Home

Apr. 25th, 2008

Zornhau's armet, Sword of Zornhau, Zornhau Smite, Knight, Fist of Zornhau

MilSF resource!

Just so I don't forget it, this site is a Baen writer-wannabe's dream resource.

Small wars are operations undertaken under executive authority, wherein military force is combined with diplomatic pressure in the internal or external affairs of another state whose government is unstable, inadequate, or unsatisfactory for the preservation of life and of such interests as are determined by the foreign policy of our Nation.

http://www.smallwarsjournal.com/ 

Nov. 9th, 2007

Zornhau's armet, Sword of Zornhau, Zornhau Smite, Knight, Fist of Zornhau

Sharpe's Tower of the Elephant (part 3)

So, if you dropped Sharpe into Howard’s Tower of the Elephant scenario, (Wikipedia article here ) he’d do pretty well, but it would be a weak story because the original derives it’s running conflict from Barbarian Rogue vs Urban Rogue, and Sharpe is an Urban Rogue (Phut!).

What if Howard had invented Sharpe? Perhaps he happens on copy of “London’s Underworld” , becomes fascinated with the idea of a modern barbarized underclass, and decides to redo his latest half-finished Conan story…

Rolling around in Howard’s head are Sharpe, the Tower of the Elephant (transplanted from Hyborian era Zamoria to 1800s Spain), the sorcerer and the enslaved alien.  He has the rough draft of the Conan version; how will he swap in Sharpe without a major rewrite?

Sharpe will be on a solo mission. The Texan pulpster was never really interested in man management, bureaucracy  - or even friendship. His stories wouldn’t really work if the protagonists had a unit of soldiers in tow. So, the Rifleman must face this adventure alone.

To keep the thematic structure, the antagonists all become aristocratic rogues.  The easy way to do this would be to put the tower in the countryside. However, that would mean binning the cool tavern.

I earlier argued that the Elephant Alien served as a yardstick for Conan. Like Conan, he’s a free-spirited wanderer, but  a flawed one, since he let himself get tied down and then enslaved. Obviously, Sharpe needs a different yardstick.

So…


Nov. 6th, 2007

Zornhau's armet, Sword of Zornhau, Zornhau Smite, Knight, Fist of Zornhau

Sharpe's Tower of the Elephant (part 2)

So, how would a Sharpe’s Tower of the Elephant have turned out?
 
Intriguingly, if you dropped the Richard Sharpe into Howard’s scenario, he’d do pretty well. Where Conan is a (duh!) barbarian, Sharpe is a survivor of the gutter. Both are fearsome fighters. If the Cimmerian is probably the stronger, the rifleman has a rifle (duh!).
 
Sharpe would’ve shot the 1st thief from long range. Got over the wall no problem. Hacked down the lion with his heavy saber…. And so on.
 
As a role-playing game this would be fun. However, as a story… strangely unsatisfying, because the substitution buggers the structure, and so beggars the theme.
 
If you read my earlier post, I hope I convinced you that Howard’s “Tower of the Elephant” works structurally because the all the pop-up-fall-over characters represent aspects of civilized humanity. Conan, representing barbarism, is either in conflict or competition with them. So even though the story is built of episodes, it has one big running conflict to drive it – Barbarism vs Civilisation.
 
Sharpe is an urban thief turned soldier. He might be an even match for Conan, but he’s actually a product of civilization; if he steps up to the adventure, the main running conflict simply collapses. What’s left is a shallow caper story. Cool, but not really memorable.
 
This sort of substitution happens in movies all the time, and does bad things to them. “But we need the main character to be a 12-year-old boy…Gee? Why can I hear falling masonry?”
 
It happens in fiction as well, unsubtly in tie-in and posthumous continuations, and subtly where novelists seek to emulate what they don’t understand (much like the wannabes in Castiligone’s story who ape a great general’s squint, not realizing that it is in fact a congenital defect). 
 
Good, emotionally resonant adventure stories are not mere chronicles. Theme, protagonist and scenario form a self supporting triangle. If just one of these does not fit the whole, then you’re left with a meaningless squiggle.

Oct. 26th, 2007

Zornhau's armet, Sword of Zornhau, Zornhau Smite, Knight, Fist of Zornhau

Sharpe's Tower of the Elephant (part 1)

Robert E Howard's original Conan stories are tight, fast-moving-but-rich tales of grim swashbuckling in the sorcery-ridden lost eons of the Hyborian Age. Even returning to them with the critical eye of a near 40-year-old, rather than the naive enthusiasm of a late teenager, I can say that, though their language is subtly dated, they do indeed rock.
 
However, they are somewhat puzzling.
 
One would expect Pulp-era short stories, especially ones where the protagonist is THE mighty-thewed barbarian, to be straight-up explicit conflicts with body count– big guy with axe versus magician/warlord/other barbs.
 
Instead Conan sometimes doesn’t appear for a good 25% of the text, he often acts merely on behalf of other characters, or in reaction to them, and other characters often solve a good whack of the challenges for him.
 
Put that way, it sounds like a recipe for bad writing – the sort of one-handed roleplaying transcript which never makes it further than a bulletin board (where the sensible people gently eviscerate it, and the loser-angst-wavers weigh in passionately on the side of formula-free creativity yadadayada).
 
But, Howard makes them work! This can’t be just because of fine writing or exquisite characterisation. I don’t believe it. That’s the sort of crap people spout when they’re trying to justify lazy writing. It has to be structural.
 
So, let’s look at one of the utter classic Conan tales: The Tower of the Elephant.
 
But, how would Sharpe’s Tower of the Elephant have turned out?
 
Tune in next week. (Or the week after, since anytime now, Kurtzhau will be acquiring a sibling.)
 

Oct. 14th, 2007

Zornhau's armet, Sword of Zornhau, Zornhau Smite, Knight, Fist of Zornhau

Sharpe's Ring War

So, Sharpe – and much MilSF – is not about the technology, but the technology pervades the story and shapes its universe. What are the lessons about handling magic (or what [info]calcinationscalls "nanowibbletech"?).
 
Assuming we are treating magic as a technology, and not some mystic writer-as-god trip, here's how I think we could emulate the Sharpe novels...
 

Oct. 13th, 2007

Zornhau's armet, Sword of Zornhau, Zornhau Smite, Knight, Fist of Zornhau

Sharpe's Tech

So, what's the role of technology in Sharpe novels? Perhaps that'll give us some clues as to how to handle magic.

Strangely, despite the loving depiction of all the weapons and fortifications, the Sharpe novels really aren't remotely about the technology...

Sep. 6th, 2007

Zornhau's armet, Sword of Zornhau, Zornhau Smite, Knight, Fist of Zornhau

Sharpe's Assembly - over to you guys!

How do the threads and the people go together to make a Sharpe novel? Not in the parallel manner implied by one of the comments on my original post. Rather than analyse one of Cornwall's novels in detail - and since there are several of you looking in - it would be interesting to build a MilSF novel collaboratively (wit the caveat that anything you post is up for grabs).

So, we need:

  • Campaign summary  (stock genre stuff, nothing too original please.)
  • Hero.
  • Goals and Antagonists for 4 x threads: 
    • Military 
    • Organisational 
    • Psychological
    • Leadership

Once we have these, we can lace them together and come up with some supporting characters. (And if nobody can be bothered, I'll throw in random ideas myself).

Over to you folks...

UPDATE:

Two so far.. very useful. I'll do the easy one first...

[info]fechtbuchhas posed something bit more challenging, mainly because it would involve a lot of unit stuff. Here's how I'd approach it:</font>

 
Would somebody else like to take a stab at this one?





 
Zornhau's armet, Sword of Zornhau, Zornhau Smite, Knight, Fist of Zornhau

Sharpe's People

So, Bernard Cornwall's Sharpe books. They're good. They're built on 3-4 threads. What else? Well, they entail the protagonist, Sharpe, interacting with groups made up of large numbers of soldiers. Cornwall – like many military fiction writers –  uses several techniques to handle this. Unlike many of them, he gets them right.
 


If a novel is a chaotic system, i.e. built of deterministic elements which work together in a manner which is irreducibly complex, then Cornwall's approach to characters at least enables him to control what gets the focus, and what does not. As readers, we know the chaos is there because the existence of the characters implies it, however, we're not forced to try to take it all in. In a sense, Cornwall's technique for handling characters is Object Orientated…
 

Sep. 5th, 2007

Zornhau's armet, Sword of Zornhau, Zornhau Smite, Knight, Fist of Zornhau

Sharpe's Plot Structure

Bernard Cornwall's Sharpe books, in case you hadn't noticed, form a rather rip-roaring Military Historical series bursting with manly roguery, desperate storming of breaches, and hot bayonet-on-bayonet action, all while wading through big chunks of Napoleonic era military history and spiced with the threat of the lash and the firing squad. There's also some implied but vigorous shagging, just in case all those well-filled breeches shade over into something homoerotic.
 
There's no point in reinventing the wheel (unless you end up with armoured tracks). So, though I myself aspire to writing refined, nuanced tales of unicorn herding and holistic magic-wielding, sorry "path-working" vegetarian Earth Priestesses and their tormented coterie of Gay Warriors Who Cry, when a friend unburdened himself of the (almost) complete Sharpe books ("Take them pleeeeeeaaaaase! I can't stand them anymore – I've read them all, ten times!!!"), I was happy to let them fall my way. I'm a great fan of seeing how other writers handle the technical challenges posed by certain sorts of story.
 
In creating his military cornucopia, Cornwall overcomes several technical challenges. By "technical", I mean challenges that demanded use of technique to create certain effects in the reader's mind, rather than more strictly artistic muse-wrestling to do with theme and character. Somehow, he had to tell an adventure story within the shifting context of an army at war, where the structures and characters of the army and the action of the war itself would be intimately bound up with the plot, and where some of the characters interact directly with large bodies of men.
I wonder if we could write something like that?