Is the Two-Sword Style a Thing?

I am asked about the two-sword style at almost every writer’s conference. The first thing I am often asked is simply: Is it a thing?  We see it in movies/TV shows such as “The Walking Dead”, John Wick 4, Deadpool, and Crouching Tiger, Hidden Dragon. Are those directors and screenwriters drawing from history or simply giving viewers a cliché they so love? And, yes, viewers love the two-sword style. I know that because writers seem to gravitate toward it like moths to porch lights.

The two-sword style is a thing. In fact, some weapons, such as butterfly swords, were made specifically for such a fighting style. Two-sword styles span across cultures and continents. That said, it wasn’t the most common manner of using edged weapons, and there is a good reason for that.

Edged Weaponry

An edge is the sharp portion of a blade. A blade may have one edge or two. Steak knives have a blade with one edge. Daggers have a blade with two edges. Any weapon with an edge is an edged weapon.

It’s important to understand what edged weaponry is because what many consider a two-sword style is actually a style of two, edged weapons, only one of which might be a sword. Many times, the second weapon is a type of knife. If you have ever taken any of my classes or read my books, you will hear me say that where there is a sword, there is a knife. There is a reason for that.

Swords are excellent weapons but not all-encompassing. In order to be deadly, a sword has to have movement to slash or stab. For movement, there has to be ample space. If two combatants are in close quarters, there may not be enough room for either to use their sword effectively even with a reverse grip. That’s where the knife comes into play. Even if your character does wield two swords, they will also carry a knife as a tertiary weapon.

Primary, Secondary and the Horrible Left Hand

Before jumping into wielding two, edged weapons together, we have to understand the concept of a primary and secondary weapon. A primary weapon is generally the weapon wielded in the dominant hand. It is considered the primary weapon because of the greater dexterity in the dominant hand. It may also be considered primary because of its lethality. That said, the more lethal the weapon, the more one would want to carry it in the hand over which one has the most control.

Ambidexterity

There are people who use each hand with the same ease and control. These people are rare and incredibly gifted when it comes to fighting of any kind. However, historically, ambidextrous people wielded the primary weapon in the right hand as left-handedness was not celebrated — to put it mildly.

In Europe, where many sword-centric fantasy works are set, the languages tell the story of how being left-handed was once perceived. In French, Spanish, and Italian, the words for left and left-handed, can still be synonymous with clumsy, sinister and underhanded. In German, the word for left can be used to say, on the wrong side. In Asia, Africa, and the Middle East, the attitude was once much the same. So, even if your character is ambidextrous, their primary weapon will likely be in the right hand.

Requirements for Wielding Two, Edged Weapons

In order to wield two, edged weapons at the same time, each weapon has to meet a few requirements. One, each weapon must have a weight distribution and balance that allows it to be wielded with only one hand. Some edged weapons, such as a broad sword, required two hands to wield because of its weight. That would make wielding a secondary weapon impossible.

Two, each edged weapon must have a design that compliments the other. If one weapon is very forward heavy, like a battle axe, it might be difficult to wield with another weapon. Also, if the primary weapon is a melee weapon, such as an axe, hammer, or club, it is often wielded with a shield which prohibits the use of a secondary blade.

Three, the weapon must have a handle that allows it to be wielded with the desired hand. Some edged weapons have a hand guard that is only suited for one hand. Usually that hand is the right hand. To have an edged weapon with a hand guard that is side specific for the left hand, a weapon might have to be specially made. That is expensive.

Issues Associated with Wielding Two, Edged Weapons

Wielding two, edged weapons was absolutely doable. I have been introduced to one such style in Filipino Martial Arts. That begs the question: Why didn’t more people wield two? If one knife is good, shouldn’t two be even gooder? Yes and no.

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The Benefits

The benefits of a two-sword style begin before the swords are even put to use: It is intimidating. Dealing with two moving blades is highly perilous, and the possibility is enough to make many would-be attackers stand down. Another benefit is the most obvious. The wielder has twice the edges. Also, if the weapons are of differing lengths, the wielder can easily transition to in-fighting (close quarters) without having to grab the secondary blade.

The Detriments

When fighting with edged weaponry, the open hand is very important even though it does not hold a weapon. It’s used for balance, parrying, grabbing, punching, getting up from the ground, and holding a shield. With a weapon in hand, some of those actions are more difficult or impossible.

When both hands hold a weapon, the wielder is in more danger. The combatant has to be mindful not to stab or slash their own darn self. They have to have an efficient way to carry and draw multiple weapons and still carry a knife. The wielder must also have the means to maintain all the weapons.

The Biggest Issue

The most difficult part of a character wielding two, edged weapons is not you, the writer, understanding how the character would use those weapons. It is also not showing the reader why that style is culturally appropriate or practical for the character. The hardest part of having our character wield two, edged weapons is writing it. Writing sword work for one sword can be difficult. Writing movement for two swords can be more challenging.

If you are a writer who excels in writing sword or knifework, writing two swords may present no challenge for you. Even so, consider why you have chosen two swords. Consider where the character is geographically and physically located and if them having two swords makes sense. Consider how they will carry the two swords. And, if your chosen area of carry is in sheaths on the back a lá Deadpool or Michonne from “The Walking Dead”, stop. You do not understand enough about wielding two swords to write it. Why? Well, that will be our next post!

Until the next round with FightWrite on the WD Blog, get blood on your pages.

The post Writing Two-Sword Style Fighting (FightWrite™) appeared first on Writer's Digest.

(How Criminal Sketch Artistry Works (FightWrite))

Most Predictive Cues to Assault

PATC Legal & Liability Risk Management Institute conducted a study on interpersonal cues predicting assault. A sample of 129 law enforcement officers, all assaulted at least once on the job, chose 11 behaviors that signaled attack. They are listed from least to most predicative.

11. Stretching arms / shoulders
10. Sweating profusely
9. Pacing
8. Tense jaw muscles
7. Head rolls / neck stretches
6. Looking around the area
5. Making verbal threats
4. Clenching hands into fists
3. Placing hands in pockets (Hiding hands)
2. Invading personal space
1. Assuming a fighter’s stance

 The Fighter’s Stance

The fighter’s stance is an important body posture to know not only for your work but your life off the page. In general, a fighter’s stance puts one foot forward, as if stepping, and the hands are brought up away from the body. The chest tends to be toward the opponent.

Blading

If the chest is turned slightly away, and the entire body is turned slightly sideways, that is known as “blading.” While it wasn’t in the top 11 listed by law enforcement officers, it’s a big one. Generally, blading is a type of fighter’s stance. However, a bladed fight stance has different implications than one in which the chest directly forward.

One Purpose of Blading

One purpose of body blading is to create less of target for the opponent. To better understand blading, grab a book and set it on a table in front of you with the front of the book facing you. It can be turned a little, but not much. You shouldn’t be able to see enough of the spine to read it, or see the entire width of the pages. That book is positioned in a chest forward fight stance. If it is turned no more than 45 degrees, it is able to throw a good punch. It means business. Don’t take your eyes off that book.

If the book is turned so much that you can read the spine clearly or know the width of the pages, that book is bladed. Notice that in that bladed position that book is a smaller target. That is why some people adopt the bladed stance in a fight. They are offering a smaller target for the opponent. That said, that is not the most efficient body position for punching. So, if your character has adopted that stance, they either don’t understand the mechanics of an efficient punch or they are a practitioner of a martial art that utilizes that stance for a reason that directly relates to the efficiency of that style. For example, Taekwondo utilizes a bladed stance. That stance relates directly to the movement of Taekwondo.

The Deadlier Purpose of Blading

There is one more reason that a character might adopt a bladed stance, and it the biggest problem for the opposing character. People blade their body in an attempt to obscure something from the person facing them. That something is often a weapon. Look back at that feisty book on the table. If you can see the pages completely, you can’t see a word on the spine. That book could be holding a knife on its spine side and you’d be none the wiser.

On that note, let’s say that book is in a bookstore and it has black plastic covering half of the book. One side of the book is visible. One side is obscured. Before you buy that book, you will want to know why a portion of it is covered. What does the store not want you to see? What is being hidden?

Look at your characters the same way. If a character is hiding a portion of their body, there is a problem. What does that character not want others to see? What are they hiding? It could be a weapon.

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Is It Cold or Criminal?

But let’s say it is cold out. Two characters are arguing and one has a hand in the front pocket of their hoodie. How can you show the reader the difference in a character who is trying to stay warm and one who is concealing something? Show the rest of the body. If the character is cold, the rest of their body will show it. They will use one hand to gesture, then replace that hand in the hooding pouch to warm it. If both hands are in the pocket, the elbows and shoulders will still be moving.

Spot the Difference

However, if that character’s body is moving, but the arm of the hand that is hidden is dead still, there is a problem. That character is not moving that hand and arm because the want to keep a grip on the weapon. Or, maybe they think that if they keep the arm and hand still it will draw less attention. They think others will be so distracted by the movement in most of their body, they won’t know notice the stillness in another.

And there you have it. How to show rather than tell that your character means to fight. And, reader, I hope that you can remember this list for yourself as well. We want a realistic fight scene and a story that punches the reader right in the gut. But we have to be healthy enough to write it. Stay safe out there. And be on the lookout for any books that are adopting a fight stance with you! Make eye contact, and keep walking. That book is up to no good.

Hope to see you all at the Writer’s Digest Conference coming up quickly July 24-27. Be sure to check out my classes “Hurting Your Character and Fight Write: Practical to Tactical.” In the first class we will be looking at wounds. Literally. In the second we will learn how to wound! Take both. You won’t regret it.

Until the next round with FightWrite® on the WD blog, get blood on your pages!

The post Cues of Attack (FightWrite™) appeared first on Writer's Digest.

Not exactly.

(Is My Killer a Psychopath or a Sociopath? (FightWrite))

Unfortunately, despite its moniker, the lie detector test doesn’t actually test for lies or prove guilt, and it may not even be allowed as evidence in criminal court. In this FightWrite® post, we will take a very honest look at the polygraph. We will look at what it does and doesn’t do and when the results are admissible in court.

Disclaimer

Before reading further: This is not legal advice. I am not a lawyer and I am not your lawyer — I wouldn’t wish that you. Also, we will only consider polygraph results as they relate to criminal trials, not civil trials. Lastly, this post is for informational purposes only. Its intent is to help writers create believable fictional work and make life miserable for their innocent characters or keep a lunatic character on the streets.

What the Polygraph Does

The polygraph measures three physiological responses: heart rate/blood pressure, respiration, and skin conductivity. All increase when the body is emotionally aroused. The idea behind these measurements is that when someone is lying, their body is more excited than it is when they tell the truth. And the polygraph does its job in that respect. It does measure the body’s physiological responses to certain questions.

What the Polygraph Does Not Do

What the polygraph does NOT do is measure deception. It cannot discriminate between physiological responses to lies, the pure stress of being in a situation where a polygraph is required, or menopausal hot flashes. Basically, a polygraph is great at testing to see if someone is uncomfortable. And its margin of error, is anywhere between 15 to 40 percent.

Admissibility in Court

In 31 U.S. states, polygraph results are not allowed as evidence in criminal cases. In five states, results are only admissible when both the prosecutor and defense agree to it. When polygraph results are admissible and incriminate the defendant, the defense can bring in expert witnesses to refute the polygraph results or question the qualifications of the tester. In all states, if inadmissible polygraph results are mentioned at all during the course of a criminal trial, the entire proceedings could be declared a mistrial.

That said, even when polygraph results cannot be used in court, law enforcement can ask suspects if they would agree to take one. The goal of the polygraph in those cases is to measure what questions/statements cause the greatest physical disturbance in the suspect. Those results could be used to steer an investigation. What law enforcement cannot do is compel or coerce anyone to submit to a polygraph.

Types of Polygraph Questions to Expect

         Irrelevant and Relevant

If your character takes a polygraph, there are a few types of questions they may encounter. Irrelevant questions are questions not related to the case. These questions can give a baseline for behavior or help a person relax between relevant questions that might cause anxiety. What is your name? Are you alive right now? Do you have two feet? These are all examples of irrelevant questions. Relevant questions are questions that relate to the case for which the person is taking the polygraph.

         Control

Control questions are questions that relate to a scenario similar to the case. They not are directly related to the case but do tend to lead to questions that are. The best control questions are ones that incriminate just about everyone for something. For example:

• Have you ever driven over the speed limit? (Control)
• Have you ever been angered by another driver? (Control)
• Did you speed and run the victim off of the road? (Question directly related to case)

Control questions like these are used because, in theory, an innocent person wouldn’t have any issue saying they had driven over the speed limit or been angered by another driver. In the mind of the innocent person, who hasn’t done both of those and having done either wouldn’t make them guilty of running someone off of the road. Why would it?

On the other hand, the person guilty of running someone off the road would want to seem as though they had always been a model driver. No. They had not gone over the speed limit even once. No. They had never been angered by another driver.

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         Directed Lie

Sometimes the one taking the polygraph is instructed to lie to certain questions. These questions are known as directed lie questions and they are innocuous and straight-forward. “Are you a duck?” “Did you fly here today with your wings?” Directed lie questions may be asked several times to get a baseline for the person’s physiological response to a lie.

Beating the Polygraph

If you look at websites endorsing polygraph science, they will tell you that you cannot beat a polygraph test. Unfortunately, history doesn’t support that. The Green River Killer, Gary Leon Ridgeway, The Angel of Death killer, Charles Cullen, and kidnapper Richard Ricci all passed a polygraph test. Spies Ignatz Theodor Griebl, Karel Frantisek Koecher, Jiri Pasovsky, Larry Wu-tai Chin, Aldrich Hazen Ames, Nicolás Sirgado, Ana Belen Montes, and Leandro Aragoncillo all passed it as well.

There are many sources out that can coach one to pass a polygraph. Most seem to focus on using the control questions to create a faulty baseline. After all, if your character reacts to everything as if it is a lie, how would a polygraph detect an actual lie? To create an inaccurate baseline, your character can:

• Think excited thoughts and constantly alter their breathing pattern. Holding the breath randomly throughout the test is important.
• Fidget the whole time. Shift in the chair, move the shoulders, cross and uncross the feet, sniff, flutter the eyes … all the fidgety things.
• Have the character randomly bite the side of their tongue or press down on a tack they’ve placed in their shoe. All of these can raise the character’s blood pressure and throw of interpretation of the results.  
• Lastly, and this is toughest one, have your character be deeply calm. This is how all the criminals mentioned in this post passed. This is the toughest route to take, but it is doable.

The efficacy of the polygraph is constantly under debate, yet it remains a constant presence in criminal cases. It is completely plausible that if your character is questioned in connection to a crime, they will be asked to take one. Now, you can write how you want that test to go.

If you want to know more about forensic evidence like the polygraph, questioning techniques or how the human body reacts when we attempt to deceive, check out my book Fight Write, Round Two. It’s full of great crime stuff.

And, speaking of crime, I am teaching and speaking with a panel at ThrillerFest this June. I will also be teaching with my WD family at the Writer’s Digest Annual Conference in July. If you see me at either, please say hello!

Until the next round with FightWrite on the WD Blog, get blood on your pages. And don’t lie about it.

The post The Truth About the Polygraph (FightWrite™) appeared first on Writer's Digest.

(Areas of the Body Most Often Impacted by Firearms Injuries (FightWrite))

Psychopath and Sociopath

The terms psychopath and sociopath are interchangeable. The term psychopath first appeared in the late 1800s. It was replaced by the term sociopath in the 1930s. The two were used interchangeably by clinicians with some favoring the latter as psychopathy was often confused with psychosis by laymen.

In 1980, the DSM-3, the third edition of the Diagnostic and Statistical Manual used to diagnose mental health maladies, introduced a broader diagnosis of Personality Disorder that included traits of psychopathy/sociopathy. Today, these traits are found among the 10 diagnosable personality disorders in the DSM-5-TR. Neither psychopathy or sociopathy are a diagnosis. They are a set of personality traits without differentiation and neither word is found in the DSM-5-TR.

So, put away the multitude of info graphics you’ve put on your desktop reminding you of the differences between two terms because clinically, there is no difference. Also, don’t worry, you don’t have to know the intricacies of each of the 10 personality disorders. Instead, consider whether your killer is an organized or disorganized offender.

Organized and Disorganized Offenders

Forensic/criminal psychologists, as well as criminal profilers, have compiled a list of characteristics that distinguish organized from disorganized criminal offenders. The characteristics are gleaned from known killers of both categories and are used as a reference to begin the process of profiling an unknown assailant. That said, the start of a profile is not the final product. Both types of killers can deviate here and there from the compiled characteristics, especially in terms of intellect. And some killers, such as Aileen Wuornos, can fall distinctly between the categories.

Organized Offenders

Personal Characteristics

Organized offenders, such as Ted Bundy, Joel Rifken, and Dennis Rader, tend to be male with a masculine image. Quite often they were raised in a middle-class environment, are of higher birth order, and the victim of childhood abuse1. They tend to have average or above intelligence and are socially adept. They are sexually competent, attractive, and charming. It is not uncommon for them to verbally seduce their targets. They are occupationally and geographically mobile, and may live with a partner. They have a controlled mood during their crime and a controlled demeanor overall. Their crime scene is likely squeaky clean of evidence.

Post-Offense Behavior

To the organized offender, getting caught is a game. They keep up with the news regarding their crime, are police groupies and may call in to offer information about the incident. They are very difficult to catch as they are meticulous at covering their tracks. Also, their crimes tend to have three distinct areas: approach, kill, and disposal. They are known to move the victim’s body several times and dispose of it in a way that advertises the crime.

Disorganized Offender

Personal Characteristics

Disorganized offenders, like Jack the Ripper and Jeffrey Dahmer, tend to be male and victims of childhood trauma such as neglect and physical/sexual abuse3. Often, they are neither socially nor sexually competent and have poor hygiene. Their education level and intellectual ability tend to be low. They generally don’t have stable transportation, so their kills tend to be near where they live. They are anxious during the crime, overwhelm their victims with violence, and tend to leave the body in plain view at the scene. They are also known to leave plenty of evidence behind out of adrenaline-fueled carelessness. That is not to say that they are quickly nor easily caught. Some of the most prolific disorganized offenders evaded capture by more than a decade.

Post Offense Behavior

The disorganized offender may change their address or place of work after the crime1. Both, however, may still be near the scene of the offense as this type of offender likes to revisit where the crime took place. They may keep a diary or clippings related to the crime and attend a memorial for the victim. They may even go so far as to place an “in memoriam” in the local paper.

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What This Means for Your MS

How can this help you in writing your manuscript? Placing your character into one of the two killer categories will save you time in creating a backstory. You know that if your killer is calculated with their crime, they could have had a solidly middle-class upbringing and were voted Most Charming in high school.

You could also use the character traits to give more details to your killer. If their crime is frenetic and poorly planned, its reasonable that their clothes are often dirty and they have body odor. Little additions like that can bring a character to life in a way their behavior can’t.

A Killer Reference Tool

There are enough well-researched and verified traits of organized and disorganized killers to fill a small but creepy library. I found nearly 1,000 books on criminal profiling with little effort. The traits I’ve listed barely scratch the surface but are hopefully enough to help you get on the right path of character killing. In my book, Fight Write, Round Two, I have infographics that give these characteristics, and more such as the type of criminal interview that is best for each type of offender. For example, if your character is a disorganized killer, your police characters will want to bring them for questioning at night.

I hope this was helpful and saves you time in creating your characters. The more time you save in one aspect of your work, the more you are afforded in others. If you write mystery or thriller, check out the table of contents of Fight Write, Round Two. There’s an entire section just for you. You’ll learn how to diagram a crime scene, which personality disorder your character might have, and why during criminal interviews police often carry in a file folder thick with papers. Writer’s Digest gives the book a thumbs up. And don’t forget that the FightWrite blog is out there for you free of charge and chock full of killer tools to help your scenes of action, violence and crime be the best they can be.

Until the next round with FightWrite on the WD blog, get blood on your pages.

The post Is My Killer a Psychopath or a Sociopath? (FightWrite™) appeared first on Writer's Digest.

(Entitled and Uncomfortable (FightWrite))

That’s No Bat

Several years ago, a friend of mine had a confrontation with a man in a parking lot. When he turned to walk away from the argument, his feet came out from under him. He said it felt as though someone had hit his legs with a bat. He had no idea that what felt like a bat was actually a bullet.

After the fact, we talked about how blessed he was to have taken the bullet in the side of the knee. Had the aim been higher, he might not have been alive for us to have the conversation. We wondered at the odds of him being shot in such a small area as the knee or anywhere on the legs. What we didn’t know then was that his injury fit the odds perfectly. Strange as it might seem, the majority of gunshot wounds, both intentional and unintentional, are actually are to the legs.

Areas of the Body Most Likely to be Shot

According to the CDC and National Electronic Injury Surveillance System (NEISS). All of these can also be found on a handy table in the WD book, Fight Write: How to Write Believable Fight Scenes.

Why Not the Biggest Target?

Looking at the graphic above, you can see that the thickest areas of the body are not the ones most frequently injured by bullets. Even combined, the statistics of being shot in the upper and lower trunks are not as high as that of the legs. Why? Legs are smaller targets and especially hard to hit when the body is moving. So, why are bullets finding their way there? There might be a few reasons.

Bullets Fall

Bullet trajectory is parabolic not straight. It raises above then falls below line of sight in an arc. Within .2 seconds, or at about 70 yards away, a 9mm bullet can drop more than four inches in the best of conditions.

Now, if you are a gun person you know that’s a broad generalization because the type of gun matters. The point remains: Bullets drop. Perhaps that’s one reason why so many folks are shot in the legs. The assailant is far enough away that the bullet is dropping below their desired target.

Maybe. But I think there’s better reasons.

Pulling a Trigger is Easy, Hitting a Target is Hard

To me, a more plausible reason people are shot most often in the legs might be because hitting a target is harder than it looks. Pulling a trigger is easy. Hitting a target? Not so much. The faster anything travels, the easier it is to take it off course. In the case of a bullet, the tiniest of movement greatly impacts aim. How you hold a gun can be the difference in a hit and a miss. Grab the handle too tight and your hand will shake. Grip too loose and the gun will shift in your hand. Both impact aim.

Poor hand position on the grip can cause the barrel of the gun to point down slightly. Aim the handgun sideways, a favorite in movies for reasons I do not know, and you lose the front sight—the little fin on the top on the barrel that helps you aim. That sideways position also causes the hand to curve which impacts aim.

I’m not an expert on felonious behavior, but I’m willing to bet that the majority of those who assail with handguns don’t take extra care with grip or aim. I’m also willing to bet they don’t account for weather conditions. That all makes for a bad shot. Add that to the bullet drop over distance and you have the makings of missing a target.

People Don’t Really Want to Kill Folks

In my mind, what has the greatest impact on legs being the most common target is that when people aim to kill, they aren’t literally aiming to kill. Killing isn’t as easy as criminal statistics make it seem. Most people have to be primed to kill. It is estimated that in WWII only 20 percent of soldiers actually fired on the enemy.

By the time the U.S. entered the Korean War, the military had taken efforts to mentally prepare soldiers to fire on combatants. This raised the firing percentage to estimated 55 percent. That is still a low number considering these soldiers were in a position where firing was not only acceptable but expected.

Now consider how likely a regular person is to shoot someone. It is easy to find statistics on how many people are killed by firearms. What is harder to find is the number of people who actually fired those weapons. We can’t assume that every single person killed by gunfire was killed by a different person. So, the number of assailants is likely fewer than the victims, especially since more than 60 percent of violent offenders tend to reoffend. Regardless, the number of people who kill with a gun in the U.S. is a very low percentage of the population. That low percentage may purposely be aiming low to not kill their target.

As far as accidental injuries to the legs, that is likely explained by where a person holsters their gun. If the gun is on the side or hip, it would fire down the body. If the gun is in the hand while walking, for whatever reason, it might be held downward for “safety.” (Straight down by the leg ain’t the safest way to hold a loaded gun.)

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Mortality and Wound Location

Any bullet wound to any area of the body can kill. When a bullet enters the body, it carries with it all the cooties it went through in flight. It also pulls in clothing from the body and bacteria on the skin.

Infection aside, there are some bullet wounds that are especially difficult to survive, and we need to bear that in mind when we write a bullet into our characters. Even with modern medical care readily available, only about 30 percent of people shot in the head survive long enough to make it to the hospital. 50 percent of those die after being admitted to the E.R. Of those who do survive the horror of a gunshot wound to the head, roughly half often suffer recurrent seizures.

Mortality rates of patients wounded in the chest can vary 14 – 36 percent. The chest is a big area. Abdominal injuries have a little more than a 10 percent mortality rate. Those shot in lower extremities have about an 8 percent chance of death. Bullet injuries to the arms and hands are seldom fatal.

Strangely, more bullet wounds don’t equal greater chance of death, which make zero sense to me. According the CDC, the number of gunshot wounds does not predict severity of injury or mortality. The location of each wound has a greater impact than the number of wounds.

A Parting Shot

If the statistics regarding where people are injured by bullets doesn’t hit the target in your work, rest easy. Our readers aren’t looking for authenticity as much as realism. Consider authenticity a means of support for the reality you write, not a standard by which you must write. Knowing where people are actually injured by bullets gives you an authentic way to create and troubleshoot your scenes with firearm injuries.

Until the next round with FightWrite® on the WD blog, get blood on your pages. 

The post Areas of the Body Most Often Impacted by Firearms Injuries (FightWrite™) appeared first on Writer's Digest.

(How to Punch (FightWrite))

OK, not a miracle. That’s a stretch. But it is a surprise and, bonus, it costs you nothing but a few minutes of reading time. It’s a handy fight scene helper that consists of questions that can help you through your fight scene. The questions are meant to get your creative wheels turning not as any sort of standard by which you should create. There is no one way to create a fight scene, which is part of why it can be challenging. When there’s one million ways to do things, it can be hard to decide any way at all.

That’s where this helper is quite helpful. If you find yourself stuck in the midst of a million options, refer to these questions. Some may lead you to the answer you need simply by giving you a new perspective. This guide, and all the information that can help you make the most of it, is in my book Fight Write, Round Two.

Foundation: Why, Where, Who

Why is the fight happening?

• What is at stake?
• Does the speed and intensity match the stakes?

Where is the…

• Time: Consider the technology, customs and culture
• Geographically: Again, consider technology, customs, culture and the weather
• Site: Where are the weapons of opportunity and the buffers?

Find weapons of opportunity with a thought map. Draw a circle. Put the name of the location in its center. Draw lines from the circle and connect them to anything that is in the area. Draw a line from each of those items and note if and how they could be useful to the scene.

• What sensory details can be added to the scene that show rather than tell about the setting/site? For example, the creak of wood, the squeak of wheels, the smell of horse manure, and seeing the world through a tarp tunnel could be associated with a covered wagon.

Who…

• Your Character: Do you have a fighting style or weapon in mind for your character? Does it fit: the time period? The character’s size? The character’s natural ability?

• Your Reader: Remember to avoid technical language as much as possible. Include details to which the reader can relate such as weight or feel of the weapon. Lean harder on sensory details than technical movement.

Finding An Injury

Disregarding injury, what HAS to happen in the fight scene to support or compel the story forward?

• Does a character need to feel fear? Does an innocent character need to be framed? Does a kingdom need to be in jeopardy? Does a character need to see their own strengths or weakness?
• What is the injury goal?
• Does that injury goal support what HAS to happen in the scene? Does it need to be a certain injury or certain outcome?
• Does it need to be a visible injury?

Yes—consider a wound to the face.

• Does a part of the body need to be spared? Does it need create a scar?

Yes—consider a burn, cut or laceration.

• Does it need to create lasting physical effects? Will those effects inhibit what the character needs to do later in the story?
• Does there need to be dialogue?
• Does the injury you want allow for the dialogue you need?
• Does a character need to die?
• Does the death need to be fast or slow?
• Is the manner of death bloody?
• Is the manner of death appropriate for the target audience?
• Does the speed of death allow for the amount of dialogue that you want?
• Does the speed of death allow for whatever other movement that character needs to do in the scene.
• Does the injury need to leave evidence?
• What type of evidence? Physical? List three options. Circumstantial? List three options.

Blocking

What at the site of the fight that could be used as a weapon or buffer? Consider making a thought map of the area.

• What is the character wearing?
• Does what they have on inhibit their movement? For example, A robe may not allow kicking. A corset may not allow much of any kind of movement.
• Will the character be able to accomplish the injury goal with what they have on
• Considering the clothing worn, where is the character physically vulnerable? For example: If they have on armor, they are not vulnerable where there is metal. But they are vulnerable through the breaths in the helmet, under the arms, at the groin and maybe the neck. Which of those places can be reached with the least amount of effort?
• Which of those vulnerable places is the easiest to access?
• What weapon could access that vulnerable area?
• How would a character have to move to access the target area?
• Write down three movements that could access the area. Don’t write a chain of movements. Just one such as a punch, grab, push.
• Write a single move that would lead to each. For example: A step could lead to any of these. Write a move that could lead to that step. Keep going backward from those movements.
• Pick the movement sequence that is easiest to write.
• What sensory details could be associated with the fight you’ve chosen?

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Pacing

• Jot down the sequence of actions and any other ideas you may have for the scene. Between every two or three pieces of action, place an X to mark where a break in the action can be placed.
• What sensory details or dialogue could be placed in those breaks? Put yourself in the scene of the fight and do the 5, 4, 3, 2, 1 method from Chapter 9. Ask yourself: what five things can I see, four things can I touch, three things can I hear, two things can I smell and one thing can I taste?
• Do the sensory details align with the scene point of view?

Parting Thoughts

Remember, the better part of writing is process, not product. Read that again. The final product is not the hard part. The hardest part of writing is all the work that happened before the final draft was even in sight. And different portions of your work may require a different process. Until you find your fight writing style, you may need to be more methodical than you are with the other areas of your work. That’s normal. Embrace it.

Also, find a writer whose fight scenes you love and try to copy that style until it becomes your own. Whenever I learn a new fight technique, I imitate my coach. The more I repeat that technique, the more it becomes my own. Though the principles of the technique will remain, the minor details will be tailored to my body and fighting style. It is the same with writing.

Be flexible. If you are struggling to get your character out of a situation in your fight scene, ask yourself if you are the thing standing in the way. Are you focusing on what you have written more than what must be written? What must be written is what the story needs. What the story needs may not include some really great stuff that you have written. Don’t stress. Just because the events you want to happen can’t happen in this particular scene, they can still be used elsewhere.

(How Fight Scenes Can Reveal Character)

Don’t Worry, It Will Get Easy Easier

The more you write fight scenes, the easier and more streamlined your process will be. That is not to say that it will ever be easy. I was asked recently by a lower belt when jiujitsu became easier. I laughed and told the guy that, unfortunately, never. But that was because, fortunately, he would always be getting better. He would, without realizing it, be challenging himself more in proportion to his growth. And, by default, that also means he would be making more mistakes.

It is the same with writing. The better writer you become, the higher your standard for yourself with be. The higher the standard, the more you will challenge yourself. The more you challenge yourself, the more mistakes you will make. And, because of all that, it may feel like you aren’t getting better when, in truth, you are better than you have ever been.

I hope the fight scene helper does, indeed, help you. I hope it coaches you through the bumps and bruises of writing your fight scene. And I hope it encourages you to just keep going.

Have a wonderful holiday season, writers. See you all next year! 

The post Holiday Fight Scene Helper (FightWrite™) appeared first on Writer's Digest.

(CSI Myths To Avoid (FightWrite)

But, first, before we start throwing hands, let me announce the winners of the free copy of Fight Write, Round Two. Yes, winners. Plural. Why not? According to one TV channel that began celebrating this Christmas the day after last Christmas, it’s already the season of giving! The winners are Rachel Y. of Virginia and A. Writer of Arizona. The second is the private sort, and I respect that. Thank you to all who entered. I hope the book helps you accomplish your writing goals.

Making a Fist

In order to punch, we need to know how to make a fist. When I teach my Fighting for Writers class, I first ask the attendees to make a fist and hold it up. You go ahead and do the same now. Make a fist, the type of fist that you would make to punch somebody’s lights out.

Look at your fist. If your thumb is up like an apple stem or if you can see the fronts of your fingernails against your hand, congratulations. You made the same mistake most people do and are completely normal and have the opportunity to learn something new!

Here we go. Hold your hand the way you would if you were going to shake someone’s hand, fingers together, thumb away from the fingers. Roll your fingers down slowly. Be especially mindful to fold them as completely as you can at the middle knuckle. Keep rolling the fingers down, keeping them tight enough that your fingertips are tucked into your palm. Your fingernails should be down into the meat of your palm and hard to see. If your nails are long, this won’t be possible.

With your nails settled into your palm, you should be able to relax your fingers and them still stay fixed to the palm. This will create a nice, flat plane across the tops of the fingers. Now place your thumb just over the pointer and middle fingers between the top and middle knuckles. The thumb doesn’t do anything in the punch so it just needs to get out of the way. Don’t let it point up like an apple stem and don’t reach it over. Just let it sit where it naturally goes. If the thumb is up, it can be injured in the punch. If it is reaching toward the ring and pinkie fingers, the knuckles of the hand will round.

If you are not sure if your fist is correct, here’s another way to go about making it. Point with your less dominant hand. Open the dominant hand wide. Now lay that pointing finger over the top pads of the palm of your dominant hand, just below the fingers. Wrap your fingers around that pointer finger as tight as you can like you are grabbing a stick tightly. See how your fingernails are hidden in the bottom of your hand and there is a flat plane across the tops of your knuckles? That’s what you want.

At this point I have some good news and bad news for you. The good news is you know how to make a proper fist. The bad news is the fist is the smallest part of the punch. The body creates the force of the punch. The fist just delivers it.

Fight Stance

In order to punch productively, we need to stand in a way that allows the physics of fighting to work its scientific magic. This way we stand is known as a fight stance. For punching, stand tall with your feet shoulder width apart. Pivot on your heels to turn your toes, and body, about 45 degrees away from your dominant side. So, if you are right-handed, or “orthodox fighter,” your toes, knees and body will be pointing about 45 degrees to the left. If you are left-handed, or “south paw,” your toes, knees and body will be pointing to the right. This fight stance will provide the body the stability and balance it will need to not only throw a punch but create the force of it.

Soften the knees to settle your weight over the balls of your feet. Now, exhale as hard as you can until your back rounds over. Hold your back in that position. Keep breathing though! Breathing is super important and worth the hype. Now, tuck your chin as if you are holding a tennis ball under it. Don’t touch it to your neck. Just keep enough space to hold a tennis ball.

This will have you looking a bit upward toward your opponent. Seems kind of crazy but it’s very important to have your chin down in this position.

Bring your fists up. Put your forward, nondominant hand in front of the cheekbone. Your dominant hand will be beside the jaw line on its same side. The elbows will point down. Now pivot on your toes so that your hips and shoulders rotate together as one. If you feel a little off balance, rotate less or move to a carpeted area where there will be more friction between your feet and the floor. You need to be able to rotate enough that the forward side of your body can be completely sideways.

Extend the arm on the side of your body that is forward. Keep a bit of a bend in the elbow. You want to be able to punch the target without stepping forward and before your arm has reached its full length. Be sure that you don’t rotate so much that you show your opponent your back on your forward side. You want to rotate only until the forward arm can point straight at the opponent. It’s not likely you will over-rotate on your dominant side so don’t worry about that.

Throwing a Punch

Now, find a point on the wall out in front of you far enough away that you can extend your arm but not touch the spot. Pivot on your toes and bring your fist straight out on the side that is moving forward toward that point on the wall. So, if my left shoulder is moving forward, I will extend my left arm, if my right side, then my right arm. You want to bring the fist forward at a speed that would allow the fist to make contact just as you reach maximum rotation. Go back and forth until you get the rhythm aiming your fists toward the target.

One more thing: As the fist moves, turn the hand over so at the point of contact, the thumb is pointed down. This protects the elbow. Honestly, sometimes the punch happens so fast you don’t get a full rotation and that’s OK. It’s just the habit/muscle memory you want to develop.

When you throw your forward hand, you are throwing a jab. When you throw the back, dominant hand, you are throwing a cross. Go, you!

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Posture Protects You

By the way, did you straighten your back or bring your chin up as you got your punch rhythm? Yeah, you can’t do that. That position protects you as you attack. With your back rounded your abdominal muscles will be engaged. They are what is pulling you forward and rounding out your back. If an assailing punch gets to your stomach, your muscles will be engaged and ready to protect your vital organs.

Your elbows being down will be protecting the sides of your ribs. All you need to do is do a side crunch to dip the elbow down to cover the assailed area. When you dip, bring your head down with the arm. Imagine there is a little pole about the width of your hand long between your jawline and the fist in front of it. Unless you are punching, if the hand moves, the head should move with it so that the jawline doesn’t pull down on or away from the little imaginary pole that attaches it to the fist.

Your chin is down to protect the entire mandible bone. A solid punch to any part of the jawline can drop you like a bag of wet dirt. I can talk about that in another post. For now, keep your chin down! This position allows the shoulders to protect that vulnerable area. When you throw a jab, you’ll notice the shoulder protects the jaw on that side. When you throw a cross, the same happens. You are protected on both sides.

The Physics of the Thing

A punch starts at the feet. Friction between the balls of the feet and the standing surface allows the body to stay balanced as the feet move. The pivot in the feet creates torque in the hips. That torque throws the shoulder forward which, in turn, throws the fist. That is why it is called “throwing” punches.

The faster this chain of events, the greater the potential for force. What we know as a “hard punch” is actually a punch with great force. Force is the product of mass x acceleration. The mass in that equation is your body. The acceleration of the strike, or, the fighter’s ability to take the fist from a resting state to max speed, combined with the mass of the body creates the force of the punch. So, to punch “hard” you don’t actually punch hard. You punch fast.

Proper punching technique allows the fighter not only to make the most of physics and its chain of events but also get as much of their body weight as possible into the mix. And, yes, the more mass a person has the greater their potential to create force. That is why fighting has weight classes.

I go into the physics of punching more in Fight Write, Round Two. I also show how much faster a smaller fighter will need to punch to equal the punch force of a much larger fighter. And if you are writing a character who is into combat sports, that’s information you need. I have three chapters dedicated to combat sports characters.

Until the next round at Fight Write on the WD, let me leave you with two thoughts. One: Now that you know how to punch, use your powers for good. Don’t go around punching things. You, and your character for that matter, are likely to break your hand if you punch without having the hand wrapped/taped tightly. Binding the bones of the hand together securely is actually more important in protecting the bones of the hand than a glove is. I can explain that in another post as well.

Two: I’m incredibly thankful for WD and all of you who support Fight Write. Next time someone asks you what you do for a living, tell them that you are a unicorn rancher. The face they make is the one I generally get when I tell people that I teach writers how to write fight scenes. I absolutely love what I do and the writers I work with. For the record, I suspect I would love unicorn ranching too.

Happy Thanksgiving all! Get blood on your pages.

The post How to Punch (FightWrite™) appeared first on Writer's Digest.

(The CSI Effect (FightWrite))

That said, before we continue, we must all agree that not only am I not your lawyer, I am not a lawyer at all. Like, not even a little. So, don’t think about committing a crime and dragging this article, or my book from which I take this info, to the stand because neither will stand in your defense. But both this article and my book—in which more info like this can be found—can sure tip the scales of justice to your manuscript’s favor.

OK, good, we may proceed. Ladies and gentlemen of the WD Blog reading jury, I will present you with some compelling writing today. I ask that you take heed of the validity of each. As well, though we are about to examine problematic issues associated with each of these pieces of forensic evidences, all are still considered valid evidence that may be used to prove innocence or guilt.

Myth 1: Forensic science is foolproof.

Any time I hear that something is foolproof, up pops a fool. And that’s absolutely the case when it comes to forensic science. Forensic evidence is any evidence obtained via a scientific method and science, by definition, is not exact. Science is a method of observation and experimentation to create theories. Theories may become facts, and facts can later be proven as just theories. Case in point, fingerprints.

Myth 2: Fingerprint evidence is 100 percent reliable.

There’s no proof that everyone has unique fingerprints. How could that even be proven? And it has absolutely been proven that two unrelated people can have very similar prints. All that said, fingerprints can be used as evidence in court despite having a margin of error up to a horrible 20 percent. Think about that: For every 100 convictions based on fingerprint evidence, as many as 20 of those fingerprints could have been misread. Also, there is no one standard for certifying one as a fingerprint expert. While one expert may consider five points of similarity between prints enough to declare two fingerprints a match, another may look for only three points.

Myth 3: Evidence is processed quickly.

Many forensic laboratories in the U.S. have a backlog of cases that go from months to over a year. New cases may be put in line behind them. Part of the reason for the overload in cases is because more jurors expect to see forensic evidence. So, even in crimes where such evidence is not necessary, it may need to be gathered just to satisfy a jury.

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Myth 4: DNA proves guilt or innocence.

DNA evidence only proves that a person was at the scene. It doesn’t prove why a person was at the site of the crime or if they were absolutely present when the crime occurred.

Myth 5: DNA helps identify and locate criminals.

This one can be true, but not in the way we see in the movies. DNA evidence only helps find criminals that have a DNA record in a database somewhere. There is no—I repeat—NO single database for DNA. You don’t just put DNA results into a computer and a person’s picture pops up on a screen.

The largest DNA database related to criminal activity is the FBI’s Combined DNA Index System (CODIS). However, CODIS stores no personal data, such as addresses, with its nearly eight million records. The largest overall DNA database is controlled by consumer DNA testing centers that help trace ethnicity and marker for health issues. More and more, folks are getting caught that way. So, if you’re a full-time criminal, you and your family better not try to find out anything about your ancestors.

Myth 6: You can always match a bullet to a firearm.

If the bullet is badly damaged or the firearm barrel has been altered after the bullet is fired, one can’t be matched to the other. However, with a bullet intact and a firearm in-hand, you can absolutely match rifling patterns. Now, does every single firearm create a unique firing pattern? That’s about as provable as everyone having unique fingerprints.

Myth 7: Evidence is placed in plastic bags.

My friend and fellow writer Lisa Gefrides is a former Forensic Biology Compliance Manager. She said that plastic bags are not ever used. They allow in light and trap moisture, both of which destroy evidence. Evidence is placed in paper bags. If the item is especially wet, it is placed in paper and can then be temporarily put into an open plastic bag. So, why do movies and TV shows put the evidence in clear plastic bags? So that we viewers can see it.

Myth 8: A single hair has enough DNA to link someone to a crime scene.

You need about 10 hairs for reliable genotyping, and each hair should be tested individually.

Myth 9: Blood glows under blue light.

Blood absorbs light which makes it show up, in some cases, almost black. Body fluids such as urine, saliva, semen, and sometimes hair and bone fluoresce under blue light. In order to make blood more visible, luminol may be used. Luminol glows when it comes into contact with an oxidizing agent such as the hemoglobin, an oxygen carrying protein, in blood. It will also glow from the oxidizing agents in bleach, some metals and horseradish. While luminol also makes other bodily fluids glow, they are body fluids that don’t require luminol to fluoresce.

All of these myths, and many more can be found in my new book Fight Write, Round Two: Crafting Chaos, Combat and Crime. Check it out wherever you buy books. Or, just get it for free through this post. This writing is my four-year anniversary with the WD Blog, how the time does fly. To celebrate, I will be giving away a signed copy, or free 30-minute Zoom mentor session, to one of you good readers. It’s my way of saying thank you for your support not only on this blog, but my WD book, FightWrite blog, classes with WD University and my WD conference classes as well. I appreciate you all very much.

For the giveaway, go to https://www.fightwrite.net/contact/ and write on the contact form, “Koalas have human fingerprints.” That will not only enter you into the drawing but also make you aware of the reality of koalas. Their fingerprints are remarkably similar to that of humans. Who knows how many crimes they have committed and gotten away with! The drawing ends October 24 and will be announced in my November post. So, on your marks, get set, go fill out the contact form!

Until the next round with FightWrite on the WD Blog, get blood on your pages. And never trust a koala.

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And just as watching fights has made many believe they’re fighters without having trained, CSI shows have convinced a generation that they’re forensic experts. The existence of these “couch scientists” has become so prevalent, they’ve created their own phenomena known as “The CSI Effect.”

(Jousting for Writers (FightWrite))

The CSI Effect is the belief that TV crime shows are affecting the decisions of juries. Jurors have an expectation of what they’ll see brought into evidence because of the forensic evidence they see on CSI shows.

In 2006, The National Institute of Justice surveyed over 1,000 randomly selected jurors. They found that jurors expected to see the following in every criminal case set before them:

• 46 percent expected to see some kind of scientific evidence
• 22 percent expected to see DNA evidence.
• 36 percent expected to see fingerprint evidence.
• 32 percent expected to see ballistic or other firearms laboratory evidence.
• 46 percent expected to see DNA evidence in the more serious violent offenses, such as murder or attempted murder.
• In cases of rape, 73 percent expected to see DNA evidence.
• In breaking and entering cases, 71 percent wanted to see fingerprint evidence.
• In any theft case, 59 percent expected to see fingerprint evidence.
• In crimes involving a gun, 66 percent expected to see fingerprint evidence.

Another study went further and showed that not only were jurors impacted by the CSI Effect, but also attorneys and criminals.

Effect on Prosecuting Attorneys

The Strong Prosecutor’s Effect suggests that watching shows like “CSI” puts a greater burden on the prosecuting attorney to produce detailed scientific evidence. When these attorneys can’t produce such evidence, there’s a greater likelihood of a false acquittal.

Because of the greater risk of losing a case, prosecuting attorneys may be more likely to reject jurors who watch shows like CSI.

Effect on Defense Attorneys

Defense attorneys argue that when forensic evidence is presented, jurors give it more weight than it should be given. In other words, forensic evidence is more persuasive to juries than any non-forensic evidence, which may actually be more trustworthy.

Defense attorneys also posit that the professionals they put on the stand to refute or re-examine the forensic evidence provided by the prosecution are seen more as hired to say what they should rather than professionals in their field.

Effect on Criminals

Criminals seem to be fans of CSI shows as well. After all, they teach the criminals how not to get caught. Police have reported that criminals seem more aware of protecting themselves against leaving DNA evidence behind.

It’s more common to see crooks wearing gloves and masks as well as wiping down surfaces they’ve handled. Criminals are also aware, now more than ever, of the use of bleach in avoiding detection as well as the advantages of burning getaway cars.

Is the CSI Effect Even Real?

There are studies that claim the CSI Effect is not real. I spoke to a defense attorney who said he absolutely sees it. Jurors, more than ever, expect to see an abundance of scientific evidence and are skeptical when none is present.

I tend to believe that. I’m also further inclined to believe that it impacts jurors when in trials, such as Commonwealth v. Seng (2010), jurors are told,

“And I remind you that this is real life and not CSI. I say that without being facetious. It has been observed across the country that people who’ve watched that particular program and similar programs tend to think that life is all that sort of science fiction and it’s not.”

“And I remind you that this is real life and not CSI. I say that without being facetious. It has been observed across the country that people who’ve watched that particular program and similar programs tend to think that life is all that sort of science fiction and it’s not.”

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How the CSI Effect Impacts Writers

If real jurors expect to see an abundance of scientific evidence in a court room, it’s reasonable to think readers expect to see it in our work. The reality of this sort of evidence being presented in court isn’t nearly as impactful to our writing as much as what our readers think they should be reading.

It’s the same with fight scenes. Most fights are uneventful and over in under a minute. But readers don’t want that any more than they want to know how Katniss Everdeen used the restroom while in the Hunger Games arena. Think about it: If we were all so incredibly invested in what is true-to-life, wouldn’t we want to know the restroom situation there?

Fiction and nonfiction readers alike want to be entertained. They don’t care about the mundanity of a character’s life. No reader wants to know when someone went to sleep every single day. Can you imagine a book that takes place over the course of a year with the words “they went to sleep” written 365 times?

When it comes to fiction readers, they don’t care if what they read is completely true to life as long as it’s believable. Do you know what constitutes “believable?” It’s whatever you can make a reader believe while they read. In case you need factual evidence of that, as of this writing, four of the top five bestselling fiction books of all time are fantasy.

In our next round at FightWrite with the WD Blog, we will look at some common CSI myths to steer clear of in your work. So, not only will you know what your reader wants to see, but what you don’t need to show them because it’s just plain bunk. You’ll also learn how a koala can help get your client out of a murder conviction! Stay tuned.

All of this information and more can be found in my new book, Fight Write, Round Two: Crafting Chaos, Combat and Crime coming out in October. Woohoo! It will be pumpkin time and all things crime at FightWrite!

Until then get blood on your pages!

Resources

[i] Shelton, Donald. “The “CSI Effect”: Does It Really Exist?” National Institute of Justice, 16 Mar. 2008, nij.ojp.gov/topics/articles/csi-effect-does-it-really-exist.

[ii] Chin, Jason M., and Larysa Workewych. “The CSI Effect.” Oup.com, Oxford Academic, 2022, academic.oup.com/edited-volume/41331/chapter/352336326.

[iii] Warren, Chris . “Do Crime Dramas Make Better Criminals?” HowStuffWorks, 11 Mar. 2011, people.howstuffworks.com/culture-traditions/tv-and-culture/crime-dramas-make-better-criminals.htm#:~:text=A%20number%20of%20prosecutors%20and.

[iv] https://www.facebook.com/jamesclear, and James Clear. “Best-Selling Books of All-Time: Top Selling Books by Ranking.” James Clear, 2015, jamesclear.com/best-books/best-selling.

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(What Your Character’s Body Language is Saying (FightWrite))

It’s No Lie

I can’t count the number of times I’ve heard people discuss body language that proves someone is lying. And I used to be part of that group. Once, when I had an itchy nose, I worried that I would look like every word out of my mouth was a lie. Because, after all, if you touch your nose while you are speaking, it’s a sign you’re lying. Right? Blood rushes to the face and makes your nose tingle, you touch it, whammo! Liar, caught flaming! But the fact that I wasn’t lying, that my nose simply itched, disproves that theory that the nose shows what you’re trying to hide.

It might be more accurate to say that there are certain behaviors people display when they are uncomfortable. It’s not so much that lies trigger specific gestures, it’s the emotions driving the lie that create the physical responses. So, it’s not the lie of “I wasn’t there” that makes someone shift uneasily in their chair. It’s the fact they’re in a situation in which they feel the need to hide where they actually were that makes them a wee bit shifty.

The Limbic Shift

That shifting is connected to the limbic response of flight. The survival mode in our body has been activated, adrenaline has been released. Adrenaline gives a rush of energy and sometimes, to assuage that rush, a person may shift in their seats. Lying, specifically, is a flight response. It is an effort to distance ourselves from the truth. That said, the same person who shifted in their seat as they said, “I wasn’t there,” may be shifting because they are a nervous wreck that they are being asked a question in connection with something shady. Or, they may shift because they have sciatica.

Don’t Go Looking for Trouble

I tell you all of this because when you study the meaning of gestures and body posture, you might end up looking for that body language in others. Writers, especially, are people watchers by nature. We understand that the way people move is a storyline of its own, and we inherently look for stories in the world around us. That is wonderful—and problematic. If you go looking for something, you’re likely to find it, whatever it is. If you scrutinize a person to determine if they are lying, you are bound to find gestures that confirm your suspicion rather than the truth.

So, instead, consider that those gestures people associate with lying are actually related to discomfort and that discomfort may not be related to the subject at hand. Also, that body language might simply be a part of their baseline behavior.

Establish a Baseline

Whenever anyone is called in for a police interview to be questioned, the first thing the interviewers do is simply chat with the person and watch them talk. The interviewers do this to get an idea of what is normal behavior for that person. They must know what is normal in order to make note of what is not. We must do the same for our characters. For our readers to recognize an abnormal behavior, they must first know what is normal.

In the book, Winnie the Pooh, Tigger is always moving. Tigger can’t not move! He is joyful and exuberant to the point he seems as though he might burst at any moment.

If you ask Tigger where he was yesterday, you would expect him to bounce in beat to his response. He might stutter and laugh and rethink where he was five different ways. That is normal for Tigger.

Now, imagine you ask Tigger where he was yesterday and he stops bouncing. He stands solidly on his feet. His smile softens and he quietly responds, “With Christopher Robin.” How would you as a reader respond to that? How would all the other characters in the Hundred Acre Wood respond?

All of you would pause and give that behavior attention. While the calm behavior is considered normal, for Tigger it is anything but. For Tigger, stillness is a signal of an internal shift so great, it has broken his normal behavior pattern.

Gestures of Discomfort

Once your reader can recognize what is normal physical behavior for a character, you can add in deviations from that behavior. Again, those deviating gestures do not necessarily point directly to lies or deception. As I type, I am rolling my lips in over my teeth. For me, that is a sign of discomfort. And, in this moment, that discomfort is related to having had way too much caffeine. And my right leg hurts. And my cat is under the bed and messing with something. And I really need to use the restroom but I’m afraid if I stop writing I will lose my flow.

Y’all, that is straight up truth. Yet, my lips are rolled over my teeth which can correlate to the flight response. What am I flying from? This truth of this moment and that is no lie.

Here are a few cues that you can write into your work to show that your character is uncomfortable on a limbic level. Again, all of these must deviate from a character’s baseline behavior. If your character does any of these regularly, they are not abnormal. For that character, normal is more abnormal. That said, two of these can relate specifically to deception.

Any Part of the Body

Anchoring

When your character needs to feel solid and safe in a situation where they feel unsteady and vulnerable, they may anchor any part of their body to something firm. This is the freeze response in action. They may grip a chair firmly with their hands or entangle their feet behind chair legs. They may also put their arms flat on a table and not move them or sit back so deeply into a chair that their torso doesn’t move.

Gestures With the Head

Eye Contact

Because we have been taught that liars don’t make eye contact, some people will go the completely opposite direction. When lying or deceiving, some people make an effort to maintain eye contact. It can be downright aggressive. And, while making eye contact, they will blink less for the simple fact they are trying so hard to maintain eye contact. Statistically, we blink regularly and more quickly when we our limbic systems aren’t on high alert. Some people do avoid making eye contact when lying. It all depends on the baseline for that person.

Incongruent Gestures

If a person says no but nods their head, that could point to a conflict between what they are saying and thinking. Saying yes while shaking the head no can show the same. Any time a person’s physical gestures conflict with their words, it’s a good idea to pay attention to what they are truly communicating. That said, some of this is cultural. Some cultures nod or wag their head with every word no matter what.

Ventilating

When in an emotionally uncomfortable state, people sometimes ventilate their hair. Ventilating the hair is moving it around to get air flow through it. Think about when you are sweating how you move your hair to cool your neck and head. In this case, the person isn’t exercising hard and the room isn’t hot. Women tend to move their hair off of their shoulders or neck. Men tend to rub the hair at the top of their head. They both do so to relieve emotional stress or discomfort.

Head Scratching and Hooding

When unsure of something or frustrated, it is common for a person to scratch their head. Aggressive scratching is a signal of stress. Interlacing the fingers behind the head so that the elbows point out, like the hood of a cobra, is the opposite of frustration. That person is displaying comfort or dominance. In the case of dominance, hooding is seldom done in the presence of someone of higher status.

When the interlaced fingers go on top of the head and the hood looks more like a roof, that person is displaying stress. They are literally protecting themselves. And the closer the elbows are to the head, the more the person may be feeling overwhelmed or threatened. I do this when I am reading what I have written back to myself out loud. Not kidding. I look like I am preparing for the house to collapse on top of me.

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Hand Movements

Hiding the Hands

Putting hands in one’s pockets can be a sign of comfort. But, given an emotionally threatening situation, it can be a flight response. As well, a person may put their hands under the table out of view or even sit on the hands.

Pacifying Gestures with the Hands

Holding the fingers can indicate an attempt to pacify internal discomfort as can stroking the fingers, hands, or any other part of the body.

Legs and Feet

Dancing Feet

When trying to appear calm and collected, people can overlook the parts of their body that aren’t in their peripheral. They are mindful of everything from the waist up, but from the waist down they may be very busy. A tapping toe, a shaking knee, and wiggling heels can all be outlets for the excess energy created by the survival response.

Toe Pointing

Generally, the toes point to where a person wants to be. If one character is seated across from another with their toes pointing toward the door, that character might want to be with the door rather than the character across from them. One of my coaches has a very short attention span, which he openly admits. When I am speaking to him and he points a toe away from me, I tell him he is free and I will tell him the rest later.

When writing a character who is attempting to deceive, consider what their body is doing to reinforce or undermine their effort. If you are writing several such scenes, I highly suggest watching videos of interrogations. It is remarkable how deeply different humans can do the exact same thing when made emotionally uncomfortable.

Another great resource for such physical behaviors is my new book out September first: Fight Write, Round Two. In this second Fight Write installment there are several chapters devoted to the way humans behave when emotionally uncomfortable. You will learn about word choice, how people relate events and the gestures they make when attempting to deceive. You will also be given a few real-world examples to help you better understand. Not only will this help you show a reader that a character is lying, it will help your lying character not show it so much.

Until the next round at FightWrite on the WD blog, get blood on your pages!

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