The Two of Swords

Last week we looked closely at the Tarot Card the Ace of Swords, both as an ACE (a "one") and as a Sword, or a manifestation of the alchemical "element" called "Air" (which has nothing to do with what you breathe to stay alive.) Remember this is written for the Intermediate Tarot student, so some knowledge is assumed.

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This series is designed not for the beginner or the advanced student, but for the intermediate student and specifically for writers doing worldbuilding..

With our point of view firmly fixed in the novel writer's perspective and the Alien Romance story in particular, let's see what the Two of Swords has to teach us.

If the Ace of Swords is the moment when you face the totally blank page and decide to write this particular story, the Two of Swords is the moment when the opening words are before your eyes.

All the Two's of the Tarot represent the fist division between the point where all is One and the point where the One subdivides.

Only when the first mitosis, the first cell division, has taken place can you have CONFLICT, and as students of the WorldCrafter's Guild Essence of Story course have learned, Conflict is the Essence of Story.

So after the first words flow out of your fingers, you stare at them and this character who has walked onto the page from somewhere inside you looks back and smirks. He or she is now a separate being with a rationale, goals, and a big problem.

At that moment, you, the writer, are in confrontation with your own subconscious mind, definitely your equal.

Thus the image on the Waite Rider deck's Two Swords is a figure holding two crossed Swords, Swords massive enough to unbalance the slim figure and tumble all into the waters behind.

Water, remember, is the symbol of emotion and is represented by the Cups of the Tarot. The Cups are all about the subconscious, or internal psychological conflicts. The energies driving Swords came down through Cups -- unbalancing at this point in the manifestation of that energy that first appeared in the Ace of Wands would represent a step backwards. That's sometimes necessary, but not usually much fun.

The Two of Swords represents that point of hesitation after the first move in a planned project. OK, it can represent the "cold feet" a couple about to get married experiences. It's a moment when opposing forces are equal and further action is impossible.

So staring at the first few words of your magnum opus without another word left in your head, what do you do?

You have decided to write this story or to launch this life-project, whatever it is. And now you've taken the first step -- "de-ciding" or cutting out the edges of the project to define it -- you discover that what you have generated is bigger than you are. The "di-chotomy" is more massive than the originator. Any disturbance can send the whole system out of control.

And that's it -- the pure essence of all the Two's -- a balance point which seems "safe" but must be left behind if the energy of the Ace of Wands is to propagate downwards into manifestation.

The essence of Two is balance and security. It's antithesis is what C. J. Cherryh calls, in her FOREIGNER UNIVERSE novels, "badji nadji" -- or "let the chips fall where they may" -- a statistical process that no one controls and no one can predict. Pure chance.

What you have created with your decision in the Ace of Swords is now manifest outside you and you can not control it.

That's frightening because Swords are sharp weapons that can do harm, just like words.

Fear is healthy, a sign of sanity -- but too much fear can kill you.

So there you sit before your creation afraid to move this way or that -- afraid to MAKE THE NEXT DECISION! Why? Because you can't CONTROL the result.

Well, some writers love it when the characters take on a life of their own and command the plot, and others just clamp down and stop telling the story. Still others will work with their alter-ego subconscious manifestations, make friends with them, and argue them into taking the plot-course that will get their message out (i.e. get the book published).

How you respond to losing control of something that has come from inside you will determine how the Three of Swords will manifest. How you habitually (Swords are habitual actions and reactions) deal with things you don't control will determine the shape of your life.

The most popular interpretation of the Three of Swords is "sorrow" and "loss." But that's NOT what it really is all about.

Within the Three is contained the Two, and the manifestation of the Three Swords is determined by how adroitly you finesse your way out of the situation of the Two Swords.

Now we come to the analogy of Acrobatics or Circus Flying, gymnastics, maybe High Diving.

The Suit of Swords represents Air. I've said that before. Some may argue that a different symbol in the card deck represents the alchemical element Air. Frankly, what symbol you draw to represent an element is irrelevant. The Alchemical Elements take their significance from the Tetragrammaton, the four letter Name of God, as I discussed under the Ace of Swords. I am using Swords to represent the third letter in that Name, the third level down Jacob's Ladder.

There is a Jacob's Ladder diagram and explanation of how that relates to the Tarot deck in The Biblical Tarot: Never Cross A Palm With Silver by Jacqueline Lichtenberg.

Pure energy enters manifestation in your Life by the ignition of AN IDEA (the Ace of Wands), and then that energy travels down the circuitry of your soul via the Tree of Life diagram. There are a number of Paths that energy can take. But let's try to keep this simple and at the intermediate level.

As the Idea energy ripens and becomes more complex, it leaps to the level of Emotions -- Cups -- and you get all fired up about the idea, seriously jazzed, whacked out of your mind by your own brilliance. Finally the energy leaps from Cups to the Ace of Swords where you decide to act on that Idea-emotion.

Notice how I've described this process dynamically -- energy flowing down complicated channels, gathering momentum and going faster and faster.

Now, in the Two of Swords it hits equilibrium -- a fear is faced.

If you CHOOSE (choices are Swords) to stop that energy at the level of Two Swords, the dynamic momentum pours and pours into the Two making those balanced Swords heavier and heavier and the consequences of moving one or the other worse and worse.

Trying to stay at that balance point (staring at the first words of your story) will eventually result in your falling over this way or that way, and anything can happen. But one thing is for sure. It's going to hurt -- just as a trapese artist will get rope burns hitting the net or a gymnast will be bruised by an ungainly sprawl.

Rope burns and bruises and making a fool of yourself in public by falling over is what the Three of Swords is usually interpreted as. But it doesn't have to hurt.

Any circus flyer or gymnast will tell you that nailing a landing is a joy beyond measure. So the trick of handling yourself through the Ace of Swords to the Two of Swords and then onwards is not to obstruct the momentum!

You swing through the Ace of Swords, plant your feet in the Two of Swords and push off in a mighty leap. You don't stop to think (thoughts are Swords too), you think on your feet. You talk and dance at the same time. You walk and chew gum. You keep going through the balance point. If you stop, you are in trouble.

The Two of Swords Reversed represents that moment when you are flying through the air, head over heels.

Now, fear.

Remember, above we touched on how Swords are thought, and one kind of thought that can leave us stuck at a balance point like the Two of Swords is fear, fear of losing control.

Fear is an emotion (Cups) -- but it has to be dealt with via Swords (thought).

Consider that if you know Newton's Laws of Motion, or if you're a practiced gymnast, spinning head over heels is not frightening - it's exhilarating. Experience and understanding of the process, of the forces operating on you, gives you confidence.

You know there's a measured uncertainty in where your feet will land. You know there's a chance you've miscalculated the push-off and you're going to fall over, or stagger. If you're diving, you know you may hit the bottom of the pool, or hit your head on the board.

You "know" (Swords; thought) the dangers, know what to do if any of them happen, know the probabilities, know the risk, and know the reward.

And so you're not afraid, not paralyzed, just cautious. But you are moving!

That's the Two of Swords Reversed -- it indicates that one of two situations is in progress: a) you lost momentum and sat still too long, but now you're moving, b) you didn't pause too long but pushed off and are now moving.

If a) then the Three of Swords will hurt. If b) the Three of Swords will sting a little but it'll be worth it.

Remember, "As Above: So Below" -- these analogies are not exact but they do hold. The spiritual level of reality works according to the same kinds of rules and priciples that obtain here below -- there is symmetry. (Two's represent that symmetry).

If you haven't read Marion Zimmer Bradley's circus novel, CATCH TRAP, I highly recommend it for an understanding of this process.

Circus Flying is an artform that uses mass and momentum to make visible certain spiritual processes which are the building blocks of all personal relationships, but most especially the love-relationship.

Swords are ACTIONS, so the Laws of Motion apply by analogy. The Two of Swords is a static equilibrium, but life works most smoothly as a dynamic equilibrium.

If you get caught in a static equilibrium (looking at the first few words of your story), eventually the energy flowing down your circuits from the Idea will dislodge you and the result will be a big mess you have to painfully clean up.

So when you come to that point of seeing your first words appear on the page, DON'T STOP. Keep going. Let the momentum carry you into the head over heels spin that feels so out of control. Practice that spin until you can nail the landing without a qualm. And the "landing" in writing a novel is the moment when you write "The End."

Jacqueline Lichtenberg
http://www.simegen.com/jl/

Close Encounters of the Zombie Kind: Teaser from The Down Home Zombie Blues

Since in my last blog we played with Jorie's reaction to Earth, I thought I'd share Theo's--our intrepid Florida homicide detective's--reaction to working with a Guardian Force team. Essentially, commandos from another planet. Now, Theo's trained. They're trained. But training can mean two different things when it comes to fifteen-foot tall mech-organic monsters. However, office politics never seem to change...

From THE DOWN HOME ZOMBIE BLUES by Linnea Sinclair

Coming from Bantam books Nov. 27, 2007

Theo had spent the last several years of his BVPD career interrogating people who lied—either by accident or design, out of fear, greed or stupidity. It was one of the first rules he’d learned as a rookie: Out here, everybody lies. Yet Theo wasn’t ready to brand Jorie Mikkalah a liar. At least, not quite.

She just wasn’t telling him the complete truth. Which fit in exactly with the corollary from Rookie Rule Number 1: Always know that you are never, ever being told the whole story.

He wasn’t. Not about the implant in his shoulder, not about the zombies and not about her plans. And especially not about whatever was going on with her team of space commandos.

He thought of that as he drove west on Twenty-second Avenue toward the mall. Jorie, still clad in her oversize sweater, was perched in the front passenger seat.

It was almost three forty-five in the afternoon. The ETA for the zombies was now less than an hour. A surge of adrenaline shot through him every time he thought about that. He tamped it down. Be calm. Think. He’d handled a zombie before, with far less preparation. He could do it again. His Glock was secured on his right hip, his zip-front sweatshirt keeping it and his gun belt with extra ammo hidden from sight. He’d also donned his black tac vest, very aware that something that could so easily trash a car wouldn’t be hampered by it. But he had to wear it—and his smaller Glock in the ankle holster. For extra protection, his assault rifle was racked in its usual place.

By comparison, the weapons the space commandos wore seemed strangely small and light. Jorie was decked out in much the same manner as when he first saw her: headset with its eyepiece (swiveled down for the moment), dual laser pistols, and various gizmos attached to a belt (all hidden by the sweater). Her high-tech rifle rested on the floor.

Oddly, it wasn’t their weaponry that was foremost in his mind at the moment. Their camaraderie—or lack of it—was.

He glanced at the passengers in his backseat through the SUV’s rearview mirror. There was a power struggle under way. He’d been with BVPD too long not to recognize one. But this one centered on him and the lives of everyone he knew.

A detective’s sixth sense told him he’d been off the mark in his initial appraisal of Commander Mikkalah. She was responsible for his kidnapping and that damned thing in his shoulder, but, despite that, he was beginning to see that Jorie did take people’s lives into consideration. That same sixth sense told him Rordan didn’t.

And that, he suspected, was where the lines were drawn. The players had chosen their sides.

On Jorie’s was Tamlynne Herryck, now wearing his old black and white Tampa Bay Lightning T-shirt over her sleeveless uniform top. Tammy, he’d dubbed her. But Jacare Trenat—Jack, wearing one of Theo’s Old Navy T-shirts—had sided with Kip Rordan. Theo didn’t speak a word of Alarsh, but he knew if he dubbed Rordan Pompous Asshole he wouldn’t be too far off the mark—though Uncle Stavros would probably call Rordan a malaka. Too bad he’d loaned Rordan his Bucs jersey. He hoped like hell he’d get that back.

Jack, it seemed, was doing all he could to get his nose far up Rordan’s butt. Though to be fair, Jack was young. Just a rookie. He had that bright, shiny look in his eyes that was a combination of a desire to please and a belief that he could save the world.

And Rordan, with his swagger, was just the kind of malaka a rook like Jack would admire.

Of course, saving the world—Theo’s world—was Jack’s job. If it hadn’t been his own world at stake, Theo might have found the entire situation amusing: intergalactic space commandos falling prey to petty office politics. He just hoped Jorie Mikkalah was up to the task of not only the zombies but whatever Rordan was planning as well.

He stopped for a red light. Jorie had been focused on her scanner gizmo since they’d left his house but she looked up at him now.

“Ten minutes,” he said, anticipating her question.

She nodded. “I need to position Rordan and Trenat first before we remove your people.”

“And Tammy?”

“Tammy?”

He inclined his head toward the Tampa Bay Lightning fan seated behind her.

“Lieutenant Herryck and I will take the opposite position. You can return to your structure. We’ll meet you back there in about one sweep.”

“Whoa, wait a minute.” The light turned green. He stepped on the gas. The SUV stuttered, then surged forward. “I’m part of this mission, remember? And it’s a long walk—”

“We’ll use the PMaT to transport back to the ship when the juveniles have been dealt with.”

Peemat? Oh, that damned thing that spins your guts out through your eyeballs, then puts you back together again as you go from Point A to Point B. A thought struck him. “Why do you need me to drive you to the park if you have that transporter?” It was certainly quicker and more efficient, though nauseating.

“Zombies track PMaT,” came Rordan’s answer from behind Theo. Another glance in the rearview showed a slight smirk on the man’s face.

Yeah, okay, so I’m a stupid nil. Theo returned Rordan’s reflected smirk with one of his own. “Skata na fas, malaka,” he said under his breath. Eat shit, asshole.

“Because all PMaT transits are unshielded,” Jorie said as if Rordan hadn’t commented. “Zombies have what we call a sensenet. Through that, they’re aware of surges created by unshielded tech. And they react.”

“But you said you’re going to transport back—”

“The zombies will be neutralized at that point,” she continued. “But to engage the PMaT in the proximity of a forming portal holds danger.”

Rordan said something in Alarsh, short and quick.

Theo saw Jorie shrug. Her answer was equally short and sounded—though he had no idea of the content of the exchange—casual, almost offhand. But her fingers were tight around her scanner.

He didn’t like not understanding their language. He liked it even less that Rordan understood his. He hoped this was just petty office politics and that they were all on the same side when it came to the zombies.

But he couldn’t be sure and he couldn’t ask. He could only remember what she’d told him earlier, denying—lying about— tampering with her tech to change what the zombies did. He gleaned from their conversations on her ship that’s what had turned Wayne, her agent, into a parchment Mr. Crunchy with moist eyeballs.

And here she was doing the same thing because Rordan—and intergalactic office politics—prevented her from saving lives at a crowded mall during Christmas week.

So Theo decided to do the only thing he could: tilt the balance in Jorie’s favor. He made his decision as he dropped Rordan and Jack at the far end of the park by the tennis courts, then Jorie and Tammy at the other, next to the baseball field. A quick trip around the perimeter announcing—via his PA system, with blue strobe going—the possible sighting of a rabid raccoon cleared away the few remaining joggers.

Theo pushed the traffic gates shut, then set the Park Closed sign in place. Jorie had told him to go home once the park was clear. But he was not going home until this batch of zombies was dead and that PMaT thing was spewing Rordan’s unworthy molecules all the way back up to the ship.

He turned the lumbering vehicle back toward the ball field, parked it just behind the row of low bleachers, and got out. Jorie trotted toward him, frowning. He leaned on the front of his SUV, arms folded across his tac vest.

“I’m staying.”

She glared at him. He glared back. When she flung her arms wide in exasperation and let out a now familiar sounding string of Alarsh curses, he knew he’d succeeded. A mixture of elation and relief washed over him.

Which ended a split second later when a discordant wail erupted from the scanner in Jorie’s hand—and echoed out of one dangling off Tammy Herryck’s hip.

Jorie favored him with one last hard glare—partially obscured by her eyepiece—as if to let Theo know he was now edging his way to the top of her shit list, then she thrust one of her small laser pistols into his outstretched hand.

“Opticals, remember?” she asked, teeth gritted. She swung her rifle around. “And legs. Stay with me.”

Opticals. Eyes. And legs. And writhing energyworms and long, flailing, razor-sharp extenders. He sprinted after her to where red-haired Tammy stood, rifle in one hand, scanner in the other, then stopped. Both women’s heads were bent over their scanners but, damn it, no one was looking around. Someone should be. He remembered the green glowing circle, the thing oozing out—impossibly—from its center. He turned, squinting through his sunglasses into the late afternoon light.

Something slammed him from behind, crushing him to the ground. Grass, dirt, and gravel were pushed into his face, and he heard his sunglasses crack. Then, with sickening clarity, Theo realized he could no longer breathe...

Writing and describing injuries and miscellaneous vampire lore

Depending on the fictional situation, there will be fights, battles, etc… and wounds to your hero, heroines and secondary characters in addition to any alien romance. Here’s a basic listing of the possible injuries and results.

HEAD INJURIES

SCALP

Scalp wounds bleed copiously, making it a major source of hemorrhage and shock. They may also be incidental to damage to the skull.

SKULL

Skull fractures in different places have rather different effects, but for these purposes, symptoms include one or more of the following; a mixture of blood and cerebrospinal fluid leaking from the ears, nose, or throat, blood in the whites of the eyes, loss of the sense of smell, loss of vision in one eye, a dilated, fixed pupil, a worsening in the patients level of consciousness.

These last symptoms are indicative of pressure on the brain, caused either by swelling of the brain or bleeding into the skull. Swelling of the brain can cause serious damage or possibly death on its own, but has the advantage that its self-limiting (and in a modern setting, usually controllable with drugs). On the other hand, hemorrhage will almost always lead to continued degradation and death if left untreated.

The patient may have a headache localized at the injury. He may be lucid for a period after the injury, but this will rarely be a period of normalcy. He will usually feel drowsy, and may thereafter slip into a coma. The patient will lose one set of reflexes after another. He may gradually lose the use of one of his arms or legs, or become completely paralyzed on one side of the body. This will happen gradually as pressure increases starting with a slurring of speech and clumsiness. His breathing may become uneven, and some part or all of his body may begin shaking uncontrollably (seizure activity.)

The time course for these degradations can be hours or days and the condition can worsen dramatically in minutes.

JAW

A broken jaw is associated with numbness, bleeding from tooth sockets, fractured or missing teeth, inability to close the jaw properly (teeth don't come together right), pain on moving the jaw, and sometimes with bleeding from the ear. Fractures of the jaw also allow the tongue and other soft tissues to intrude into the airway, leading to suffocation.

FACE

All sort of bones can be broken in the face: the face plate, sinuses, cheekbones, the orbits of the eye, and of course, the nose. There are a wide variety of possible symptoms, but severe facial injury usually results in progressive swelling, resulting in difficulty breathing, inhalation of blood, frequently eventually (~1 hour) completely closing off the airways, resulting in suffocation. There may also be numbness or paralysis in some part of the face. Facial injuries can also lead to extreme hemorrhage and shock.

Neck Injuries

As you may imagine, there are a lot of important things passing through the neck, including the spinal cord, larynx and trachea, phrenic nerve, brachial plexus, carotid artery, jugular vein, cranial nerves, oesophagus and pharynx, thyroid gland, and stellate ganglion. Of course, many of these may be damaged simultaneously. Possible symptoms for damage to each of these are listed below. Not all will necessarily be present.

Spinal cord: paralysis, partial paralysis (no surprise !)

Larynx and trachea (you breathe through your trachea): spitting blood, a sucking neck wound (see chest wounds), hoarseness, difficulty breathing, high-pitched, noisy respiration (stridor).

Brachial Plexus: numbness and/or partial paralysis in an arm.

Carotid artery: decreased level of consciousness, heavy bleeding (which may compress the trachea, causing difficulty breathing), and hypovolemic shock.

Jugular vein: heavy bleeding, hypovolemic shock.

Cranial nerves: inability to shrug a shoulder or rotate chin to opposite shoulder, paralysis of the tongue, hoarseness, and difficulty in swallowing.

Oesophagus and pharynx (connects to your stomach): difficulty swallowing, bloody saliva, sucking neck wound.

Stellate ganglion: dilated pupil.

Thyroid gland, phrenic nerve: no special short-term effects.

Also, damage to the muscles in the neck will mean that the patient is unable to hold his head upright.

CHEST (Thoracic) Injuries

Trauma that is inflicted on the chest can result in damage to the chest wall, lungs, trachea, major bronchi, esophagus, thoracic duct, heart, diaphragm, mediastinal vessels, and spinal cord. Any combination of these injuries may occur.

"SUCKING WOUNDS"

A person inhales by moving a muscle called the diaphragm, creating a vacuum in the chest, which pulls air in through the mouth down into the lungs. However, if there is a hole in the chest wall, air can enter through that hole instead, preventing air from entering the lungs. The patient will feel short of breath, air will visibly be being sucked in through the hole in the chest wall. The resulting low oxygen will usually result in unconsciousness in fifteen minutes to an hour, but is unlikely to be fatal on a short time scale.

TENSION PNEUMOTHORAX

Sometimes, a hole in the chest wall acts as a one-way valve, letting air in, but not out again. Sometimes, the lung is punctured without the chest wall being punctured (from a broken rib, for instance). Alternatively, if a wound that punctured both the chest wall and the lung is treated with a tight compress, air will still escape from the lung but not from the chest cavity.

In these cases, the increasing air pressure in the chest cavity will cause hyperinflation of the chest, preventing the patient from breathing. The patient will have rapid, shallow breathing. He will fall unconscious from low oxygen in fifteen minutes or so, and will probably suffocate if left untreated.

TENSION HEMOTHORAX

Is a similar problem, but in this case it results from blood filling up the chest cavity. The patient will probably be suffering from shock, as well as suffocation. This will usually result from multiple rib fractures damaging internal tissues. Frequently seen together with tension pneumothorax (in which case it's a hemopneumothorax).

RIB FRACTURES

The main symptom of rib fractures is that it hurts to breathe, which will make exertion difficult. The amount it hurts depends on how many ribs are broken (a broken sternum is especially painful). Beyond this, unless the patient has flail chest, hemothorax, the ribs have damaged the lung, or the ribs are displaced to such an extent that their motion damages surrounding tissue, the ribs will probably be held in place by the surrounding muscle, and are largely ignorable.

FLAIL CHEST (PARADOXICAL CHEST WALL MOTION)

Yet another way to suffocate: the ribs or the sternum are broken in such a way that breathing moves air from one part of the lungs to another, rather than in and out. This will usually result in unconsciousness from low oxygen in fifteen minutes to an hour, but not death.

CLAVICULAR (COLLAR BONE) OR SCAPULAR (SHOULDER BLADE) FRACTURES

Until it's splinted, pain in moving at all, inability to use the arm effectively, pain in attempting to use the arm. Can't really be fatal.

PULMONARY PARENCHYMA (DAMAGE TO THE LUNGS)

Lacerations of the lungs may cause pneumothorax, as above, as well as bleeding into the lungs. Contusions (blunt damage) will cause swelling of interstitial tissues and bleeding into the small airways. In either case, the patient will have difficulty breathing and will probably be coughing blood or exhaling blood. If this is severe enough, low oxygen may lead to unconsciousness and death.

HEART

Damage to the heart may result in massive blood loss, heart failure, and death in short order. However, less severe injuries can result in bleeding into the pericardial sack (tamponade). When this fills up with blood, it will put pressure on the heart, making it more difficult to beat, lowering blood pressure. The patient will initially feel very tired, leading to increasing stages of shock shortly.

AORTA AND GREAT VESSELS

With modern medical care, 85% of patients with multiple aortic ruptures will die at the scene, 20% of the survivors die within six hours, and 72% of the remainder will die within a week. This is, then, another good way of bleeding out in minutes. Massive hemothorax and loss of blood pressure are the most common symptoms for penetrating injury. However, for blunt injury initial manifestations are pain behind the sternum or between the shoulder blades, difficulty in swallowing, hoarseness, and difficulty breathing, leading to a left hemothorax and increasing levels of shock.

DIAPHRAGM

A penetrating chest wound at or below the level of the nipple is likely to enter the chest, pierce the diaphragm, and enter the abdominal cavity. Since the diaphragm is the muscle you use to breathe, injury to the diaphragm results in respiratory distress, often associated with hemothorax, pneumothorax, and shock.

Abdominal and Pelvic Injuries

The principal immediate danger resulting from abdominal and pelvic trauma is profound hemodynamic instability resulting from injury to the spleen, pancreas, liver, kidney, or tributaries of the aorta. Most abdominal injuries result in poorly localised and nonspecific pain, nausea and reflex vomiting. In general, blunt injuries to the abdomen are more dangerous than penetrating injuries.

INTESTINES

Abdominal pain and peritonitis. Peritonitis is an inflammation of the tissue that lines the abdominal cavity. Starting a day or so after the injury, it will lead to severe abdominal pain and distention, fever, vomiting, thirst, and, if left untreated, death in a week or two. It is easily treatable. Injury to the duodenum leads to more severe symptoms (severe abdominal tenderness in the upper right quadrant, sever vomiting), rise of fever within hours, and may have hemodynamic instability with time.

Note that evisceration isn't automatically fatal, in the absence of major hemorrhage, especially if the intestines aren't otherwise damaged, but that with poor medical care, sepsis will probably be a killer.

SPLEEN OR LIVER

Abdominal pain in the upper left (spleen) or upper right (liver) quadrant, severe hemorrhage rapidly leading to increasing shock and death. The mortality rate without intervention is near 100% for splenic injuries, and almost as high for blunt injuries of the liver.

Sepsis (inflammation or infection) is a major postoperative complication for liver injuries. Splenic rupture can also occur up to two weeks after the initial injury, as an initial clot dissolves, or the splenic capsule ruptures under pressure of an initially small hemorrhage.

URINARY TRACT (BLADDER, KIDNEY)

Abdominal pain, back or flank pain, inability to void or blood in the urine. Some kidney injuries will result in massive hemorrhage, but others will not. In the long term, damage to the kidney may lead to renal failure (this can also be caused by shock and sepsis.) The course of renal failure can last weeks to months. This is fatal more than 50% of the time.

STOMACH MUSCLES

Damage to the stomach muscles will make it difficult or impossible to stand; just think of all the things it's hard to do after you've done too many sit-ups.

BLOOD VESSELS

Injury to major blood vessels in the abdomen may cut off the blood supply for the legs, making it impossible to stand in very short order. Depending upon where they're damaged, they make drain into the upper legs, causing extreme swelling.

PELVIS FRACTURE

Besides making it impossible to stand, it is likely to cut one of the major blood vessels leading into the legs. Pelvis fractures are commonly associated with massive hemorrhage.

Extremities

The nature of damage to extremities (arms and legs) is fairly intuitive. Generally, minor damage will make the extremity painful or difficult to use; major damage will make it impossible to use. Major blood vessels may be damaged, leading to heavy hemorrhage. Joints can be dislocated, bones broken, muscles and tendons cut. Note that damage to the scapula (shoulder blades) or clavicles will make the arm nigh-on unusable.

Sepsis

Fever, shock, decreasing mental status, can easily lead to death if untreated. A common problem, especially with poor medical care, in the days and weeks after injury.

Unconsciousness

To recap - what makes you fall unconscious is either direct injury to the brain, or inability to feed it enough blood or oxygen. If you lose all blood supply to the brain, you fall unconscious in seconds. Massive hemorrhage can lead blood pressure to drop fast enough that unconsciousness follows in seconds to minutes. If you lose oxygen supply, you fall unconscious in ~4-30 minutes, depending upon how restricted your air supply is. Poisoning - as from sepsis - can also cause unconsciousness.

Putting it all Together

Probably the easiest way to use this guide to traumatic injury is to use the damage system for your game, and if you want a graphic description look up an injury of the appropriate severity to the appropriate body part.

Note that there are major blood vessels just about anywhere, so if you want blood loss, you can feel free to add it in.

The trick to making it seem especially nasty is not to read the whole laundry list of symptoms at once. Give them a few at a time, so that they have a chance to sink in. Remember to add in the effects of sepsis, and of torn muscles and broken bones.

If they have to continue operating while septic, make sure to make them feel it - weakness, fever, chills, reflex vomiting, trembling hands, occasional unconsciousness.

"And they all died horribly. The End.


Time frame for Death after vampire bite

An initial peak of mortality occurs within minutes of hemorrhage due to immediate exsanguination.

The average 70 kg (154 lbs) male has approximately 5000 ml (5.3 quarts) of circulating blood.

Severe external hemorrhage is associated with the following symptoms: rapid pulse; dizziness or faintness; collapse; a drop in blood pressure; a rise in pulse rate; and pale, cold, clammy, or sweaty skin.

Certainly, the severing of a common carotid artery will immediately terminate a large portion of the blood supply to the brain. Nevertheless, the victim of such a wound may remain conscious for from fifteen to as many as thirty seconds.

The largest portion of your blood volume at rest, about 64%, is in systemic veins and venules. Systemic arteries and arterioles hold about 13% of the blood volume, systemic capillaries hold about 7%, pulmonary blood vessels hold about 9% and the heart holds about 7%.

Because systemic veins and venules contain a large percentage of the blood volume, they function as blood reservoirs from which blood can be diverted quickly if the need arises. In cases of hemorrhage, when blood volume and pressure decrease, veno-constriction helps counteract the drop in blood pressure. Among the principal blood reservoirs are the veins of the abdominal organs (especially the liver and spleen) and the veins of the skin.

Signs & symptoms of shock.

Systolic blood pressure is lower than 90mmHg
Resting heart rate is rapid due to sympathetic stimulation and increased blood levels of epinephrine and norepinphrine.
Pulse is weak and rapid due to reduced cardiac output and fast heart rate
Skin is cool, pale, and clammy due to sympathetic constriction of skin blood vessels and sympathetic stimulation of sweating
Mental state is altered due to reduced oxygen supply to the brain.
Urine formation is reduced due to increased levels of aldosterone and anti-diuretic hormone (ADH)
The person is thirsty due to loss of extra-cellular fluid
The pH of the blood is low (acidosis) due to buildup of lactic acid
The person may have nausea due to impaired blood flow to the digestive organs after sympathetic vasoconstriction.


MILD TO MODERATE SHOCK (10%-25% OF BLOOD VOLUME LOST)

The patient will be pale, have rapid, shallow breathing and a high heart rate, will sweat, and will feel quite weak. He will be thirsty, his extremities will be cool, and his senses will start to cloud. Even the most stout of heroes will start to feel a rising panic, from purely physiologic hormonal reactions.

SEVERE SHOCK (30%-50% OF BLOOD VOLUME LOST)

Platelet aggregation in the lungs will lead to respiratory failure. Failure of cellular processes will lead to sequential systems failure, frequently starting with the heart and kidney. Basically, you stop breathing, your heart stops, everything else fails, and you die. This can take anywhere from hours to days after the initial injury.


There’s a possible SF story from the following articles. Remember when Frankenstein was a horror story? Now we have organ transplants, reattachment of limbs and electro-shock to restart stopped hearts.

Dogs reanimated after death by removing all of their blood, replacing blood with ice-cold saline solution. A few hours later, saline solution removed, fresh blood supplied and dogs revived.
www.webpronews.com/topnews/2005/06/30/scientists-reanimate-dogs-dislike-zombie-comparisons

Scientists Develop Substance to Stop Heavy Bleeding

www.wtop.com/?nid=106&sid=1153504


Fangs: Retractable or not???


Retractable fangs would work physiologically while having a set that drops down behind the first creates a poor feeding design. Unless the fang that dropped down had a notched design so that rear tooth clicked into place with the front tooth forming a single unit.

As for where the teeth would retract into Vampires could have a hollow pocket in the upper mandible where the fangs could sit when not in use. No need to tuck them into the gunk found in the sinus cavity - eeew.

Another option would be rather then a second set of teeth you could have them replace the incisors or canines depending upon which teeth you have them bite with. The majority of the tooth could sit in the pocket and come down when needed. A series of tiny ligaments that hold the tooth in place would work as the mechanism of action. When relaxed the tooth would drop. When tensed they would pull them up and out of sight (just an fyi muscles pull not push - picky I know but its one of those anatomy thing people pick up).

Since vampires are their own species (either a sub of humanity or completely separate depending on your lore their physiology would have evolved/designed/been tailored for their survival. So think human bone structure with a twist.

Here is a link to a close up of the sinus cavities. www.entnet.org/images/still_15a_l.jpg


The maxillary sinus is the one behind the nose. Notice the pad of tissue below it and then the bone underneath. Under the bone is the hard palate, which flows into the soft palate. The small white shape on the lower right is a tooth. In front of the tooth is the gum line and lips.

The neat thing is as long as your design works you could have their fangs do what you want just create a space for them within the upper mandible and your good to go. A long time vamp wouldn't even notice the changes but a newbie would especially if the pocket holding the fangs protruded from the hard pallet. They'd be running their tongue over the spots all the time.

Then again you could always go with magic and screw the physiological aspects.


At the following link, where they show the surgical process of inserting an IV line down the jugular vein for chemo and other medical procedures, they say the right internal jugular vein is usually chosen for this procedure because since the right lung is lower than the left and this route does not endanger the thoracic duct.
www.medstudents.com.br/proced/proced4/jugular.htm

Here’s a link to the Gray’s Anatomy Image showing the locations of the neck veins and arteries.
www.theodora.com/anatomy/the_veins_of_the_neck.html


Most vampire movies shows the bite on the left side of the neck where the left common carotid artery is located. I believe the assumption there is that the vampire saliva secretes a substance that prevents blood clotting and increases bleeding because this is what happens with the saliva from a vampire bat.
Here’s a news article about how the substance in the vampire bat’s saliva may bring new treatment for strokes
www.cnn.com/2003/HEALTH/conditions/01/09/stroke.bat.treatment/


Preferred Method of Killing a Vampire.

#1. Albania = Stake through heart

#2. Bulgaria = Chain to grave with wild roses

#3. Macedonia = Pour boiling oil on, drive nail through navel

#4. Prussia = Put poppy seeds in grave. (With all due respect, putting seeds in the grave, it doesn’t have to be poppy seeds, just something unfeasibly numerous and un-countable, wasn't to kill a vamp, simply to keep him occupied counting 'til the end of days. You ever wonder why they had the counting Count on Sesame Street? Old folklore.)

#5. Rumania = Remove heart, cut in two; garlic in mouth, nail in head

#6. Saxony = Lemon in mouth


Thank you for reading my blog topic.

Barbara K.
www.sff.net/people/selkiewife
www.myspace.com/barbarakarmazin
groups.yahoo.com/group/TheSensuousAlien/

Children as Aliens

Recently I saw the movie THE LAST MIMZY, based on a classic SF short story, "Mimsy Were the Borogoves," by Lewis Padgett. Even if I hadn't read the reviews, I would have known a full-length film would have to change and expand the story, adding plot elements that weren't in the original. However, I wish the movie hadn't glossed over the central premise of Padgett's work, that children's brains operate differently from those of older people. According to this tale, the reason only children can understand the marvelous "toys" from the future, which reshape their thought processes in ways impossible for adolescents and adults, is that children essentially have alien minds. After a certain age, people who look at these advanced artifacts (actually educational devices that have accidentally been transported back in time) see only meaningless shapes. Children below the critical age threshold, on the other hand, understand the "toys" and have their brains rewired by interacting with them. The author suggests the reason we don't remember many of the events of our childhood is that our minds were so alien in our early years that the adult brain can't connect with those thought patterns.

I'm not sure I can completely believe this theory, but it makes a great SF premise and resonates with some of the things we know about children's brains. For example, there's a developmental window for learning language. Once the critical age has passed, it becomes much harder to learn a second language, and native-speaker fluency will probably never be achieved. Moreover, "feral children" deprived of exposure to language past this age can never learn to speak beyond a crude, rudimentary level. In Suzette Haden Elgin's "Native Tongue" series, human linguists learn extraterrestrial languages by immersing very young girls in the target species' speech environments. While the infant mind may not be a "tabula rasa" capable of being molded into almost any shape (a twentieth-century misconception thoroughly debunked by Steven Pinker in THE BLANK SLATE), the brains of young children are certainly more malleable and receptive than those of adults. In Isaac Asimov's classic "Nightfall," in which a planet with multiple suns experiences darkness only once every thousand years or more, one character speculates that whatever remnants of culture carry over between the times of chaos are passed down by people who were small children at the time darkness fell. To an infant or toddler, the whole world is new, so the strange phenomenon of darkness wouldn't drive him or her mad as it does adults. Children have a flexibility their elders have lost. I'm also reminded of the many examples of the competence and creativity of real-life young people Robert Epstein provides in THE CASE AGAINST ADOLESCENCE. In the realm of fantasy, we learn from the Mary Poppins series that newborn babies can understand the speech of birds, a power they lose in the process of learning human language.

SF application: Is it possible that the best ambassadors to send forth for first contact with extraterrestrials would be children? I can imagine an embassy of children under the leadership of pre-teens or young teenagers, a squad of Terran representatives young enough to retain their adaptability, facility in learning new languages, and sense of wonder.

Ace of Swords

Folks:

First, I have to say that at Nasfic, Linnea Sinclair provided me an advance copy of THE DOWN HOME ZOMBIE BLUES. I just started reading it (it's a 516 page pb and I'm on p 10) and it's so good I'm recommending it to you now. NOTE: I'm reading an ARC so changes might have been made in the version you buy now.

Remember I teach writing, and (even at Nasfic on panels about writing) students say it's not possible for editors to reject a book on the first 5 or 10 pages.

Well, it IS possible because those pages have to contain the bits and pieces that form the foundation for the novel, all arranged in the right order. Linnea's done that first 10 pages perfectly except for one parag I (as editor) would have deleted (but as writer, I'd have wanted to save) -- so I'm watching to see what it foreshadows.

The paragraph on p 7 starts "Unless you were a pilot taken prisoner by the Tresh." and ends with the POV character deciding she couldn't afford to think about that now. This is a classic "abort" -- starting the reader down a path then pulling them out for no obvious reason.

That parag. would have worked better later. Or perhaps the last sentence might have been deleted.

But it's on p 7 -- and it's only one small paragraph! It does have a purpose (starting the internal conflict, giving the character a haunting past and the sense you've read about this woman before). Then everything moves straight forward again, so I anticipate a smooth, good read here.

It had to be a difficult decision - that paragraph! Which brings me to the topic I want to address. Decisions, habits and actions.

I've found myself writing little essays for this blog each week, and I feel guilty because it's time I should spend writing. So instead of writing, I'm writing! Well, that's what writers do -- they write!

So I'm going to try an experiment that may not work because there are so many interesting things happening in life all the time that I'd like to discuss here.

Let's see how many little essays I can write (I have 20 on my list of must-write essays) essentially about the core topic here, alien-romance, yet still also about the Tarot Minor Arcana Swords (decisions and actions) and Cups (love, character, relationship).

As many of you know I teach writing via Tarot and Astrology - those disciplines are very fruitful sources of plot-twists and characters with recognizable dilemmas. I've been invited to teach at Ecumenicon 2008, March 27-30, 2008 at the Best Western Convention Center in Baltimore, MD. And I would dearly love to finish these 20 essays before that.

These next 10 essays will be a book in the series begun with my book  THE NOT SO MINOR ARCANA (available on amazon.com) - a short introduction to how to go about learning Tarot. The Wands and Cups Volumes and  the Swords and Pentacles Volumes, are now all available separately on Kindle.  The 5 Volumes combined are also available on Kindle as one book, cheaper than buying them individually.
The Not So Minor Arcana: Never Cross A Palm With Silver Aug 30, 2015 99 cents
http://www.amazon.com/gp/product/B0108MC26O

The Not So Minor Arcana: Wands Sept. 1, 2015  99 cents
http://www.amazon.com/gp/product/B0106RVPKU

The Not So Minor Arcana: Cups Sept. 11, 2015 99 cents
http://www.amazon.com/gp/product/B0106SATX8

The Not So Minor Arcana: Swords  Sept. 17, 2015 99 cents
http://www.amazon.com/gp/product/B0100RSPM2

The Not So Minor Arcana: Pentacles  Sept. 21, 2015 99 cents
http://www.amazon.com/gp/product/B0106RVKF0

The Not So Minor Arcana: Books 1-5 combined Sept. 24, 2015 $3.25
http://www.amazon.com/gp/product/B010E4WAOU

This series is designed not for the beginner or the advanced student, but for the intermediate student and specifically for writers doing worldbuilding..

------------

So THE ACE OF SWORDS!

I use the paradigm where Wands is Fire, Cups is Water, Swords is Air, Pentacles is Earth and Tarot is structured on the Kabbalah's Tree Of Life diagram, or more specifically Jacob's Ladder.
The Aces are beginnings, origins, the number ONE -- the unity behind all reality.
Aces exist at the level of reality where all things are just one thing, and haven't yet been divided into many things.

The moment just before the Big Bang began to fling all the matter of the Universe out from that tiny, collapsed central point is an "Ace" moment. All human activity replicates or recapitulates that moment, over and over on many levels.

Thus the Ace of Swords represents the very beginning point of an action sequence, or course of action, such as writing a book, fixing a leaky faucet, going to college, buying a house.

The Ace of Wands is the point where you wake up at 2AM, grab a notepad and scribble down the IDEA (Ideas are Wands) for a story. The Ace of Cups is the emotion from which the story arose, usually subconscious. The Ace of Pentacles is the moment when you hold the first printed copy in your hands (Pentacles are materialization of Ideas.). The Ten of Pentacles is where you bank the Nobel Prize money. The Ace of Swords is TYPING THE FIRST WORD.

The Ace of Swords isn't "I am writing a book" -- it's "I'm going to write this book."

The Ace of Swords is, "I'm going to fix that leaky faucet." The Two of Swords all the way to the Ten describe the comedy of errors up to the point where you get the next IDEA -- call the plumber. (and the water-damage cleanup company) (and the insurance company)
The Suit of Swords is often thought of as misfortunate. I don't think so.

Swords represent force in motion.

The four "Worlds" of the Kabbalah are expansions of the 4 letters in the Divine Name -- Yod, Heh, Vav, Heh.

The letter Vav is a Yod (a little fillip like a comma or a spark suspended in mid-air near the top of the writing line) with a staff under it, reaching down to the bottom of the writing line.

The Vav is a Yod that has GENERATED downward like a tornado touching down. It is a nail that connects things together. The Yod has expressed itself in the Vav. So the "World" represented by Swords is the expression of the Idea represented by the original Yod, a spark of fire.

Thus "Swords" is Divine Power Expressed -- or in motion.

A human being is the visible end of a connecting channel (a kind of "worm hole") that reaches all the way up through all the Worlds of Kabballah and brings down the cyclone of Divine energy.
Think of the Indian concept of the Chakras, or Marion Zimmer Bradley's Keepers who have to have their "channels" cleared.

The human being is a complicated bit of circuitry, and endowed with Free Will (that's a Kabbalah given -- humans have Free Will at all times).

The human being can be like the Sorcerer's Apprentice and reach up to channel down more power than they can handle. The human being can have more ambition than skill and not know it. The human being can have more imagination than judgement and not believe it.

The human being has to make choices and take action by balancing a myriad factors. Losing that balance doesn't make the energy stop flowing -- thus the cards in the Suit of Swords that follow the Ace, the next stages in the project of fixing the leaky faucet or writing the novel often don't manifest smoothly. That cyclone tip of downrushing Divine energy can touch your life and rip it to shreds. Thus the Suit of Swords has a bad rep.

The Suit of Swords, the 3rd World "down" the Tree of Life, is represented by the "Element" Air which we learn in Astrology symbolizes Thought, the Intellect. Gemini, Libra and Aquarius are Air Signs.

And so we learn that a Thought is an action -- as is speech. How we think, what we think, affects our reality, our world. What we say affects even those who never hear it. Thoughts and deeds are one and the same.

We learn this from the power of positive thinking, and how imagining success often brings success. Your thoughts infuse your deeds with exceptional power when both thought and deed are alligned. (think golf swing)

Decisions (de-cision -- to cut in half) are represented by Swords.

A story or novel (your evereyday life is a story you are writing) usually starts where the two elements which will conflict to generate the plot first come together. At that single (ACE of SWORDS) point, the author and by extension, the main character, must DECIDE what to DO when CONFRONTED by the antagonist element.

The antagonist might not be a person -- it could be a storm, a planet to be explored, a disease to be beaten. Whatever it is, at that moment of confrontation, a THOUGHT has to become a DE-CISION, a dividing point.

It can be nothing more than the recognition of an adversary, or perhaps worse, the recognition of one's True Love. Or a failure to recognize, and thus failure to act. The failure to act is also an action, and thus symbolized by Swords.

Human beings have an analogue brain, so we make decisions based on "experience" -- in other words, we are lazy. What's worked before, we do again - until it becomes a habit. And with age, we become so hidebound we can't do anything but what we've made our habit.

We tend to take that kind of habit from lifetime to lifetime (yes, in Kabbalah, reincarnation is real).

So confronted with a unique situation, we boggle. Confounded, we think slowly, or in non-logical sequences, or by free association. Then we hunt frantically for elements in the situation that remind us of something else we already know the answer to.

Wands represent the kind of original thinking we apply to a unique situation without trying to find a similarity to some other known situation.

Swords represent the kind of habitual thinking we prefer where memorized solutions apply to new situations.

Thus the Ace of Swords can represent the origin of a new habit -- or the groping for a memorized solution that almost applies to the new situation.

More accurately, the Ace of Swords is the moment when you decide if this situation can be handled by a memorized solution or needs something entirely new and different.

The moment right after that is the committment to the course of action, the point of no return. "Now you've done it!"

And the Two of Swords is the moment when you think over what you've done, hoping nothing will happen until you figure it all out!

The ACE OF SWORDS reversed is that exact same moment of tension at the threshold of action -- but without enough tension, without enough potential energy to get the project all the way to the 10 of Swords -- the ultimate consequence of the begun action.

Often, actions begun this way -- ill considered decisions and actions -- take hold of a person because the person is striving mightily to avoid doing something else, or to avoid "feeling" (i.e. Cups) something, or is simply doing too many things at once.

It isn't a particular amount of energy that you must accumulate before you act that makes the Ace of Swords come right side up and a project take off with a bang big enough to reach its necessary end.

Each project requires a different amount of energy, a different amount of committment.

And yes, the Swords represent "committment" -- in relationships, paying off a loan, showing up at work every morning, not drinking too much at night so you can show up alert in the morning, getting through school, staying married to the same person even when things go bad.

So whether the Ace of Swords comes up right side up or upside down in a reading depends a lot on what is going on within the person on the levels of Wands and Cups -- ideas, and emotions -- Fire(wands) and Water(cups) make steam, and steam drives the turbine of life. Working at the level of Swords, remember you are still way above the level of Pentacles which is our everyday 4-dimensional reality, material reality. So we're talking about psychological and psychic energies here in Swords.

The fuel for actions is intentions and the totality of understanding of the universe (what E. E. Smith called, in the Lensman Series, the Visualization of the Macrocosmic All). How well you manage your life will show up in how well matched your selected project is to the amount of "committment" you put behind that Ace of Swords. But it also depends on how shrewdly chosen your projects are -- on whether you've done your homework before selecting a project.

Take the fury of Al Queda for example. It is fueled by religious conviction and the perfectly human sense of right and justice. That fuel is not Swords but Wands and Cups -- and the steam that combination makes drives their swift sword with the full might of human belief.
What will it take to thwart such conviction driven actions?

Now translate that question into the story you've decided to write at the moment when you face the blank page in the Ace of Swords. That question is the conflict which is the essence of story. What it will cost the Hero to thwart the Villain is what your readers want to discover.

In a Romance, the two destined lovers can be each others' enemies (as Linnea's DOWNHOME ZOMBIE BLUES points out) and allies at the same time, against something bigger than both of them -- until they combine forces.

And by the way -- "plot" is Swords. Plot is the sequence of actions the characters take. A deep study of the Suit of Swords might improve your plotting ability by an amount even you would notice.

Jacqueline Lichtenberg
http://www.simegen.com/jl/

Earth as a Vacation Destination: Jorie's view

Writing THE DOWN HOME ZOMBIE BLUES was a fun challenge, predominantly because--and I deliberately did this--I had to view our planet, our cultures, our daily lives through the eyes of someone who'd never been to this planet.

In figuring out how we'd appear to such a visitor--and yeah, I think about this stuff a lot--I was forced to remove all my long-time ideas and knowledge of Life As We Know It. I tried to look at my surroundings with fresh, virginal eyes. Things like traffic lights caught my attention. Why would someone used to space travel even know what they were for? What kinds of misinterpretations could occur? How about our slang expressions? Our ubiquitious, um, hand signals? Our holidays?

In short, I had a ball writing ZOMBIE.

I'm sharing a snippet below. To set the scene, Jorie and her team have arrived at night on the outskirts of St. Petersburg, oops, I mean Bahia Vista, Florida. They have little accurate information to go on about the locale, other than the local language is somewhat similar to another galactic language Jorie is familar with. Similar, but not quite (think Spanish and Portuguese, or perhaps, Spanish and Italian...).

From THE DOWN HOME ZOMBIE BLUES

“Nice work, Trenat.” Jorie laid both hands on the vehicle’s guidance wheel and, looking over her shoulder, offered the young ensign an appreciative smile. He had done very nice work locating a well-concealed storage area of land vehicles and using a combination of mechanical and technical skills to override a series of locks and security devices. All in under ten minutes. Hopefully, determining Danjay’s status and returning him and his critical T-MOD unit to the ship would go as smoothly.

Trenat all but beamed at her from the rear seat, most of his earlier unease gone. “This power pack,” he said, holding out a thin box slightly smaller than her hand, “will create an ignition sequence and activate the engine.”

She followed his instructions as to placement and tabbed on the power. The vehicle vibrated to life, a grumbling noise sounding from its front. “No aft propulsion?”

“No, sir.”

No antigravs either. Well, damn. But when in Vekris, one must do as the Vekrisians do. She draped the headset around her neck and studied the control panel with its round numbered gauges. Other gauges had symbols like those she’d seen on signs as they walked the short distance to A-1 Rental Cars. Danjay’s reports noted that the local language was similar to Vekran, which Jorie spoke along with three other galactic tongues. The two languages shared a similar—though not identical— alphabet which explained why many of the signs she saw didn’t made sense.

As to why the local language was similar to Vekran, she had no idea. That was out of her area of expertise and Danjay’s. His report had noted it and had been forwarded to the scholars in the Galactic Comparative Cultures Division of the Guardian Force.

Jorie was just happy the locals didn’t speak Tresh.

Tam Herryck, rummaging through the vehicle’s small storage compartment on the control panel, produced a short paper-bound book. “Aw-nortz Min-o-al,” she read in the narrow glow of her wristbeam on her technosleeve.

Jorie leaned toward her. Tam Herryck’s Vekran was, at best, rudimentary. “Ow-ner’s Min-u-al,” she corrected. She took the book, tapped on her wristbeam, and scanned the first few pages. It would be too much to ask, she supposed, that the entire universe be civilized enough—and considerate enough—to speak Alarsh. “Operating instructions for the vehicle’s pilot.” As the engine chugged quietly, she found a page depicting the gauges and read in silence for a few moments. “I think I have the basics.” She tapped off her wristbeam, then caught Trenat’s smile in the rectangular mirror over her head. “Never met a ship I couldn’t fly, Ensign. That’s what six years in the marines will teach you.”

The vehicle’s control stick was between the two front seats. She depressed the small button, eased it until it clicked once.

The vehicle lurched backwards, crashing into one parked behind it.

“Damn!” She shoved the stick again and missed a head-on impact with another parked vehicle only because she grabbed the wheel and yanked it to the left.

Herryck bounced against the door. “Sir!”

“I have it, I have it. It’s okay.” Damn, damn. Give her a nice antigrav hopper any day.

Her feet played with the two pedals, the vehicle seesawing as it jerked toward the open gate.

“I think,” Herryck said, bracing herself with her right hand against the front control panel, “those are some kind of throttle and braking system. Sir.”

“Thank you, Lieutenant. I know that. I’m just trying to determine their sensitivity ranges.”

“Of course, sir.” Herryck’s head jerked back and forth, but whether she was nodding or reacting to the vehicle’s movement, Jorie didn’t know. “Good idea.”

By the time they exited onto the street, Jorie felt she had the nil-tech land vehicle under control. “Which direction?”

“We need to take a heading of 240.8, sir.” Herryck glanced from her scanner over at the gauges in front of Jorie, none of which functioned as guidance or directional. “Oh.” She pulled her palm off the control panel and pointed out the window. “That way.”

They went that way, this way, then that way again. Jorie noticed that Trenat had found some kind of safety webbing and flattened himself against the cushions of the rear seat.

“What do you think those colored lights on their structures mean?” Herryck asked as Jorie was again forced to swerve to avoid an impact with another vehicle, whose driver was obviously not adept at proper usage of airspace.

Jorie shrugged. “A religious custom. Wain mentioned that locals hang colored lights on their residences and even on the foliage this time of the year. Nil-techs can be very supersti—hey!” A dark land vehicle appeared on her right, seemingly out of nowhere. Jorie pushed her foot down on the throttle, barely escaping being rammed broadside. There was a loud screeching noise, then the discordant blare of a horn. A pair of oncoming vehicles added their horns to the noise as she sped by them.

“Another religious custom,” she told Herryck, who sank down in her seat and planted her boots against the front console. “Their vehicles play music as they pass. And they’re blessing us.”

“Blessing us?”

Jorie nodded as she negotiated her vehicle between two others that seemed to want to travel at an unreasonably slow rate of speed. “They put one hand out the window, middle finger pointing upward. Wain’s reports stated many natives worship a god they believe lives in the sky. So I think that raised finger is a gesture of blessing.”

“How kind of them. We need to go that way again, sir.”

“I’m coming up to an intersection now. How much farther?”

“We should be within walking distance in a few minutes.”

“Praise be,” Trenat croaked from the rear seat.

Jorie snickered softly. “You’d never survive in the marines, Ensign.”

The book won't be out until November, 2007. But in the meantime, if you want to have some fun and try living in Jorie's shoes for a few hours, look around your world with fresh eyes--outer space alien eyes, if you will. It's worth a grin and a giggle.

~Linnea
www.linneasinclair.com

SF physics and Forensic info

SF Physics and SF Forensics for writers

Fantasy Physics of Star Trek & Bad SF Physics in Movies

The following websites look at the Fantasy Physics of Star Trek.
Lots of good stuff here,

www.physicsguy.com/physandtrek/index.html

members.aol.com/emmagic/private/physics.htm

ssdoo.gsfc.nasa.gov/education/just_for_fun/startrek.html


INSULTINGLY STUPID MOVIE PHYSICS

Here at www.intuitor.com/moviephysics/

More informational/educational websites you might want to check out regarding the basic physics and mechanics of space flight and bad science often used in SF movies.

www.badastronomy.com/bad/movies/spacecowboys2.html

www.badastronomy.com/bad/movies/#list



Trajectories.

When you're trying to intercept another moving object in space with
your space vehicle, you need to calculate the flight plan of the object
you're chasing and figure out WHERE it will be and plot the correct course or trajectory to intercept it.

Then, when you intercept it, you need to match speeds with the
object. At that point it may look to you like you're not moving but
you are. Both ships are now moving together at exactly the same speed.

Here's a very simple simile. Take a merry-go-round. You want
to intercept it at a certain point and jump on it to join one
of the passengers. How do you do this? Do you run straight at the
merry go round and jump on hoping you won't break your neck? Or do you
run alongside of the merry go round until your speed matches it
then jump on?

Each option requires a ton of subsconscious and instinctive calculation of trajectory as you aim to intercept the merry go round at a specific point.

Even if you're writing Space Fantasy/ Space Opera, you still have
to follow some of the basic conventions of flight in space or it'll
bomb, IMHO. Which means, you need spacesuits and space ships
can't STOP DEAD in space, they COAST when the engine power is cut.

The Earth continues to move through space. The moon continues
to revolve around the Earth. The Space Station parked in its
orbit continues to move in order to maintain its position at one
location above Earth.

Definition and general information about trajectories HERE:

www.hq.nasa.gov/office/pao/History/conghand/traject.htm


science.nasa.gov/faq/faq.htm#anchor156390


General thoughts about warp drives here at this website.

www.nasa.gov/centers/glenn/research/warp/warp.html


Another odd factoid is that astronauts have to wear diapers and use catheters in spacesuits if they have to wear them for hours and days at a time.

Here's a website that details how Spacesuits work
inventors.about.com/gi/dynamic/offsite.htm?zi=1/XJ&sdn=inventors&zu=http%3A%2F%2Fwww.howstuffworks.com%2Fspace-suit.htm


If you're in the mood for reading, here's a 28 page very detailed pdf article about spacesuits that includes lots of pictures and diagrams.
history.nasa.gov/spacesuits.pdf



This is one of the reasons why I created selkieskins as bioengineered symbiotic spacesuits for my Sidhe series and for my book The Huntress. It's a lot nicer than wearing one of our spacesuits. LOL.

Why is a lit candle on a space ship a big SF blooper? Is it because of the oxygen content? Does this apply only to space ships nowadays or to space ships in the future as well?


The answer to this question involves the oxygen content inside spaceships and would also apply to the oxygen content inside future spaceships.

Why?

Two reasons:

Reason #1 involves 'da bends' or decompression sickness in space and high altitude flying. The easiest way to avoid decompression sickness is to flood the body and blood cells with a high concentration of oxygen and to maintain this concentration by having an atmosphere inside the spacecraft that has a higher than normal amount of oxygen.

Many people are not aware that decompression sickness or 'da bends' is a very dangerous reality for astronauts.

FAA OFFICE OF AVIATION MEDICINE
CIVIL AEROMEDICAL INSTITUTE
PUBLICATIONS
ALTITUDE-INDUCED DECOMPRESSION SICKNESS
www.2pi.com/les/flying/faa_400altitude.html

The space shuttle is normally pressurized at 14.7 psia (pounds per square inch absolute) or one atmosphere, which is equivalent to sea level pressure on earth. The pressure in the EVA suits is deliberately kept lower-only 4.3 psia or about one third of an atmosphere-to maintain the flexibility the astronauts need to do their work. If the suit pressure were higher, it would be like trying to work inside an inflated balloon.

Reducing the risk of decompression sickness

On the shuttle, a staged technique is used to reduce the astronauts' risk of decompression sickness. First, the astronauts who are doing the EVA prebreathe pure oxygen for an hour, which starts to flush nitrogen from their tissues.

Next, the shuttle's pressure is reduced to 10.2 psia for a minimum of 12 hours-and, in practice, for an average of about 38 hours-before the EVA begins, creating conditions that facilitate further loss of nitrogen from the tissues during that time. Because it's inconvenient for astronauts to continue wearing the mask needed to prebreathe oxygen for 12 hours or more, they go off pure oxygen at this point and breathe slightly oxygen-enriched air containing 26.5% oxygen. Finally, an hour before the EVA, the crew members get into their suits and prebreathe pure oxygen again. If the shuttle's pressure couldn't be reduced for some reason, they'd have to prebreathe oxygen for much longer periods.

(This is another reason why I created the selkieskin spacesuits for my stories. The selkieskins are bio-engineered symbiotes that automatically adjust to the different air pressures just like whales adjust to the different pressures in the ocean and can do deep dives and surface without any problems. I consulted with a ex-NAVY SEAL when I wrote The Huntress. When I explained the concept and abilities of my imaginary selkieskins, the look on his face was like a knight seeing the Holy Grail. )

Reason #2 Any spark of fire inside this type of high oxygen content atmosphere means a very high danger of deadly flash fires.

Here's a chronological series of events and notations from NASA files that illustrates the dangers of the atmosphere inside a spacecraft and why you can't have a lit candle, let alone a lit cigarette inside them.

On January 27, 1967, during a simulated countdown for mission AS-204, a fire inside the command module resulted in the deaths of the three prime crew astronauts, Virgil I. Grissom, Edward H. White II, and Roger B. Chaffee.

January 31, 1967
Col. Charles F. Strang advised the Apollo 204 Review Board of an accident in an altitude chamber at Brooks Air Force Base, Tex., that morning. A flash fire had swept the oxygen-filled pressure chamber, killing Airman 2/C William F. Bartley, Jr., and Airman 3/C Richard G. Harmon. Col. Strang presented a short briefing on the circumstances and was asked by Chairman Floyd Thompson to provide follow-up information.

Lt. Col. William D. Baxter, Air Force Eastern Test Range representative to the Board, advised the group of existing Apollo spacecraft hazards, including:

* high-pressure oxygen bottles that might be pressurized to 335 newtons per square centimeter (485 pounds per square inch) and be subject to embrittlement;
* pyrotechnics on the service module; and
* a launch escape system with a 40-kilonewton (9,000-pound-thrust) rocket motor.


February 27, 1968
NASA officials testified in an open hearing of the Senate Committee on Aeronautical and Space Sciences on the Apollo 204 fire. MSC Chief of Center Medical Programs Charles A. Berry reported that the cause of the three astronauts' deaths could be refined to asphyxiation from inhalation of carbon monoxide, bringing unconsciousness in seconds and death rapidly thereafter. The astronauts were believed to have become unconscious 18 to 20 seconds after the fire began.


FORENSIC INFO for SF writers.

Here are a couple of websites that I find useful. Beware, though: Some of these contain very graphic photos & images.

The Writers Medical and Forensics Lab (Dr. Doug Lyle has been a huge help to many mystery writers on questions of forensics and autopsies.)
www.dplylemd.com


Description of how an autopsy proceeds:
web2.iadfw.net/uthman/Autop.html


www.mysterywriters.org/pages/resources/links/crime.htm#autopsy


www-medlib.med.utah.edu/WebPath/webpath.html#MENU


www.crimelibrary.com/


If you want to know what happens to a dead body in space, go to this webpage.

www.madsci.org/posts/archives/apr2000/956328615.Ot.r.html

Thank you for reading my blog. Hopefully, I’ve helped other Science Fiction writers.

Barbara K.
www.sff.net/people/selkiewife
www.myspace.com/barbarakarmazin
groups.yahoo.com/group/TheSensuousAlien

MATING NET

Alien Invasions and Terran Unity

Barbara's latest post mentioned alien invasions and aliens seeking refuge on Earth. These topics brought to mind the numerous SF scenarios in which contact with extraterrestrials, especially aggressive ones, brings the nations and cultures of our world together as one, overcoming all our age-old hostilities and perhaps leading to a unified Terran government. I've even read a story in which a small conspiracy of scientific geniuses fakes an alien invasion to incite peace and unity among the peoples of Earth. The Star Trek universe assumes a world government and a worldwide multicultural society, as exemplified by the rainbow of ethnic groups on the Enterprise, and we can infer from the ST movies and the TV series ENTERPRISE that humanity's first contact with the Vulcans initiated this process of unification.

Would it happen that way? On a PBS folk music special filmed a few years ago, one group sang a song whose chorus proclaimed, "On September the eleventh, we were all just Americans." I clearly remember that in the first few weeks after the 9-11 attack I felt obligated to be especially nice to everyone I met, because in a sense we were all going through a terrible catastrophe together. And most of the rest of the world rallied in support of us. Of course, as we know, this pervasive feeling of unity didn't last. (Months later, Miss Manners sardonically remarked in one of her columns that it was clear the terrorists hadn't won, because we'd started being rude to each other again.)

Would an alien invasion, or perhaps just the unsettling experience of alien first contact, make us feel that "we are all Earthlings" (in the words of a song on SESAME STREET)? And would such a unifying sentiment have permanent effects on the social and political climate of our planet? I would like to think so, but I fear much of the historical evidence is against it. Isaac Asimov dismissed fears of alien invasion on the grounds that any species advanced enough for interstellar travel would have outgrown aggression and war. How anyone who lived through the twentieth century could believe there's a necessary correlation between advanced technology and peaceful motivations baffles me. It was a nation noted for its scientific and technological achievements that perpetrated World War II and the Holocaust. As any Dungeons and Dragons player learns during the first game session, intelligence and wisdom are two separate qualities.

And yet -- we now have the European Union. We have the U.S. and Russia cooperating on the international space station. Maybe there is some hope for the future we SF fans dream of. If we meet the aliens (when they arrive) as a united Earth, our next step should be to learn to see extraterrestrials as "human," too.

Dragoncon

Anyone going to Dragoncon? I'll be in Atlanta over the Labor Day weekend and am supposed to be on several panels. Please come by and say hello. If you live in the Atlanta area or can fly in at a reasonable cost, this is the conference for Science Fiction and fantasy fans. About 40,000 strong, the con attracts gamers, celebrities from the SF world, movie stars, producers, directors, writers and anyone who wants to have fun. Costumes are appropriate. So is painted nudity. :) And there's a cool parade. A belly dancing drum circle goes to early in the morning. Films play all night. I'll try to bring back lots of pictures and put them up here.

Nasfic 2007

Folks:

I have emerged unscathed from another flying excursion, and have many tales to tell.

Jean Lorrah and I arrived in Collinsville, IL (near St. Louis, MO) the day before Nasfic ( check nasfic.org for current and future nasfics) where we both had jammed panel schedules.

So before the con we spent a good ten hours discussing the framework for one of our projects in terms of what is going on in this world right now.

This time, Nasfic was held in a Holliday Inn near (but not very near) a convention center surrounded by motels clustered at a big Interstate intersection.

In early August in Illinois it was not fun to be walking from hotel to convention center. (triple digit daytime temps, heavy humidity)

To get from Convention center to Holliday Inn (which also had programming in it) you had to use a set of stairs up to a foot bridge over a dry wash, then down more stairs down. The con website hadn't mentioned the stairs, nor did the online info about our Hotel mention there were no ground floor rooms -- and no elevator to bring suitcases up to the room.

All the hotels were booked solid -- there were no alternatives. We ended up in a smoking room (my clothes came home STINKING-REEKING) because that was half the number of stairs than the room we thought we'd booked (the kind of motel room you back your car up to the door!) But it was actually closer to the convention center than the Holliday Inn!

If you couldn't climb the stairs to go from Convention Center to Holiday Inn, you had to circle around on the service roads connecting the hotels -- no sidewalks and much farther.

Failing that, you had to use a car (Jean had driven in, so we could!). There were no restaurants that were easy access for someone in a wheel chair or scooter. These details were not evident in the convention materials.

Fortunately, both Jean and I made our way around without too much real trouble, but others weren't so lucky. This was not a good place to hold a Nasfic, but the convention workers were energetic whirlwinds getting everything done.

Jean and I had talked ourselves nearly hoarse by the time the convention opened on Thursday.

Then we discovered almost none of the panel rooms had microphones, but they did have good sound deadening walls and very cold air. After every panel, we could hardly wait to get outside to warm up.

One of the most well known of the Sime~Gen fans, Kaires, who runs the simegen.com/simecenter/ section as well as simegen.com/sgfandom/ called us when Registration opened on Thursday. We were sitting in our room -- plotting, of course.

Kaires turned up at most of our panels, too, but she was everywhere wearing the starred-cross and our S~G T-shirts.

Thursday evening, we went to dinner with Linnea Sinclair (I finally got to meet her!) and two of her friends who are also writers and in the mundane world, extremely formidable individuals. Linnea is as impressive in person as she is when writing. We traded life stories, and I learned a lot about how to live well.

By early Friday, there were about 2,000 people at the con. The halls seemed much, much fuller on Saturday and Sunday but I didn't get a final total of those in attendance. There was a large gaming track, too.

Most panels were sparsely attended, but I always counted more in the audience than on the panel, and the audiences were alert and involved in the topics.

A memorable highlight was being on panels with Linnea. She has the knack of expressing things in a way that student writers can understand.

When we had time between panels and waiting for the next panel we were on, Jean and I visited the video room.

One time we sat in on part of an Anime showing of a thing called Lucky Star (which has nothing to do with the novel series). It was about several young Japanese girls suffering through the summer and dragging themselves through English courses. Their real passion in life was anime songs, not school. That room was almost empty.

I accidentally ran into Marc Zicree whom I've known for years (he and I were on several panels at Lunacons -- at that time he had worked on Sliders and other Sci Fi Channel projects). So he told me about his screening at this convention of a unique project, a new Star Trek episode done as a STAR TREK NEW VOYAGES (see http://www.startreknewvoyages.com/ -- they have all about the new episode at the top of their page)

So Jean and I made a point of finding the right video room to see Marc Zicree's new Star Trek episode, "World Enough, And Time," starring GEORGE TAKEI.

THAT time, the video room was standing-room-only. They brought in extra chairs, and still there were people sitting on the floor against the walls. When it was over, the room had to empty kinda the way an airplane does!

This episdoe is made with the group of actors who have been putting up the ongoing voyages of the Enterprise on the web for years. Marc connected them with a script that would have been an episode of the broadcast Original series, an episode that would have added dimension to the Sulu character, and so Marc got George Takei connected to the project.

Marc used his production facilities and enlisted lots of volunteer labor while he sent the actors to actor camp where they sweated to master new skill levels. The result is this ultra-low budget production that has polish and style gallore. (you gotta see this thing!)

August 28th, there will be a big premier and breaking news for this Star Trek project. Meanwhile, watch zicree.com and http://www.startreknewvoyages.com/ for updates.

Later, we saw a trailer created by Richard Hatch -- a lot of famous Battlestar Galactica (the re-imagined one) scenes but with behind-the-scene glimpses showing how the music was created and added. Richard Hatch spoke at length about how this and other TV shows are put together. See http://www.richardhatch.com/ for more about who he is and what he's been doing lately.

We dropped buttons, flyers, and temporary tattoos related to Sime~Gen at the EPIC table (the organization of professional e-book writers) -- and later, when I checked back, I found that some people had been asking for me. Later, we met Linnea at the broaduniverse.com table and she asked us to join.

When Jean picked up the left-over flyers and buttons -- there weren't many left!
I spoke to several authors who had been with the now closed Meisha Merlin publishing company. We all have such similar stories to tell!

Jean Lorrah and I did a short podcast for "Fear The Boot" RPG podcasters who were doing a special series on Nasfic more than for gamers though gaming was big at this convention. We talked about the various things people can find on simegen.com, from Intimate Adventure to writing lessons, and more about the future of the fiction delivery system. ( http://www.feartheboot.com/ )

I found a table where they were selling NEW Blakes' Seven episodes made for RADIO broadcast - sound only. Wow. It is unbelievable what is being done with all these media. I gave them a flyer of my vampire story that was broadcast as a radio episode.

Jean had driven in, so she brought her laptop with video player in it.

I brought a DVD of Lady Magdalene's (a very low budget film starring Nichelle Nichols) (which I like a lot, but that doesn't make me uncritcal) a film just finishing lab work and now seeking theater release. See more on that at the bottom of the index page for 2007 in my review column -- http://www.simegen.com/reviews/rereadablebooks/

So Wednesday night, before the con, we watched Lady Magdalene's.

Jean and I discussed that film, contrasted and compared it to the Lucky Star Anime episode, and a DVD film which was low-budget and made by and for gamers which Jean found at another sales table at the con.

So our discussions toward the end were contrasting and comparing a host of low budget video projects with widely varying production values and script qualities.

For us, this was a weekend of heavy immersion in the visual side of story-telling. For others, this convention was all about books -- and very interestingly, was less hostile to SF-Romance than I've ever seen before.

Live Long and Prosper,
Jacqueline Lichtenberg
http://www.simegen.com/jl/