Ahh, I Do Adore The Old Days Of Pokemon Where You'd Get A Ton Of Odd Glitches Like This Happening.

Everything You Need To Know About Writing Bruises 

Welcome to the latest instalment in my ongoing series on crafting realistic wounds in fiction. After delving into stab wounds, burns, and gunshot wounds, we're turning our attention to another crucial element in bringing your characters and their stories to life: bruises.

Bruises are possibly the most common miswritten injury in fiction. As tempting as it might be to make the protagonist's skin bruise when the morally grey characters clutches her wrist, scenes like this only serve to ruin immersion and make your readers wonder whether this could realistically happen. 

Unlike the other wound types I've covered in this series, the internet doesn't seem to have a lot of writing advice for bruises. So, here's my comprehensive guide to writing bruises. 

Types of Bruises

Understanding Bruise Formation:

Bruises are a common occurrence in everyday life, from the accidental bump into a table corner to the aftermath of an intense sporting event. But before we dive into the art of crafting realistic bruises in your writing, let's start by understanding how bruises form.

Bruises, also known as contusions, result from the rupture of blood vessels beneath the skin's surface, typically veins and capillaries. When these vessels break, blood leaks into the surrounding tissue. The body's natural response to this injury is to initiate the healing process, causing inflammation and discolouration.

Differentiating Types of Bruises:

Not all bruises are created equal. Understanding the various types of bruises will help you describe them accurately in your writing. Here, we'll explore the common distinctions among bruise types.

Contusions: Contusions are the most typical type of bruises. They often occur due to blunt force or trauma, resulting in pain and discolouration.

Subcutaneous Bruises: These are the most typical bruises resulting from blunt force trauma. Subcutaneous bruises appear as dark, discoloured areas under the skin and can change in colour as they heal, starting with red or purple and transitioning to green, yellow, and eventually fading away.

Hematoma: A hematoma is a more severe type of bruise caused by the collection of blood outside of blood vessels. Hematomas often appear as a raised lump under the skin and can take longer to heal.

Petechiae: Petechiae are tiny, red or purple pinpoint spots that can form when small blood vessels near the skin's surface break. These are often a sign of more severe underlying medical conditions.

Ecchymosis: Ecchymosis is a large bruise that covers a wider area, typically caused by substantial trauma or medical conditions. These bruises tend to be darker and may require more time to heal.

Tattoo Bruises: Sometimes, an object's pattern or texture may leave a distinct mark, resembling a tattoo. These can occur when someone is subjected to direct pressure from an object with an intricate or textured surface.

These distinctions will enable you to convey the type of bruise accurately in your storytelling, reflecting the nature and severity of the injury your character has endured. So, when crafting a scene in which your character sustains a bruise, you can choose the type that best suits your narrative.

Causes of Bruises:

Bruises can occur for various reasons, and knowing these causes will help you craft believable narratives. It's important to note that not every physical interaction results in a bruise, and your characters shouldn't bruise from actions that typically don't lead to bruising. For instance, someone holding another person's arm tightly is unlikely to cause a bruise.

Common Causes of Bruises:

Blunt Force: The most common cause of bruises is blunt force trauma. This can occur from falls, accidents, or impacts, such as bumping into furniture or being struck by an object.

Pinching or Squeezing: Intense pinching or squeezing, especially on delicate skin areas, can lead to bruises. For example, if a character pinches their arm or thigh too hard in frustration, a bruise may develop.

Repetitive Motion: Overusing or repeatedly striking a particular area, like through strenuous exercise or certain work activities, can cause tiny blood vessels to rupture and lead to bruising.

Medical Conditions: Some medical conditions, like blood disorders or certain medications, can make a person more prone to bruising.

Ageing: As skin becomes thinner and more fragile with age, it's more susceptible to bruising even from minor bumps or impacts.

It's crucial to consider the appropriateness of a bruise in your story. Understanding when and how a character can realistically develop a bruise will help maintain the credibility of your narrative.

Characteristics of Bruises:

Accurately depicting bruises in your writing involves considering various characteristics, such as:

Colour Changes: Bruises typically undergo a series of colour changes during the healing process. They usually start with shades of red, purple, or blue due to the initial bleeding under the skin. As the bruise heals, it can turn green, yellow, or brown before fading entirely. These colour shifts can be an essential detail when describing the progression of a character's injuries.

Size and Shape: The size and shape of a bruise depend on the impact's force and the underlying blood vessels' distribution. Bruises can be small, like a fingertip mark, or large, covering a significant portion of the body. Irregularly shaped bruises may indicate multiple impacts or trauma.

Tenderness and Swelling: A fresh bruise is often tender to the touch, and the area around it may be swollen. Describing your characters' reactions to this tenderness and swelling can make the injuries feel more lifelike.

Pain and Discomfort: Bruises can be painful, and the level of pain may vary depending on their size and location. Detailing your character's pain and discomfort can enhance the realism of your narrative.

Itching and Healing: As a bruise heals, it may become itchy. This can be an interesting detail to add, showing the progress of the injury and your character's recovery.

Duration: Mention the duration of a bruise. Some may heal relatively quickly, while others can linger for weeks. Knowing how long a character's bruise lasts can impact their daily life and the story's timeline.

Factors Affecting Bruise Appearance and Healing:

Bruises aren't one-size-fits-all injuries. Their appearance and healing process can vary based on several factors:

Location: Bruises can look different depending on where they occur on the body. For instance, a bruise on a bony area, like the shin, might appear more pronounced compared to a bruise on a fleshier part, like the thigh.

Age and Health: The age and overall health of your character play a significant role. Younger, healthier characters may heal faster and have bruises that change colour and fade more quickly. Conversely, older characters or those with health issues might have bruises that take longer to heal.

The severity of the Injury: The force and severity of the impact determine the size, shape, and colours of the bruise. Consider whether the injury was caused by a minor bump, a hard fall, or a violent struggle.

Character's Skin Tone: The appearance of a bruise can be affected by the character's skin tone. It might be more challenging to spot a bruise on darker skin, and the colours may appear differently.

Treatment and First Aid: The way a character treats a bruise can affect its healing. Mention how characters apply ice, warmth, or topical remedies to their bruises.

Character's Pain Tolerance: Some characters may have a higher pain tolerance and can bear a bruise without much discomfort, while others might find even a small bruise painful.

Clothing and Cover-Up: Characters may conceal bruises with clothing or makeup. This can impact how they are perceived by others.

By understanding these factors, you can tailor your descriptions to create a more authentic portrayal of bruises in your writing.

Healing Process of Bruises:

A key element in writing realistic bruises is depicting their healing process. Here's how to effectively describe it:

Gradual Changes: Highlight the evolving nature of the bruise over time. The progression of colours—red to blue, green, and yellow—is a visual cue that indicates the bruise's age. This chronological shift in colour offers readers insights into the passage of time within your narrative.

Concealment and Exposure: Address the issue of concealing or revealing the bruise. Depending on its location, characters may need to don concealing clothing, apply makeup, or use other means to hide or reveal their injuries. Such choices can significantly impact the character's interactions and relationships.

Medical Care: Mention whether the character seeks medical attention for their bruise. Medical professionals can provide insights into the severity of the injury and the potential complications that might arise during the healing process. Additionally, you can explore any treatments, remedies, or advice offered by healthcare providers.

Impact on the Character: Describe how the presence of a bruise affects the character's daily life, activities, and interactions with others. A prominent facial bruise, for instance, can influence the character's self-esteem, social interactions, or how they are perceived by those around them. Emotions and psychological effects should not be overlooked.

Varied Healing Timelines: Recognize that the healing process can vary from one character to another. Factors such as age, overall health, and the severity of the injury can affect how quickly the bruise fades. This variation can add depth and authenticity to your character's experiences.

Scarring and Discoloration: Note that severe injuries may leave lasting scars or discolouration on the skin. Explore any permanent marks or changes that remain after the bruise has healed.

By incorporating these aspects into your narrative, you can create a nuanced portrayal of the healing process of bruises and its impact on your characters.

I hope this blog on Everything You Need To Know About Writing Bruises will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

i might elaborate later but fanfic replies literally develop writer’s metacognition and make them better writers

Prehistoric Planet Croc Ideas

So this was a thing I did on Twitter in anticipation of Prehistoric Planet. Obviously crocs (in this case meaning crocodylomorphs) were a pretty massive part of earth's fauna during the late Cretaceous, and seeing as the first season featured NONE I came to speculate which taxa could hypothetically make an appearance. Now part of the challenge for myself was to come up with a new, interesting contender every day in anticipation of the show's release, each based around the confirmed episides we had and restricted purely to taxa from the Campanian and Maastrichtian. While it took a lot of energy, I did manage to do so. Hell, halfway through they dropped the reveal of Simosuchus, which I had saved for later.

Obviously we didn't get much still, but I'll regardless post my list of candidates and ideas here, perhaps third time's the charme for a lot of these (tho for convenience I'm still ordering them by S2s episode titles). I'll also try to break them apart roughly by biome, starting with islands. PS: I'd love to hear which crocs people would have loved to see themselves. Any on this list or stuff I didn't even mention? Let me know I'm curious.

We got a shit ton of island crocs from the Cretaceous actually, which you can broadly divide into two categories. The crocodiles of the European archipelago as seen in the top row. Featuring the small, possibly shellfish eating Acynodon (art by Adramelech89), the incredibly widespread Allodaposuchus which did have some possibly semi-terrestrial forms (art by Alejandro Blanco, Aina and Agnès Amblás) and Aprosuchus, a tiny terrestrial critter from Hateg (art by @knuppitalism-with-ue). They already give a nice diversity between tiny durophages with blunt snouts, large, more traditional crocs and lanky land species.

The other island category concerns Madagascar, which had a lot of attention in season 2. Discounting Simosuchus, we got Araripesuchus tsangatsangana (art by Scott Hartman) and Mahajangasuchus (art by Mark Hallet). Both are really cool. The former is yet another smaller terrestrial species that may not actually be part of Araripesuchus, while the later is a massive, 4 meter relative of the famous Kaprosuchus that took to the water independently from all other crocs and has been nicknamed "Hippo croc" for its weird skull. Really I'd have loved to seen an episode entirely dedicated to this place.

Next up we had the badlands episode, which oh boy has a lot of contenders from the clade Notosuchia. Brace yourself.

Here again I could split these in two categories. The first is just general badland taxa. There's Ogresuchus for example, from Spain's Tremp Formation (art by Aina and Agnès Amblás). A relatively small sebecid found in a sauropod nesting site. And we all know what PhP does with baby sauropods. Or the long-necked Gobiosuchus (art by @yoofilos) from Mongolia, which may look like its related to the other ones in this category but actually is a far more ancient type of croc.

The far bigger group concerns South America's Notosuchians. ALL OF THESE are from the Bauru Group, with some even from the same single formation. You got Stratiotosuchus (again by Joschua Knüppe), a large terrestrial baurusuchid that filled the nische of mid sized carnivore in an environment shared by sauropods and abelisaurs. There's Pissarrachampsa (by Felipe Alves Elias), another baurusuchid I decided to feature because we have evidence of a nesting site that shows they only had few eggs. A great opportunity to show their tender side. Uberabasuchus (justin_an74), part of the bizzarly proportioned peirosaurids. Adamantinasuchus (by Deverson da Silva), a small, lanky Notosuchian and of course the heavily armored omnivore Armadillosuchus (by the ever talented Júlia d'Oliveira). Hell you could do a full episode just on the foodweb of the Bauru Group (Godoy et al. 2014).

Then there's swamps, which I'll just use to dump all the crocs that don't fit into the other categories.

As you'd expect, freshwater would be ideal for crocs with a more traditional semi-aquatic lifestyle, here represented by three forms. Jiangxisuchus (image by Li et al. 2014) is a paralligatorid, which are tiny crocodilians from the Cretaceous and Paleogene of east Asia. We honestly don't know what they are, some say alligator relatives, others say they are closer to crocs. But its small and cute. Then there's Roxochampsa (artist of the model I couldn't find), which looks suspiciously crocodilian but is actually a relative of Uberabasuchus from the badlands, hell it appeared in the same formation. Still, I reasoned that I'd throw it into this category because I already proposed so much for badlands (none of which came true but hey). And then there's Denazinosuchus (art by Andrey Atuchin). Again it looks deceptively like a modern croc, but is actually the last remnant of the goniopholids, crocodyliforms that were prominent animals in the Jurassic and early Cretaceous. It could have brought both taxonomic diversity nad highlighted croc resilience till the end.

When it came to picking out crocs for Oceans, it got tricky. Obviously season 2 tried to differentiate itself by being set more in the open ocean, not the coast, and true pelagic crocodiles weren't around by the end of the Cretaceous. So I had to settle for coastal animals. There's Sabinosuchus (Schiller II et al. 2016), a cousin to Sarcosuchus and, like Denazinosuchus, one of the last of its lineage. Also its from Mexico which is rarely talked about for its fossils. Rhabdognathus (Ghedoghedo) is a distant cousin, a slender snouted dyrosaur. Unlike pholidosaurs, dyrosaurs actually did really well after the KPG impact and spread around a lot, living way into the Eocene. And finally Chenanisuchus (art by artbyjrc), which like Rhabdognathus was found both before and after the impact that killed the dinosaurs.

And the final two I shall talk about, both of which I thought/hoped would appear in the North America episode. Again, there's certainly overlap, both would have just as much fit into swamps, while many others would have also suited North America. Regardless, here's Brachychampsa (Tom Parker) and Borealosuchus (Chris Masna), both iconic animals from the Hell Creek Formation. One closely allied with alligators and caimans, the other more basal with a head-shape more similar to todays crocodiles.

Now obviously there'd have been a lot more. Part of the challenge to myself was to try and be as diverse as possible, rather than just listing 10 different baurusuchids I went with only two, tried to include as much of the world as possible, etc.... There's also the fact that some really awesome taxa, Titanochampsa, Brachiosuchus and Eurycephalosuchus, all incredibly unique or interesting, were published too late to have been considered for the show. And now, in hinsight, we obviously know that with the exception of Simosuchus none of them made it in. Which is a shame, but maybe next time.

Junji Ito is a fantastic writer and I adore that he cares so much about his cat. Seeing his stuff about his cat drawn in the same way as his regular horror stuff (which is also fun to read) brings me so much joy.

How can anyone hate Junji Ito 

ok ive actually been wanting to ask this for a while; can getting stabbed in the stomach/abdomen really cause blood to come out of the mouth or is that just a dumb trope for The Drama?

Yes, but also, yes.

There are a lot of injuries that can result in blood in your respiratory system. The most obvious would be puncturing a lung, or bruising a lung (called a pulmonary contusion.) Also, bleeding from the sinuses that gets into the throat can result in coughing up blood (though this one is pretty benign.) As a general rule, you do not want fluid in your lungs at all, and fluid that is prone to coagulating, blocking your lungs' ability to absorb oxygen is a very bad thing.

And it gets worse, for your body to effectively expel a large glob of blood, the way you usually see in films, you would need a lot of blood in your lungs. On their own, even relatively minor pulmonary contusions have a pretty significant mortality rate. What this means is, if you're ever coughing up blood, there's about a 30% chance you're going to die.

Also as a quick aside, particularly violent coughing can result in some minor spotting from broken blood vessels. It's not inherently life threatening, but it is something that should be checked out quickly, because it can be a symptom of something worse. (Such as lung cancer.)

The way these injuries tend to get inflicted is a mixed bag. When someone's been getting beaten (particularly in the upper torso), they've been in an explosion, or a car accident, then it's not that unreasonable for them to be coughing up blood. A pulmonary contusion is a pretty plausible injury in those circumstances. And again, that pulmonary contusion could easily end up being the fatal injury.

When a character has been shot or stabbed in the stomach, then it's less plausible. There's a bit of a distinction here, because if you have serious hemorrhaging from internal injuries and that gets into your stomach, it's quite possible you'd vomit blood. You don't see this very often in film, coughing is far more popular, and in a lot of cases, you'll see characters coughing up blood when they should be vomiting. As with pulmonary contusions, this is not a symptom to screw around with, if someone's vomiting blood, they're at very serious risk of dying, and need immediate medical care.

So, is it just used for drama? Yeah. It is. Stage coughing is pretty easy for an actor, and a little bit of slight of hand with a blood pack can let them get a nice death scene in. It's not about the realism of the injury, and in most cases, aside from coughing up blood, they're not exhibiting any of the other associated symptoms (including the ones that are more common.) When someone's coughing up blood like this, they're also suffocating, because their lung can't absorb oxygen out of the air. As a result, they'll frequently start hyperventilating. Which, you'll never see in one of these scenes. The actor will lay there, deliver their lines, feign pain, and then spit up a red dye pack and relax. Which, that's not how this injury works at all.

So, yes, it is a real injury, but also, yes, this is something that is used for dramatic effect and not out of any interest in realism.

-Starke

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OHHHHH this is so cool! He looks absolutely amazing! Thank you so much!

@gatortavern

Spectober 2020: Day 13

Get ready for Spectober Day 13!

Art Prompt: Graveyard

Writing Prompt: A graveyard seems like the perfect place to search for spirits, but will Stephen get more than he bargained for?

Don’t forget to tag your submissions with #spectober2020 ! Away you go!

I think everybody needs to see this hilarious little thing that was posted to the official Puss in Boots tiktok. It's a parody of that one Old Spice commercial.

What Is This Terrifying Giant Sea Creature?