Great, My Post Is In Some Sort Of Dungeon

Forget characters who would die for their loves ones, I need characters who would live for their loves ones. Characters who are so deep in shit mentally yet they try to be better for them, can't look good but tries for them, yearns death now chases it away from them and think 'maybe life is worth living because of them'.

Characters who once couldn't even get out of bed, claws their way out of the brink of death just to live another day and see their loved ones. They think living is a pain in the ass but just the scent of their loved ones make it worth it.

To go on and try to live. A kind of love that sparks life. To say 'I live for you'

"I won't leave you in the dark" and "I'll find my way to light. To you."

That's insane

Virginia Woolf, from a letter to Lady Robert Cecil written c. January 1907

i feel like i do 25% of what an average person does in a day and still it's too much

Expanding a thought from a conversation this morning:

In general, I think "Is X out-of-character?" is not a terribly useful question for a writer. It shuts down possibility, and interesting directions you could take a character.

A better question, I believe, is "What would it take for Character to do X?" What extremity would she find herself in, where X starts to look like a good idea? What loyalties or fears leave him with X as his only option? THAT'S where a potentially interesting story lies.

In practice, I find that you can often justify much more from a character than you initially dreamed you could: some of my best stories come from "What might drive Character to do [thing he would never do]?" As long as you make it clear to the reader what the hell pushed your character to this point, you've got the seed of a compelling story on your hands.

The Wind-Up Doll

More than this, yes more than this one can stay silent.

With a fixed gaze like that of the dead one can stare for long hours at the smoke rising from a cigarette at the shape of a cup at a faded flower on the rug at a fading slogan on the wall.

One can draw back the drapes with wrinkled fingers and watch rain falling heavy in the alley a child standing in a doorway holding colorful kites a rickety cart leaving the deserted square in a noisy rush

One can stand motionless by the drapes—blind, deaf.

One can cry out with a voice quite false, quite remote "I love..." in a man's domineering arms one can be a healthy, beautiful female

With a body like a leather tablecloth with two large and hard breasts, in bed with a drunk, a madman, a tramp one can stain the innocence of love.

One can degrade with guile all the deep mysteries one can keep on figuring out crossword puzzles happily discover the inane answers inane answers, yes—of five or six letters.

With bent head, one can kneel a lifetime before the cold gilded grill of a tomb one can find God in a nameless grave one can trade one's faith for a worthless coin one can mold in the corner of a mosque like an ancient reciter of pilgrim's prayers. one can be constant, like zero whether adding, subtracting, or multiplying. one can think of your --even your—eyes in their cocoon of anger as lusterless holes in a time-worn shoe. one can dry up in one's basin, like water.

With shame one can hide the beauty of a moment's togetherness at the bottom of a chest like an old, funny looking snapshot, in a day's empty frame one can display the picture of an execution, a crucifixion, or a martyrdom, One can cover the crake in the wall with a mask one can cope with images more hollow than these.

One can be like a wind-up doll and look at the world with eyes of glass, one can lie for years in lace and tinsel a body stuffed with straw inside a felt-lined box, at every lustful touch for no reason at all one can give out a cry "Ah, so happy am I!"'

- Forough Farrokhzad

I really think everyone needs to truly internalize this:

Fictional characters are objects.

They are not people. You cannot "objectify" them, because they have no personhood to be deprived of. They have no humanity to be erased. You cannot "disrespect" them, because they are not real.

ever since I was a little girl I knew I wanted to run low on storage space

“I’ll just write this short little fic”, the author says, not realising they’re doomed by the narrative

Everything You Need To Know About Writing Stab Wounds 

Stab wounds are a daily occurrence for a writer. They're a common factor we constantly encounter when writing fight scenes, thrilling action sequences, and moments of intense conflict. However, let's be honest, most authors don't have personal experience with such wounds which can make their descriptions fall short without adequate research.

I'm sure you could find a variety of blogs with advice on how to write stab wounds, but here is my take on everything you need to know about writing stab wounds. 

Types Of Stab Wounds 

Each type of stab wound possesses unique characteristics that can significantly influence your narrative. Understanding these distinctions is crucial for crafting an authentic and engaging portrayal.

Puncture Wounds

Puncture wounds, often inflicted by sharp, pointed objects like knives or ice picks, hold a hidden danger within their seemingly modest appearance. These wounds are narrow, deep, and frequently feature a small entry point. Writers may use puncture wounds to create an element of surprise, as they can be challenging to detect, both for the victim and the reader.

Puncture wounds typically draw less blood externally due to their small entry point. However, they can cause significant internal bleeding if vital organs or major blood vessels are affected. While puncture wounds may seem less severe, their danger lies in the potential for internal damage. They can be life-threatening if a vital structure is compromised.

Puncture wounds can be challenging to identify and treat promptly. Their severity depends on the depth, location, and organs involved.

Incised Wounds

Incised wounds, often caused by slashing or cutting actions, create longer and shallower injuries compared to puncture wounds. Writers use incised wounds when they want to emphasize the emotional intensity of a scene. These wounds tend to bleed more profusely, creating a dramatic visual.

Incised wounds can result in significant external bleeding due to their larger size. The bleeding can be life-threatening if a major artery is severed. While incised wounds are often considered less dangerous than puncture wounds, the extent of damage depends on the depth and location. A deep incised wound can be severe.

Stopping the bleeding from incised wounds can be challenging, especially if a major blood vessel is affected. Immediate medical attention is crucial.

Penetrating Wounds

Penetrating wounds involve an entry and exit point, making them particularly potent in storytelling. The weapon or object not only enters but also exits the body, potentially causing severe damage as it passes through. Writers often use penetrating wounds to add a sense of urgency and criticality to a scene.

Penetrating wounds can cause substantial external bleeding due to the two entry and exit points. Internal damage can also be extensive. Penetrating wounds can vary in severity depending on the organs or structures affected. They are often considered serious due to the potential for significant internal damage.

Treating penetrating wounds can be challenging, especially if the wound involves a complex body area. Surgery is often required to address internal damage.

Sensory Description and Variations

Incorporating sensory details is essential when depicting stab wounds in your writing. Readers engage more deeply with your narrative when they can vividly imagine the sensations and emotions experienced by the characters. To add depth to your descriptions, it's essential to consider the sensory aspects and how they might vary based on the type of stab wound, weapon used, and individual factors.

Puncture Wounds

Puncture wounds often strike with an element of stealth, making them the silent intruders of the injury world. While these wounds may not result in dramatic external bleeding, they carry an inherent sense of surprise and discomfort. Writers can convey this surprise through their characters' experiences.

Puncture wounds can create sensations of initial pressure or discomfort as the weapon breaches the skin and underlying tissues. There's often a delayed realization of the injury. Characters who experience puncture wounds may feel shock, disbelief, or confusion. The absence of immediate, visible bleeding can lead to a sense of unease.

Incised Wounds

Incised wounds, with their propensity for profuse external bleeding, bring a dramatic and painful element to your storytelling. These wounds can evoke intense sensations and emotions.

Incised wounds may produce sharp, burning pain as the weapon slices through skin, muscle, and blood vessels. The character may also feel the warmth of their own blood. Characters with incised wounds often experience immediate pain, fear, and a heightened sense of vulnerability. The visible bleeding can be a source of distress.

Penetrating Wounds

Penetrating wounds, due to their dual entry and exit points, introduce shock and complexity into your narrative. Characters who endure these wounds face a range of sensory experiences.

Penetrating wounds can cause a combination of sharp, entry-point pain and a feeling of hollowness as the weapon passes through. The character might feel blood flow from both ends of the wound. Individuals with penetrating wounds often confront shock, disbelief, and a sense of their injuries being beyond their control. The complexity of treating such wounds adds to the tension.

Anatomy of a Stab Wound

To authentically portray stab wounds in your writing, understanding the anatomy of these injuries is essential. This knowledge helps you describe the injuries accurately, enabling your readers to visualize the impact on your characters. Let's delve into the key components of a stab wound.

Epidermis and Dermis: The outermost layers of the skin are the epidermis and dermis. When a weapon pierces these layers, it often results in bleeding and, depending on the depth and type of wound, visible trauma.

Subcutaneous Tissue: Below the skin lies subcutaneous tissue, which includes fat and connective tissue. Stab wounds that reach this layer may cause more significant bleeding and potentially affect underlying structures.

Muscles: Beneath the subcutaneous tissue, muscles come into play. Stab wounds that penetrate muscles can be painful and may impair the character's movement, depending on the location and severity of the injury.

Blood Vessels: Blood vessels, including arteries and veins, run throughout the body. Stab wounds that damage these vessels can result in severe bleeding, making them life-threatening.

Organs and Vital Structures: Deeper in the body, you'll find organs and vital structures. Stab wounds that reach this level can cause severe internal injuries, often requiring surgical intervention.

Understanding the anatomy of a stab wound allows you to craft more realistic and compelling scenes. 

Medical Assessment and Treatment

In your writing, it's crucial to accurately portray how stab wounds are assessed and treated in a medical context. This not only adds realism to your narrative but also guides your characters' actions and reactions. Here's what you should know about the medical aspects of stab wounds:

Assessment:

Medical professionals follow a systematic approach when assessing stab wounds:

Primary Survey: This initial assessment focuses on vital signs like airway, breathing, and circulation. It helps determine the character's overall condition and whether the wound is life-threatening.

Secondary Survey: In this more detailed examination, medical personnel assess the wound itself, checking for the depth, entry, and exit points, and any potential damage to internal structures.

Treatment:

The treatment of a stab wound depends on various factors, including the wound's type, location, and severity. Common steps include:

Hemorrhage Control: Stopping bleeding is a priority. This might involve applying pressure, using dressings, or even tourniquets in extreme cases.

Wound Cleaning: Thoroughly cleaning the wound is essential to prevent infection. This is often done in a medical setting.

Surgical Intervention: Some stab wounds require surgical exploration to assess and repair internal damage. This could include repairing damaged blood vessels or organs.

Antibiotics: Infections are a concern, especially with deep wounds. Antibiotics might be administered to prevent or treat infections.

Pain Management: Stab wounds can be painful. Pain relief measures, from local anaesthetics to strong pain medications, are considered.

Psychological Support: Characters who have endured a stab wound may experience psychological trauma. Medical professionals might provide initial psychological support, but long-term counselling could be necessary.

Understanding the medical assessment and treatment process allows you to depict your characters' experiences more authentically. It also provides insight into the potential challenges and emotional responses your characters might face.

Psychological Impact

Stab wounds not only inflict physical harm but also leave lasting psychological scars. In your writing, it's essential to delve into the emotional and mental repercussions of such traumatic experiences. Here's what you should consider:

Immediate Responses:

Shock: Characters who sustain a stab wound might initially experience shock, characterized by disorientation, numbness, and a sense of unreality.

Fear and Anxiety: The threat of death or severe injury can trigger intense fear and anxiety. Characters may relive the traumatic event in their minds.

Pain: Physical pain, especially in the immediate aftermath, can be overwhelming and dominate a character's thoughts.

Long-term Effects:

Post-Traumatic Stress Disorder (PTSD): Some characters may develop PTSD, characterized by flashbacks, nightmares, and severe anxiety triggered by reminders of the event.

Depression: The experience of a stab wound can lead to depressive symptoms, including sadness, loss of interest, and changes in sleep and appetite.

Anxiety Disorders: Characters might develop generalized anxiety disorder, panic disorder, or specific phobias related to knives or violence.

Survivor's Guilt: If other characters were injured or killed during the same incident, survivors might experience profound guilt and emotional turmoil.

Change in Personality: A character's personality and behaviours can change after experiencing a traumatic event. They might become more withdrawn, irritable, or hypervigilant.

I hope this blog on Everything You Need To Know About Writing Stab Wounds 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.  

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