Tag: realism

Categories
Fantasy-Sci-Fi

Military Units and Ranks for Your Speculative Fiction Novel

As writers of speculative fiction, military forces are a stable in many of our stories. Basing these on a real-world equivalent force can bring greater realism to our writing and help the reader suspend their disbelief of the more fantastical elements. Let’s examine the ranks and numbers of a modern military force structure which you can use as a jumping off point to build realistic forces of your own.

The numbers you’ll see are the optimal numbers, but keep in mind we rarely see these in reality. Units are in constant flux as soldiers transfer into or out of the unit. Some soldiers will invariably be sick, or wounded — even in peacetime — as training accidents will occur. Even in the military, people take vacations, are on TDY (temporary duty), or even spending time at home.

Unit and rank breakdowns

I’m using the US Army at the end of the second World War (~1945) for the unit numbers, but this will apply to most of the US forces of the last hundred years. Authors can make their own choices to change these as needed to fit your science fiction or fantasy setting. Because of space constraints, we’ll only examine land forces. Naval ranks for a more science-fiction/space opera-based storyline may be a topic for future discussion.

We’ll work our way from smallest to largest. As an author, you want to spend the most time with small groups of soldiers. Big, climatic battles are great, but ultimately our stories are about our characters, and how they interact with the surrounding people. This is most easily seen in a smaller group setting. Always set up your story so that even in the titanic battle, it’s the action of your character or characters that sways the day. They should always be at the focal point. Your MC must take the one hill that controls the battlefield or make the perilous flight down the trench to hit the thermal exhaust port.

The smallest grouping is the Strike Team or Fire Team. This is six or seven individuals with various roles and skills. A Corporal or Lance Corporal leads a Strike Team. Two Strike Teams form a Squad. A Squad will have twelve or thirteen members and is led by a Sergeant.

Four Squads come together to form a Platoon. Fifty fighting men and women (and aliens depending on your world) acting in (we hope) unison. At this level, we refer to Commanding Officer (CO) and Executive Officer (XO). The XO is the second in command. He takes over should something happen to the CO. For a Platoon, the CO is a Lieutenant, and the XO is a Senior Sergeant.

Three Platoons form a Company. You’re up to 150 soldiers. CO is a Captain; XO is a Lieutenant. I never spell that right on the first attempt. Four Companies make up a Battalion. Here the CO is a Lieutenant Colonel (abbreviation Lt Colonel) or a Major. The XO is a Major or Captain.

Three Battalions form a Regiment led by a Colonel as CO and a Lieutenant Colonel as XO. A Regiment is almost 2,000 warriors strong. Three Regiments form a Brigade commanded by a Brigadier General. At this size, the commander needs more than one assistant. Brigades have an Officer Planning Staff, but this staff is not in the Chain of Command.

Finally, two Brigades make up a Division led by a Major General and his staff. (The famous 82nd Airborne is a Division.) It’s 10,800 warriors led by 642 Officers. 11,442 men, women, elves, dwarves and whatever other races inhabit your worlds.

Officers and Gentlemen

As you examine these ranks, don’t think you are required to use each one in your forces. Instead, think more of the roles you need for your characters and story depending on the size of purpose of your military forces. These will allow you to give realistic ranks to your characters. You can also get creative and come up with your own rank names, as I did in my current WiP, and eliminate ones you don’t need.

The highest ranking officer in a military force is the General. It doesn’t matter how many stars. Below him is the Lieutenant General. This character should have experience in multiple types of engagements. The Major General is a senior strategic official. Their experience is better used for developing an overall strategy rather than implementing tactics on the battlefield. Below them are the Brigadier General, Colonel, Lieutenant Colonel and Major. A Colonel might be in command of a Regiment, or a member of a General’s Planning Staff.

Lieutenant colonels are also referred to and addressed in correspondence as ‘colonel’. This gives rise to alternative terms. For Colonels, you’ll hear full colonel, bird colonel, or full bird colonel. A Lieutenant Colonel is called a Light Colonel. This is only used as a colloquial way to refer to the colonel, but they are never addressed this way.

The Captain is the first officer rank where your character must have shown true leadership ability. You’ll see Captains used as a Company Commander, or ‘detached’ as the Commanding Officer of many ‘special assignments’.

The first rank where the officer is given responsibility for the men in his command is Lieutenant (or First Lieutenant). A smart Lieutenant will rely on the experience of his Enlisted Executive Officer — a Sergeant Major or Senior Sergeant. The Senior Sergeant will show the Lieutenant him how to get the job done.

Second Lieutenant is an honorary grade for an Officer in Training. You’ve heard of low man on the totem pole. Second Lieutenant is the dirt into which the totem pole is placed.

Going Medieval

For more medieval or fantasy settings, you’ll see ranks like Knight-General for the Commander-in-Chief of an Order of Knighthood. The senior field Commander of an Orders’ forces is the Knight-Commander. Knight-Captain is the highest rank an independent Knight can attain without declaring oath to a liege.

The Holy Quest is a key accomplishment for any knight and a fantastic event to center your story around. Prior to taking the Quest, your character is a Knight. After they have completed their quest, they become a Knight-Lieutenant.

In the next part of this series, we’ll look at the real boots on the ground: Enlisted men and woman who get the job done and the ripe opportunities for conflict that arise between the enlisted men and officers.

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Ted Atchley is a freelance writer and professional computer programmer. Whether it’s words or code, he’s always writing. Ted’s love for speculative fiction started early on with Lewis’ Chronicles of Narnia, and the Star Wars movies. This led to reading Marvel comics and eventually losing himself in Asimov’s Apprentice Adept and the world of Krynn (Dragonlance Chronicles). 

After blogging on his own for several years, Blizzard Watch (blizzardwatch.com) hired Ted to be a regular columnist in 2016. When the site dropped many of its columns two years later, they retained Ted as a staff writer. 

He lives in beautiful Charleston, SC with his wife and children. When not writing, you’ll find him spending time with his family, and cheering on his beloved Carolina Panthers. He’s currently revising his work-in-progress portal fantasy novel before preparing to query. 

  • Twitter: @tedatchley3
  • Twitter: @honorshammer (gaming / Blizzard Watch)
Categories
Fantasy-Sci-Fi Uncategorized

Unlocking Science Fiction, the Secret You Need to Know

There’s something about a good sci-fi story that pulls me in and doesn’t let me go. In those moments, I’m completely satisfied as a passive observer, forgetting all the rules of how we should write active characters, strong plots, and keep the story moving.

I just want to be drawn in (passive), forget the rules (what?!) and let the story take me where it will.

What is it about truly great stories that draw me in this way? There’s a key answer to this question. As writers, if we realize what details in a story bring us to the point where we’re willing to become passive readers—simply for the sake of engaging in the story—it will make us better, active writers.

Here’s the key—find the science in the fiction.

Stories that focus on believability (however unbelievable the plot may be in real life) allow readers the safety net of realism. When realism is built into a story, the fiction aspects can stand on their own.

For instance, take the book Maze Runner.

The situation is something that would (hopefully) never happen in real life: put a bunch of kids in a walled garden, or glade as they call it, and watch them fend for themselves as they try to survive alongside creepy monsters.

There’s nothing relatable about that fiction. The fiction can’t stand on its own because we, as readers, have this thought in the back of our minds: It’s so far-fetched, that would never happen.

But throw some science into the story. Watch them figure out the details of the day and how to survive alongside other teenagers they would never be friends with in whatever used to be their day-to-day lives. The author draws on the psychology of humanity, of teens, and then uses that to drive the plot.

At its core, Maze Runner is a survival story.

What goes into survival? Science. Grab your psychology textbook from freshman year and in it you’ll find Maslow’s Hierarchy of Needs. It’s a simple pyramid structure showing what we need as individuals, from a basic need for food and water, all the way up to self-actualization.

Maze Runner focuses on the second level—safety needs.

Adding relatable, scientifically proven aspects to a science-fiction book goes a long way in helping readers engage with the story.

We’ve all felt the desire to be safe.

So, when we turn the page and monsters come out of the maze, attacking our favorite characters, we don’t mentally stop to think, would they really want to be safe from monsters though?

No way! The author already established the credibility of his work, basing it in actual science. When the fictional aspects come along, we’re already drawn into the story.

The fiction stands on its own, because it’s rooted in science.

That’s what makes great science-fiction.

That’s believable.

And believable sells.

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

The Science Fiction Behind Science Fiction

Since the release of Star Trek and Star Wars, viewers of space-based science fiction have had certain expectations of what a space battle should look like. As a result, most authors have followed suit and written their space opera in the same vein as these examples. But how accurate are these space battles we’ve come to expect? Here are a few surprising differences you would need to make as a writer if you wanted to have a more realistic space battle.

Communication. Currently, our communication can only travel at the speed of light. This means ships communicating to nearby planets or other ships very likely will have a significant time delay between messages. The discussions would not be instantaneous, like they are in the movies. This would probably make the battle long and drawn out, as each side awaits the next order from their Communications Officer.

Ship design. We often see space ships that are built similar to our own aircraft here on earth. However, a ship meant only for travel within deep space would not need wings. Wings are meant only for lift when encountering air, therefore, they would be useless on a space ship since there is no air in space. It’s quite likely the ships would look boxy and plain.

Also, because of the extreme G-force that would be applied within the ship as it moves through deep space, even the smaller ships would have a difficult time utilizing stick-shift style controls. Therefore, control panels would likely be flat touch screens that could be controlled with the touch of a fingertip.

Lack of air in space. As I mentioned before, there is no air in space. With no air, there can be no carrying of sound waves. This would make for silent battles. Gone would be the high-pitched screech of the small fighter ships as they pass by the mother ships. And the massive echoes of explosions would disappear, as well.

Speed. Again, with no air, there is no way for a vehicle to slow down without intention. It would take just as much energy to decelerate, as it would to accelerate. Because of this, there would not be battles in “close quarters.” A ship that got too close to another, unable to slow down in enough time, would cause a collision that would damage both ships, resulting in their demise. Therefore, they’d want to do battle at great distances, to assure there would be no collisions.

The speed of an object in space also affects the type of ammunition used during a space battle. Faster moving ammunition would be best, since the distance between ships would give plenty of time for the targeted ship to move before the strike hits. Therefore, laser weapons would work better than torpedo-type weaponry.

The reality of space battles is that it wouldn’t look like a WWII dogfight—or a battle seen in the movies. The question is, how realistic do you want your sci-fi space opera battle to be? Do you want to write a story that lines up with the majority of other tales, or are you the type of writer who wants to take a chance and write something different, but much more accurate? Take a moment to consider just how real you want to portray your space battle. Your decision just might make your story out of this world.

Laura L. Zimmerman is a homeschooling mama to three daughters and a doting wife to one husband. Besides writing, she is passionate about loving Jesus, singing, drinking coffee and anything Star Wars. You can connect with her through Facebook and Twitter @lauralzimm and at her website Caffeinated Fiction.

Categories
Screenwriting

Messy

Let’s face it, sometimes life just stinks. Friends betray us, family walks away and sometimes the boy doesn’t get the girl like Danny Zuko did in the movie Grease.

It’s why some Christian movies feel so unrealistic, life is too perfect—what’s the need for redemption or hope?

Last year I had the opportunity to attend my first Blue Ridge Mountain Christian Writers Conference. While there I was able to learn the craft from 30 year Hollywood veteran Brian Bird.

I’ll never forget his honest observations,

  • Keep your story messy, because life is messy and there is not always a happy ending.
  • Characters grow through messy situations.
  • Write your characters into a corner

Trials and plot twists cause our characters to grow, just like hardships in our lives can make us or break us. Fairytale endings are rare in real-life. Even Christian marriages rarely end up a happily ever after story; even when it does there are still struggles.

The audience can relate to stories that are messy, because their lives are messy too.

Even in my childhood favorite Star Wars was filled with messy real life struggles. The whole father-son angle hits home for a lot of men, me included. Sometimes fiction can be as real as reality.

Reality?

People can relate more to other messed up people. And when they do, they are pulled into the story. The rise of reality TV over the last decade and a half is proof of this.

According to Statistica.com. viewers like reality TV because.

  1. They like the drama.
  2. It’s a mindless.
  3. It helps them forget the real issues in their lives/the world.

It’s obvious difficult and tough situations on the small screen resonate with audiences. Shouldn’t we keep the narrative in theaters more realistic and possibly more life-changing?

Legendary novelist Ernest Hemingway once noted, “When writing a novel a writer should create living people; people are not characters. A character is a caricature.”

Have you ever found yourself in an unpredictable situation? Welcome to being human, sometimes reality is stranger than fiction. Am I right?

Fight for it!

Audiences are drawn to stories that defy the odds. Okay, I admit I’m a hopeless romantic and often daydream about love stories that don’t make sense, love that endures the hardships to survive. The best romances are messy.  Let’s go back to a movie I mentioned earlier, what man didn’t root for Han Solo getting the girl?

A rough-around-the-collar and rugged rebel who becomes smitten with the gorgeous young princess, not exactly a match made in heaven. But it works, because it’s messy.

I’m sure many of you reading this can think of dozens of movies with unlikely love stories that captured your heart.

In college my favorite was the movie Jerry McGuire. Who can forget when Renée Zellweger’s character says, “You had me at hello.”? Jerry didn’t realize how much he loved his wife until he lost her, now that’s messy.

Martin Johnson survived a severe car accident with a (T.B.I.) Truamatic brain injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at Spiritual Perspectives of Da Single Guy and on Twitter at mtjohnson51.

Categories
Fantasy-Sci-Fi

Realistic World-Building

The trend within the fantasy and sci-fi genres is to push for more detailed world-building within our stories. While this might work for some novels, it isn’t always necessary. When writing a sci-fi story set on earth in the not too distant future, less is actually more. A story can be just as effective—if not more so—when the writer keeps the setting simple. Keep in mind that in reality, the next generation or two probably won’t be living too much differently from the way we do now.

Names.

I personally know teenagers named William, Julia, Benjamin, Robert and Elizabeth. I also knew teenagers with these names when I was a young girl in the eighties. Today, we’ve also got names like Truxton and Abcde, but every generation will have new and different names. Overall, they haven’t changed that much. I would expect there will still be boys named James and girls named Grace in the year 2118. When creating your cast of characters, throw in an unusual name or two, but don’t bog the story down with odd names that are too difficult to pronounce. It’s perfectly futuristic to give your characters normal names.

Technology.

Computers have changed our way of life forever. Technology is moving at a faster pace each and every year. But that doesn’t mean earth will be unrecognizable in another century. With each new technology, it takes years of testing and then more years of production, before a company or government can implement it into society. Pharmaceuticals take decades to pass through the FDA. We may have the first self-driving cars on the road, but will that really mean all vehicles in our country will be self-driving in just a few decades? Most likely, not. Remember to incorporate some of these changes as occurring slowly over time within your story. However, no one will expect our skies to be filled with flying cars by the year 2068.

Geology.

What’s happening on our planet? It’s no secret that polar ice caps are melting and changes in our atmosphere are causing scientists to scratch their heads. But how will this affect our world in the future? Many futuristic stories include the same countries and landmarks that exist today, but use different names or have new alliances, causing the reader the need to learn about our planet as if it were not our own. But how will our world be different geologically? Including small changes in the natural world around us may be the key to your world-building without having to “reinvent the wheel” by creating all new nations just to make our world seem different.

The differences needed for world-building within a sci-fi story on earth don’t need to be complicated. Remember to keep things simple, pull from what is familiar to you, and think about the next logical step for the future of our world. This just might be the key to keep your reader reading, without getting hung up on complex details.

Laura L. Zimmerman is a homeschooling mama to three daughters and a doting wife to one husband. Besides writing, she is passionate about loving Jesus, singing, drinking coffee and anything Star Wars. You can connect with her through Facebook and Twitter @lauralzimm and at her website Caffeinated Fiction.