how healthcare workers would handle zombies. What would my role as a respiratory therapist entail in a zombie invasion?

Let’s consider a brain-dead patient, someone whose heart still beats, but the lack of brain wave activity defines him as legally dead. The patient breathes through a tracheotomy tube with mechanical ventilation until he goes to the operating room for organ donation. My duties would include keeping his airway clean and making sure his ventilator works. Supposing I did my job, never suspecting that the “dead” person could be a zombie waiting to feast on someone?

Let’s backtrack to possible events before the patient’s admission. Perhaps our patient gets assaulted by a zombie, and he blows its head apart. All well and good, but the zombie bites him. Our guy’s shaken up and has no business getting behind the wheel. But he does anyway and drives to the police station. Instead, he winds up in a horrible accident that leaves him with traumatic brain injuries and broken bones. The severity of his wounds necessitates a tracheotomy. The unsuspecting paramedics put him on a ventilator and rush him to a hospital. The doctors may not notice the bite until too late. They’re more worried about the patient’s possible brain death.

Hours later, the zombie’s bacteria infiltrate Trach Man’s system, most likely before the hapless therapist or nurse come in to suction him. Mr. Trach Man yanks out his breathing tube, lurches out of bed, and chases his caregivers, all the while spewing bloody secretions from his tracheotomy before feasting on someone’s brains and flesh. Other staff may hear the screams. Because guns are banned at most hospitals, most people will stand by wringing their hands while their coworker(s) dies. The braver ones might tack the zombie, mistaking him for a combative patient, and get bitten themselves.

Of course, the staff therapist can run. He could call Security or try to fight back. His tools (scissors and a screwdriver) won’t protect him from zombies. If he’s lucky, he’ll be employed undercover by the zombie squad, using the therapist’s uniform as a beard because that’s the only way he’ll survive.

Hospitals are supposed to have surveillance cameras, security officers, and training to handle such situations. They are supposed to be able to handle terrorists, right? Perhaps they could stop a would-be child kidnapping in progress? That may be; but given the potency of the zombie’s bacteria, most staff won’t figure out what’s going on until it’s too late in the ballgame for a lot of people.

For the respiratory therapist’s sake, I’m hoping that Mr. Trach Man started to turn on his way to the hospital, while the paramedic is administering CPR or inserting an IV. That would be disastrous, but most ambulance vehicles are equipped with a kind of circular saw, along with the standard life-saving equipment. The paramedic could ditch the ventilator and resort to sawing and tossing bits of the former patient out the backdoor. So much for the Hippocratic Oath department.

Suppose the zombie outbreak happened because of an alien conspiracy. Instead of bacteria, perhaps the aliens installed a computer chip or robotics to make the dead body come to life. In this case, whacking the zombie with a portable oxygen tank would disable the computer and immobilize him. If the therapist, nurse, or are other worker decides to fight the zombie this way, they had better strike true, or else end up as the zombie’s next meal. Of course, given most hospitals’ policies on violence, the caregiver might face termination of his job. But he could always even the score by pushing an administrator toward the zombies, right? The plot thickens.

 

 

Here There Be Monsters

Barbara Custer included lots of zombies in When Blood Reigns.The traditional zombie is a mindless creature that knows nothing except an insatiable craving for human flesh. Perhaps a virus or chemical destroyed key brain cells, the ones that control reason and decision-making abilities. Perhaps a robotic implant causes a dead body to get up and attack. Jonathan Maberry’s Rot & Ruin series features a killer virus that turns the victim’s skin gray. He wakes up from the dead and goes after humans. I read all the books in the series and loved them. Now I’m contemplating books from other authors.

Stephen King knows how to turn the most ordinary things into monsters. If not a monster, it becomes a tool. The beloved balloons I can’t resist turn into a monster’s tool under the influence of King in his story It. Pennywise the clown uses balloons to entice children to the graveyard.

When I was younger, I thrived on the Hammer films, but now, vampires are portrayed as another race of people with good and bad in them. This is good because the old-time vampire meets human-vampire drinks his blood tales have gotten ancient. Woe betide the person who crosses a villain vampire. He’s got fangs, strength, and brains to go with his blood lust. Books featuring great vampire tales include Passion in the Blood and Bloodstorm.

Some people return from the dead to terrorize the living, as in City of Brotherly Death and Blue Plate Special. They might look like shambling zombies, but they know full well what they’re doing and why. They’ve got scores to settle with people who didn’t treat them right. These zombies—a better term would be revenants—are particularly dangerous because they crave flesh and blood, and they’re able to plot and scheme to get it.

The human monsters (Reapers) in Maberry’s Rot & Ruin series frightened me a lot more than the zombies did. Like the traditional beasts, they delight in the thrill of the kill. What’s more, they can scheme, use sophisticated weapons, and employ muscle power to wax people they consider liabilities. A love triangle might incite a psychotic human killer, as in JoAnna Senger’s Betrothal, Betrayal, and Blood. The Mob breeds and trains assassins who thrive on the kill, especially in Tom Johnson’s The Spider’s Web and Tales of Masks & Mayhem V4.

The vampire, revenant, and zombie are monsters to be reckoned with, but humans can be the most dangerous killers of all.

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One randomly drawn commenter will receive a signed copy of Steel Rose and a $10 GC for Starbucks.

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Also click on the red links on the bottom – these are the links to fellow members of the Coffinhop.  This Coffinhop will run October 24 to 31, including the release of Coffinhop: Death by Drive-in to benefit Litworld.org.

  

 

The Elusive Ending

Barbara Custer struggled with an elusive ending in some of the tales in City of Brotherly Death.Recently, I received a jewel of a submission for Night to Dawn. Every word counted; every line urged me to keep reading. I was revving up to write a nice acceptance letter. Then the story ended, but the ending stopped me. A part of the plot was left unfinished. I wondered, where’s the rest of the story? So I emailed the writer, requesting a revision. Most of the time, when I request a rewrite, it involves the ending.

What makes the ending so tough to write? Because sometimes our characters take us in unexpected directions, and so the perfect ending we had envisioned doesn’t sound so good after all. For my WIP, I cheated and wrote the ending, but something tells me I’ll need to revise because of the changes in my characters. It means tying up the subplots and showing that my character has changed. “Twist” endings are nice, but they have to be believable. The ending has succeeded when, upon arriving at the last word, you and your reader feel satisfied. I once read a complaint about a book, saying that the author must have been awfully tired when he wrote the ending. I admire writers with published anthologies because they’ve had to come up with a passel of meaningful endings.

Beginnings and endings can be a bear to write. My worst experience with endings happened with “One Last Favor,” one of the stories in City of Brotherly Death. That book went to an editor. “One Last Favor” had a less than satisfactory ending and she called me on it. A flurry of emails went back and forth with the editor making suggestions. I still felt lost, so I took the ending pages to my writers’ group. More suggestions. I decided that characters Tara and Chris were going to marry. The editor did another read through, and noted that I had to tie up Tara’s pursuit by the revenants stalking the town (“One Last Favor” is a zombie tale). Back to the writers’ group again, and another round of emails with my editor. We finally reached a conclusion that worked. Toni demonstrated the patience of a saint, helping me improve my ending.

It took almost a month plus three of my best curse words to get through the ending of “One Last Favor.” I can empathize with people who struggle through the ending pages. So when an author submits work that has an unsatisfying ending, I’ll work with them to help make it better.

Do you find yourself struggling to get an ending that works? I’d like to hear about your experiences.

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You can watch a Steel Rose video here.

One randomly drawn commenter will receive a signed copy of Steel Rose and a $10 GC for Starbucks.

wulfchbadge1

www.coffinhop.com

 Also click on the red links on the bottom – these are the links to fellow members of the Coffinhop.  This Coffinhop will run October 24 to 31, including the release of Coffinhop: Death by Drive-in to benefit Litworld.org.

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