• Firearms, Self-Defense, and the Law: Information for Writers Plotting a Gun Scene

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    Your heroine is in a spot she could never -
    would never - imagine finding herself. Sure, when she bought her gun  it was with the thought that it was for  self-protection - but it was a distant thought, one that didn't comport real conviction. Now here she was loading her ten precious silver bullets into her magazine, sliding it into place, ready to take out the werewolf pacing outside her bedroom door.

    In your fictional work, laws don't just go away. You will need to research the area in which your heroine lives and have her come to some decisions about her own conduct. In Janet Evanoviche's Stephanie Plum series, Plum disobeys the law by carrying a concealed gun - that she has no intention of shooting or even brandishing. Plum relies on the fact that she has dumb-luck (and a hunky police investigator boyfriend) on her side to keep out of jail.


    What choices will your heroine make? 


    Legal or Illegal? How does your heroine get a gun in her hand?
     * If she is buying a gun she must  fill out BATF form 4473. 
        This form includes information a bout the buyer, the serial
        number, and a description of the firearm. (Not applicable to
        private sales - obviously, if your heroine is getting it from 
        Crud Murphy in the back alley, she won't be filling out a form)
     * There are legal reasons why your heroine may not be able to
        follow the straight and narrow. It is illegal for her to buy a gun if 
        she :
         ^ Was convicted of domestic violence
         ^ Has ever had a court ordered restraint
         ^ Was a United States Citizens then renounced their
            citizenship.
         ^ Was discharged from the armed forces dishonorably
         ^ Is addicted to a controlled substance
         ^ Is illegally in the U.S.
         ^ Is fugitive from the law
         ^ Was convicted of or under indictment for a crime that carries
            over  a year in jail.


    Legally possessing and legally transporting a gun are two different things.

    Federal law prohibits guns in federal buildings such as
       post offices, some military installations, some public lands.
    * The area your heroine lives will determine if she can open carry,
       conceal carry, whether she can only have her gun in her home or
       if she can have it in her yard/on her property.
    * Gun safety laws are important to how you lay out your plot line.
       If your heroine's jurisdiction  requires her to have a gun lock - can
       she get access to it in time?  Especially under high-stress 
       circumstances? Remember that  violent acts usually happen close 
       and quick. Did she prepare for  that by having her bedroom set up
       like a safe room with steel  doors? Does she decide to ignore the
       law and keep the gun under h er pillow? You might just have her
       shoot the serial killer and  have her butt dragged to jail. Isn't that 
       an interesting twist?


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    The Use of Deadly Force in Self Defense


    The "Reasonable Man" Standard - What would a reasonable man (or heroine) do in a given situation. This is the standard that is placed before a jury. What seems reasonable to a person in the heat of the moment - with tunnel vision and other physiological and psychological factors running amok - may not seem so reasonable to those 12 who are rendering a verdict.

    Reasonable Force -  The amount of force your heroine uses to defend herself can't exceed what is called for to get out of the situation. If the heroine hit the guy on the noggin with her fry pan, she can't pull out her gun and shoot the unconscious villain in the head to have it over with. While she may feel it's a reasonable response after all the heartache he's caused her, the courts would disagree.

    Use of Deadly Force 
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    - In order to lawfully use deadly force. Your heroine must be the innocent victim of an imminent attack that threatens her life or the lives of those around her (her children for example). The threat has to be deadly and not about property. Sometimes other responses are requires by law - living outside of D.C. I would be required to attempt a retreat prior to using force, for example.

    Brandishing - Is when your heroine displays her firearm in a threatening or aggressive manner; this action is illegal for the most part. Let's assume for a minute that your heroine is confronted by her crazy ex who hisses in her ear, "I'm coming after you. I'll toy with you then kill you and laugh as I burn your body." YIPES! Your heroine cannot pull out her gun and point it at him and say, "I'll be waiting." 1) that's brandishing and 2) that's provoking which means that if he does come after her, she is not an innocent party. So if anyone heard that exchange, she's in deep doo-doo if his body is splayed across her kitchen floor.

    Castle Doctrine - "a man's home is his castle" and he has every right to defend it. This is the law in many jurisdictions such as Texas. In your home  you are not required to retreat from an attacker. Also, in some places this law protects you wherever you are staying such as a hotel or friend's house.

    Cessation of Threat - Your heroine is entitled to use deadly force against the attacker as long as she is still being threatened. If the zombie fled, surrendered, or collapsed in a pile of entrails, lethal force must stop.

    So Your Heroine Shot the Bad Guy, Now What?

    * In all jurisdictions if a shooting results in injury or death it will be
       investigated by the police.
    * Anything your heroine says can be used against her
    * She has the right to be quiet - though she may not have the right
       mental  state to exercise her right. But sometimes less is more
       until  she  talks to her attorney. Yes, she is going to need one.
    * If your heroine knew the person or quarreled with the person
       even if she was protecting herself - she may have acted illegally.
       (though many will say they'd rather be tried by 12 then carried by
       6) your heroine needs to think about that in advance and take
       precautions. In the trial was her only precaution to buy a gun and
       take one-on-one classes in quick draw? Uh-oh. Putting in a
       security system, getting a dog, putting up lights, filing for a 
       restraining order all of the OTHER steps she took to harden her 
       surrounding against attack will go in her favor.
    * Your heroine is not going to get a pat on the back and a 
       handkerchief handed to her. She will probably be arrested, 
       booked, fingerprinted, and photographed. She will be put in a
       cell  where she will wait until charges are dropped or bail posted. 
       This  could take several days.
    * The police may take the heroine's gun and any other gun in the 
       house since she is a suspect in a homicide (or if the villain lives
       she will have committed  assault with a deadly weapon). And if
       the villain lives, his side of  the story might be vastly different
       than  your heroine's. (ballistic forensics LINK)
    * They will probably fire her guns for ballistic impressions if they 
       are trying to make a case against her.




    * An area where a shooting took place may (probably will be)
       treated as a crime scene. As the police run through their normal
       evidence collection (crime scene 101 information), they will
       cordon off the area and only the police will have access. This can
       go on for days or even weeks. Does your heroine have someplace
       else to stay?

    * If your heroine carries in a state that requires a gun permit, she
       may have that permit suspended. Uh-oh. She killed the villain 
       and  now his brothers are after her in retribution. Now what 
       choices is she going to make? 

    * Criminal Trial - is possible

    * Civil Suit is almost inevitable - as the family steps forward and
       tries to sue your heroine for killing their sweet baby. Just the
       legal  bills will be thousands. (Check state law.)

    I hope everything turns out great for your heroine and she gets to live happily ever after. Thanks for reading. If you have any questions or comments you can leave them below. If you find my blog articles to be helpful, I'd appreciate you helping me spread the word by using one of the social buttons below. I truly appreciate it. Happy plotting!

    Cheers,
    Fiona
    As always, this is a non-political site that is geared to help writers write it right. I am presenting information to help develop fictional characters and fictional scenes. In no way am I advocating any position or personal decision.
    Information for this blog article comes from NRA Guide to the Basics of Personal Protection in the Home, (2000) National Rifle Association of America
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  • Them's Fightin' Words! Writing Fight Scenes Right with AJ Scudiere

    Fight Scene Example 3
    Fight Scene Example 3 (Photo credit: Wikipedia)
    I recently met AJ Scudiere at the Writers' Police Academy where she helped to demonstrate how to remove a gun from someone's  hand and just how lethal a knife can be.

    AJ, can you tell the ThrillWriting crowd about your background?

    AJ - 
    I was a dancer for over 20 years, pointe, modern, tap, etc. as a performer, teacher and choreographer. Now, I'm a writer, with 6 released books and over 20 best fiction or suspense of the year awards.

    Fiona -
    Very nice to have you. What a treat. Our topic du jour is getting a fat lip. Let's talk about reading first. AJ, when you read fight scenes, what makes you skim over the words?

    AJ:
    *Obvious writer techniques for breaks in action - like the character
      pulls the trigger, and we stop for a mental review in a way that
      doesn't flow. 
    * When I start rooting for the antagonist because the hero gets
       really dumb all of a sudden and doesn't even know it.
    * And sudden shifts in character, setting or even gravity i.e. we
       need a knife, so our southern housewife was just carrying one
       down a dark alley for no reason.

    Fiona - 
    YES! Or suddenly has a skill-set that takes years of practice to develop.

    BTW, t his Southern housewife ALWAYS carries a knife down dark alleys.  

    Can you talk about pacing? What are some effective pacing points you can offer so that the fight has the desired impact?


    AJ -
    There's a common saying that fast things happen slow and slow things happen fast, and while that's a good general rule, it can be tiring to read something consistently set up that way. 

    I find good writing reflects what's going on in the scene: introspection gets long sentences with heavier clauses and bigger vocabulary. Fights often go by with short, clipped sentence structure. This is often a good time to use fragments, commands, and other very short pieces. Vocab should stay short and ideally even contain words with sharp or harsh sounds when read aloud.

    Fiona - 

    Can you give us some fight scene sentence examples?

    Fight Scene Example 2
    Fight Scene Example 2 (Photo credit: Wikipedia)
    AJ
    His fist was lead as it plowed into her cheek.  She reeled. Gulped for air.


    Fiona - 
    How do you like to lead into and out of fight scenes? 

    I know it's not formulaic - but there is a decided shift in real life fight events (to read about the body language of aggression, go HERE)   you're eyeing your opponent, experiencing feelings, and then there's a trigger...

    AJ -
    This really plays back to that tunnel vision Eli Jackson was talking about. (See Eli Jackson's blog article HERE) When I shift into fight mode (IF I shift--sometimes I just open a chapter in a fight) then the scene starts wide and narrows. I tend to follow the characters' thoughts. So in many cases, there's a house, a room, a scene. Then as the fight begins, things shift scope. There's a lamp we can grab and wield if necessary. The gun at our back (or not, depending on how things go down) . . .

    Fiona - 
    A fight scene is short on the page but long in planning - can you walk me through the process (knowing that you have a sister-ninja at the ready).

    AJ -
    I literally walk through the scene. My family likes to ask if it's a new dance. They usually get a dirty look from me, then get told to join me, so they can play my victim or something. I'll ask/make my husband stand with his arm out in a punch so I can see if I can grab his arm and how much effort it would take to pull or push someone his size. I also head down to the karate school and grab my two favorite ninjas (one is my sis, both are avid readers) to walk a scene for me. I always know what I want before I go in, and I always find out I'm either wrong, off base, or really had no idea what I wanted.

    Fiona - 
    LOL - I was just working with a co-author over Skype and telling him about slicing an artery. He would NOT believe me. So I grabbed a daughter (2nd degree black belt) and a marker and told her to act out the scene to show him how she'd fall. My writing partner was horrified. So much fun!

    AJ - 
    Yup - that's pretty much it. I don't understand why other people don't see how much fun it is. Afterward, I say thank you and happily bop up the stairs to my office and proceed to murder folks on paper. Good times. 



    Fiona - 
    You are helping to put together the writing/fighting weekend - what kinds of things as a writer did you feel it was important to make sure were included - the things every fight-scene writer should experience rather than make up in their imagination?

    AJ -
    I've added more of the "who" to have. I.E. we need someone who will teach X because so many writers use this type of weapon in their story. I'm on a handful of writers' forums, and I see the questions writers are asking. I'm making sure we are addressing fight needs across genres. Also, I'm making sure our writing classes fit writers' needs, too. Not just a big name to come in and tell a funny story but to teach something specific about fight writing.

    Fiona -
    What are some of the most common questions that writers ask about fight scenes - AND what weapons are they asking about. 

    AJ - 
    Right now, everyone is clamoring for longsword. Not only do we have longsword teachers and demos, we have several eras represented. Though no one asked outright about this second topic, the one that most makes writers light up is when we mention our physicist who will be teaching about lasers and a separate class for space/anti-gravity fighting.

    Fiona - 
    Whoop! A physicist teaching AND anti-gravity fighting!!!

    When you're writing a fight scene, how much research do you do? And, what does research look like to you?

    AJ - 
    It takes a lot more to get it right than people think. I can swim, but I don't jump in the pool and think I'm Michael Phelps. 

    A lot of people don't realize that when writers slap things on paper, we get called on it, just the same way anyone else does when not giving their craft/job the work it requires. 

    It's my job to get it right. And I work really hard to make sure that everyone, fighters included, can read my books and not get pulled out of the story by errors.

    (Watermelon) Citrullus lanatus
    (Watermelon) Citrullus lanatus (Photo credit: Wikipedia)
    Research takes many 
    forms. In a lot of cases it can be done at the computer and involves reading or watching videos. 

    But whenever I can, I go hands on. I lived in a firehouse for a while, and went on every call. I went into a police station and interviewed people at all different positions as well as rode along for over 24 hours. I shoot things, I break into my own house, and I've murdered a handful of watermelons.

    Fiona - 
    Can you tell me the story behind your favorite scar? (If no scar, then favorite harrowing story.)

    AJ - 
    No scars really. calluses on feet from spinning on hardwood barefoot for years.

    Most harrowing story: I was in the the grocery store (with my then 6mo old infant) when two masked men came in and gunned down the two Brinks Guards there to pick up the daily cash. It was planned, they were never caught, and it happened 8 feet away from me. 

    I learned that, no, you won't necessarily recognize gunfire when you hear it. And that traumatic situations are just that . . . shocking, out of nowhere, and very disjointed in our interpretations of them

    Fiona - 
    WOW!

    Since you were there as a mother - what did you do first?

    AJ -
    I ran first. Major props go out to the store personnel who knew what they were doing. 

    They filtered everyone out through the back door in a relatively orderly fashion considering the multiple murder at the front of the store. I'm pretty calm in a tough situation, so I carefully unhooked the car seat from the cart. I remember hooking it into my elbow, thinking my son was heavy, and he would bounce more there, but I'd be able to get farther hauling him. I remember he laughed and thought it was fun.

    Fiona - 
    And I thought this interview was fun! Thanks AJ.

    Are you interested in learning hands on how to write it right?
    A.J. and Eli want to help ThrillWriting readers get to their conference. If you plug in the code: J6ZGKT when you register, they will give you $25.00 off the registration price - and it's already priced to make it affordable. Here's the LINK

    Also, if you have any questions or comments, please leave them below. You know I have to watch for SPAM so they will NOT go up right away. Also, if you find my blog helpful, please share with your friends. Social buttons are just below. Happy plotting.

    Cheers,
    Fiona

    See original post...
  • BAM! SLAM! KURSPLAT! How to Write a Fight w/ Martial Arts Hall of Famer Eli Jackson

    Eli Jackson is the smaller fighter on the right.
    Ah, but there's POWER in her small frame - and mastery.
    Don't mess with the best.
    Let's fight it out!

    Fiona - 
    It's fun to imagine and write a fight scene - but fight scenes, just like the other details in your book, have to make sense and be as accurate as possible. There are real life fighters out there who will put your book down if you're writing garbage strikes and kicks. To save you from bad reviews, I've invited Eli Jackson to visit with us. 

    Eli, please tell us about your background.

    Eli - 
    I have over 30 years of martial arts experience in Tae Kwon Do, Isshinryu, and MMA. I was ranked 3rd in the world in fighting and 4th in forms for 2 years by NASKA (North American Sport Karate Association). I was a member of Team Pepsi when I competed. I have been inducted into 2 martial arts Halls of Fame. I currently hold a 3rd degree in Isshinryu and a 3rd degree in MMA, and I have taught martial arts for over 15 years.

    I also have over 10 years experience running large events and coordinating multi-day conventions.

    Fiona -
    From a technical POV, when you read fight scenes what makes you skim past all the words?

    Eli -  
    * I skim when authors get it 
       wrong. I hate reading that 
      someone  took 20 punches, 
      wiped a bit of blood from their
      lip and kept on  swinging. 
    * I also skim when someone puts
       in too much detail. It's as if 
       they  did the research and you
       (the reader) NEED to know 
       that they did i t, so they include
       every single detail they ever
       learned. It's an  action scene - it
       needs to keep the pace.

    Fiona -
    I just read a book where the guy survived a bomb blast, pieces from the surrounding structure were embedded in his leg. He dug out the pieces, end of information. Seriously, he ran miles and had maybe five fights, and they never mentioned his thigh again. 

    Can we talk for a moment Eli about the after effects of a fight? How does someone feel? - How long is recovery? Any tips you can offer?

    Eli -
    This is something that authors often get wrong. It takes time for bruises and breaks to heal. It often takes lots of rest and sometimes physical therapy. But that's boring, so I understand why writers sometimes skip that part. 

    If you want to be realistic at all, you have to have some of that. We've all had scrapes and scratches, and we know how long it takes for them to heal.

    One thing people miss is the general scars from training. Especially guys who train very hard all the time, they have crooked noses from breaks, and they have what we call "cauliflower ears" where their ears have turned inside out from being rubbed on the mat. They aren't usually the hot, sexy guys authors make their heroes out to be.

    Fiona - 
    I know my knuckles are often bruised and raw. You do not have a crooked nose or cauliflower ears - how does training show up on your body?

    Eli - 
    I train using equipment (padding and gloves), and I don't go full out. I'm not in a cage going 75% on a daily basis. But I don't have cage matches to prepare for, nor do I fight in kickboxing matches where people consistently get knocked out. So that's why I don't have those types of injuries.

    But I do have injuries. I injured my shoulder a couple years ago. I ended up having surgery to fix it, and it still isn't 100%. I was in a sling for weeks and unable to use my arm much at all for months. I still have lingering pains, and I may never do a push up again. Time will tell.

    Fiona -
    Let's talk about that - old injuries. I have cadaver parts in both of my knees from fights that went badly. Though they are supposedly even stronger robo-knees now, I am hyper protective of them in fights because each took me a year of painful recovery. 

    You have shoulder issues - does this change how you fight, and how a character would approach a fight? 

    Eli -
    A fighter is DEFINITELY protective of injuries (trained or not). It's built into us. For me, I use my other side more. I'm not as fast with my left arm and when given the option, I will use my strong side whether in a stand up fight or on the ground. My options are more limited based on limited strength. And if anyone starts to attack that part of my body (shoulder locks are not uncommon in a trained ground fight), I am extra protective.

    Fiona -
    Let's talk timing. It will be different with trained fighters v. fighting-for-her-life fighters. But these fights don't/can't go on very long. Can you offer some basic timing parameters?

    Eli - 
    A real fight can end after only a couple of well placed blows. A trained fighter knows that they aren't doing their job if a fight goes on much longer than that. A bar fight, however, could go back and forth for a while.

    Timing will vary tremendously based on who is fighting. Two untrained fighters could have any length of fight. It depends on how much damage they're willing to do. Are they wrestling around? Is one trying to force the other to do something? Does one care if the other lives? Is it an all-out brawl where one or both is fighting for their life?

    As an author, try running in place for 60 seconds. When you do it, lift your knees above your waist and keep the pace up as fast as you can. That's what it feels like to be in a fight. 

    Adrenaline helps, but only so much. It gives you a great burst up front, but it also drains you faster than normal. 

    A real fight won't go more than 2 min and MOST fights are going to be maybe 30 seconds. Granted, there are ALWAYS exceptions, but a good rule of thumb is to put yourself in your character's shoes and ask yourself how much their body could handle.

    Fiona -
    What does it really take to knock someone out? How long until they usually get up?

    Eli -
    It takes training or luck to knock someone out. While a trained fighter knows where to hit and how to strike, the ability to do that on a moving opponent is extremely difficult. With that said, we've all seen it happen. So it can be done. It will happen more for a trained fighter, but it isn't a given.

    How long it takes to get back up depends on the strike or choke and it also depends on the person who went down.

    Fiona -
    Eli, we met at Writer's Police Academy, and I pointed out to a fellow writer that you stand with your weight on your back foot and your front foot is ready - like a sheathed weapon. 

    You're getting ready to have your own writers' weekend. Can you tell us all about it and maybe share a few tidbits that writers might pick up while there?

    Eli - 
    I feel like all my answers about fights are "it depends," but that's just kind of true. Every situation is different. This is why we recommend talking to someone about your specific scene. Getting it right is harder than just using some general guidelines.

    I am the CEO of Griffyn Ink Publishing. I have over 15 books published currently. I am not a writer, but I am an avid reader. I believe in giving authors the opportunity to present the stories they want to write, so my authors have a lot of freedom. We try not to make them write something simply because someone somewhere thinks it might sell. We want quality writing and great stories.





    We are putting together an amazing weekend full of fighters and business professionals to show writers how to write fight scenes. 

    We want them to see the different types of fighting up close and ask the experts questions about their specific scenes. 

    We will have martial artists, military professionals, physicists (teaching a class on space battles, specifically gravity and lasers), a doctor (to discuss what happens to the body), gun specialists, historians who specialize in weapons, and so much more. 

    We are also bringing in NY Times best selling authors (Sherrilyn Kenyon and Jon Jefferson) to discuss how to write tension and hand-to-hand scenes. We will also have publishers, artists, publicists, and brand managers.

    But our coolest feature is Rent-A-Ninja. Attendees can work with 1 to 3 ninjas to play out their very own scenes and ask questions. Our trained fighters will walk through what the writer has in mind and offer suggestions. The writer can also see and experience what things really look and feel like.

    Fiona - 
    This is such an exciting opportunity - can you tell us when and where and give us the link?

    Eli - 
    We will be in Nashville, TN April 17-19 at the Inn at Opryland. The link is www.AuthorsCombatAcademy.com

    Fiona - 
    Eli - we always ask this question - tell us about your favorite scar. 


    Eli - 
    I have 3 small scars on my left hand where I was drug across a driveway trying to break up a dogfight. I think it lasted about 7 or 8 seconds, but it felt like an eternity. 

    It was amazing how the chemicals released in my body made me hyper-aware of everything going on and seemed to slow down time. 

    I was afraid, but not enough to get out of the fight. W hat surprised me even more was the time it took afterward to feel "normal" again. It was almost 24 hours before I didn't feel like I was high on something and hyper-alert. And I still remember what happened very clearly as if it is burned into my brain.

    Fiona - 
    As we close, what piece of information do you wish all writers knew BEFORE they constructed a fight scene?

    Eli - 
    I hope all authors know that there are details that they don't know. They need to talk to someone before they write a fight scene. The mistakes are glaring to anyone who knows what is going on. 

    Body mechanics play a huge part in a fight, as do angles of attack, reaction times, counters, state of mind, etc. Seeing it done (even in a mock situation) and understanding WHY it happens the way it does will make it so much clearer to the writer.

    BEFORE conducting a fight scene, try it. You don't have to actually hit anyone, but stand in front of someone and see how you lift your arm and how you guard your body. See where your strike will fall and how your opponent would react. See what that sets up for the opponent to do in reaction.

    Fight scenes are like chess matches. Every move dictates the board for the next move. I can't plan to use my favorite choke hold unless the opportunity presents itself. I can do things to set that up, but my opponent may see an opening I didn't realize and the whole scene changes instantly. Fights are reactionary because the playing field is constantly changing.

    Fiona -
    It's a chess game for a trained fighter. I know you probably can't remember this far back in your fight career - but adrenaline has a way of making you do stupid stuff, and you end up being very reactive.

    Eli -
    You absolutely do! It's reactionary for everyone. A trained fighter just has a toolbox to work from and knows which tools to use for which situation.

    Fiona -
    One last question, can you tell us about tunnel vision in a fight and if someone questioned you (the police) afterwards what would you be able to tell them about what had happened?

    Eli -
    Tunnel vision is extremely common when you are threatened. Your brain puts all it's power into the threat, and so you can become extremely aware of every little detail about that one thing, excluding everything else around you. 

    That's why it can feel like slow motion: because you took in so much information. Later, if you were talking to the police, you might remember exactly how the fight went, but you might also not remember anything about the person yelling at you from 2 feet away the entire time or even the person who tried to pull you out of the fight.

    Fiona -
    And that detail might turn out badly - especially if it is a police officer ordering you to stop. It's very possible you never heard them. Or never saw the man with the gun coming up on your right...


    ThrillWriting friends, are you interested in learning hands-on how to write it right?

    Eli Jackson wants to help ThrillWriting readers get to the combat academy. If you plug in the code: J6ZGKT when you register, they will give you $25.00 off the registration price - and it's already priced to make it affordable. Here's the LINK

    You can also reach Eli Jackson on Facebook LINK
    and Twitter @AuthorsCombat

    Also, if you have any questions or comments, please leave them below. You know I have to watch for SPAM, so they will NOT go up right away. Also, if you find my blog helpful, please share with your friends. Social buttons are just below. Happy plotting.

    Cheers,
    Fiona


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  • HOSTILE CROWDS – Would Your Character Know What to Do? with Terrorist Specialist Rock Higgins

    Demonstrations and riots, Paris, France (place...
    Photograph by Mikael Marguerie, see Flickr file
    (Photo credit: Wikipedia)
    This guest post is from ThrillWriting's good friend Rock Higgins.

    Rock is an Executive Protection Operator (Bodyguard) he works a 7 day on 7 day off rotation for an international businessman and his family. As he oversees 20 guys, it's pretty busy as Rock travels worldwide.

    Rock is a Certified Anti-Terrorism Specialist.
    He trains businesses in anti-terrorism procedures. he also teaches civilians, law
    enforcement, military and bodyguards in close
    quarter combat and now, of course, he writes.


    Fiona - 
    So Rock, I was just reading and Alafaire Burke novel where her hero was caught in a riot situation. It was an awesome way to develop the plot. Can you give my heroine some pointers for survival? 




    Rock - 
    Demonstrations are popular these days. At some point, somewhere, there will be someone demonstrating.

    Most demonstrations are peaceful, while others are not. Even peaceful protests can turn dangerous. 

    Perhaps your character is attending a demonstration and those who would prefer a more militant form of protest infiltrated the crowd. 

    Perhaps your character is in an area where a peaceful demonstration turns into a riot then she must be able to respond and not become a victim of either the rioters or law enforcement.

    To start with, here are a couple of fundamental questions:
    * Did your heroine check with LE in her
      local area or the areas she is travelling to
      check on demonstrations of whatever
      nature?
    * Does she know her local area like the
       back of her hand, but what about the
       areas she regularly visit, or on a one-off
       visit? 
    * How quickly on arrival does she 
       familiarise herself with the area?


    Hostile Crowd

    Armenian Presidential Elections 2008 Protest D...
     (Photo credit: Wikipedia)
    No need to explain the definition, the name says
     it all. There are though different types of crowds. Knowing how the crowd developed is an important factor.
    Here is just a short list:
    * Protest marches
    * Static Demonstrations
       (picket lines)
    * Football (soccer) Matches
    * Sales Queue
    * Funerals
    * Stag Parties
    * Music Events
    * Counter Demonstrations
    * Fox Hunts
    * Mostly anywhere that there are bars, nightclubs and alcohol

    This list shows you that these types of events occur mostly outside and mainly in an urban setting but can also happen in rural settings. Demonstrations can also happen indoors. Static demonstrations, for example, where groups occupy buildings, often turn violent when security evicts the protesters.


    Demonstrations and riots, Paris, France (place...
     Photograph by Mikael Marguerie, see Flickr file (Photo credit: Wikipedia)
    For anyone caught in a hostile crowd situation, the main aim is to vacate the area as soon as possible. In order to leave safely, your heroine might have to wait for a clear opportunity. In some cases, waiting is too dangerous, and the only solution is to go through the crowd.

    Anyone can become a target in a hostile crowd situation - civilian, executive protection operator, military and law enforcement personnel. Whether on foot, or in vehicles, bad luck or bad planning can land your heroine in a life-threatening situation.

    * Tip – If your heroine are in a vehicle, keep all the windows up 
       and locked. 


    * If your heroine is on foot, then  she should walk NOT run.
       Running attracts attention from both rioters and LE. Remember
       that during riots there are no rules. Rebels have killed, raped,
       beaten and robbed. The less attention she can bring to herself the
       better.

    * Parents who have children must act like a close-protection team 
       in this situation. The team would give all round body cover and
       walk through the crowd to the recognised point of safety.

    * If as a parent, there is one child who is small enough to be
       carried, then the mother should carry the child. The father will
       cover both mother and child. He will defend them if attacked. 
       Others suggest that the father should bear the child because he is
       stronger. That is wrong, unless the mother is more combat
       effective than the father is.

    * If your heroine is protecting two children, then if possible the
       mother should carry one and the father the other. If an older child
       is present, the parents should be covering all with the older child 
       in the front. Remember, it is even more imperative to have 360-
       degree awareness in these situations. Break down movement into
        bounds (Move from one protected spot to the next)

    * Teamwork is all-important here.

    * If your heroine is in a location where she can carry a concealed 
        firearm as a civilian, she should not have her weapon free. LE is
        not going to take chances upon seeing it. Have her hand on her 
        weapon if the situation warrants it, but she should not have it 
        presented unless she has to use it.


    Protesters clash with riot police on November ...
    Protesters clash with riot police on November 7, 2007. (Photo credit: Wikipedia)

    * Buildings in proximity to
       the riot are not safe. 
       These will no doubt be
       broken into and looted.
       Moving to higher floors in
       the building is not a good 
       idea as the risk from fire 
       and smoke from the 
       ground floor can cut off
       any escape and be deadly.
       If your heroine needs to 
       use buildings in proximity, then use them to get to further buildings. Look for fire exits at the rear of 
      the building, or windows that she can smash, to put distance
      between her and the rioters.

    * One thing your heroine should not do is walk towards the police
       line. If there are officers nearby, then seek help. However, 
       remember, rioters and looters will want to take on the police, and
        she will be between both.



    Friendly Crowd

    Now I know you are asking yourself, “How can friendly crowd be dangerous?” Unfortunately, they can be quite risky and more so because the expectation was that the environment was safe.

    Think of a crowd of screaming fans of the pop group, film star, or other celebrity. They are pushing, crushing, or running to get to their idols. Because fans do not expect violence, it can be a traumatic and sometimes a deadly experience. Hysteria soon catches on: and in a sudden rush, your heroine can lose those with whom she came and end up under foot.

    Events with metal barriers or fences can also cause crushing problems for those at the front as fans from behind push forward. Your heroine should plan for safety, as well as, planning for a good time.



    I have seen soldiers have their weapons nearly taken from them in a hostile crowd during full-blown terrorist riots. I have been in sports stadiums accompanied by family members when football-hooligan clashes broke out. I have worked through friendly as well as hostile crowds as an executive protection operator.

    It can happen to anyone.




    Fiona - 
    Thanks so much for sharing that information. If you're a writer trying to figure out the tactical points and mind sets of protection details - or you just need a great way to twist your plot line. I HIGHLY recommend getting yourself a copy  of Rock's books. Meditations of a Modern Warrior
    and Meditations of a Modern Warrior II.  Here's the LINK

    ***Also, Rock has very generously offered to help with specific plot line issues. You can leave them below.

    Thank you readers/writers for stopping by. You can leave any questions or comments below - just remember I monitor for SPAM so it WILL NOT show up right away. Also, if you find my blog to be helpful, I'd appreciate your sharing it with your friends. I have some social buttons below. Happy plotting!

    Cheers,
    Fiona
    See original post...
  • 'Ho 'Ho 'Ho - Is There a Prostitute in your Novel? Information for Writers

    English: Prostitute waiting for customers. Esp...
    (Photo credit: Wikipedia)
    This information was provided by a police officer who works undercover. Her name was withheld to protect her safety. I'll call her Officer Sable

    Sable works street level prostitution reversals. That mean she acts as a prostitute to catch the johns.

    What is the purpose for arresting the johns?

    If the johns go away from an area:
    * prostitution goes away
    * drug use diminishes
    * homicides go way down
    * robberies decrease
    * diseases decrease

    Prostitution brings to the communities:
    * a public nuisance
    * increased assault charges
    *** informants ***

    Picking up the johns deters future johns. 
    * The john is arrested and transported to jail. 
    * Their vehicle is impounded. 
    * They need to call someone to get them out and give them a ride -
        this is embarrassing. Sable says that many of the johns she helps
        to catch are religious leaders, in the educational field, and
        husbands/fathers. Their arrest can have ramifications on their job
        and their ability to be involved in their children's activities such 
        as coaching or scouting. 
    * One of the deterrents that they use is to put pictures of the
       prosecuted johns out in the public ex. in the newspapers.


    When they are on a sting{
    * They spend days doing surveillance on the area. 
    * There is a sweep of all the known prostitutes to get them out of 
       the area so there is no competition for the johns.
    * There is a lot of planning/strategizing. 

    The team consists of about 30 people :
    * Undercover - a female officer acting in the capacity of a street
       level prostitute. Stays "in character" no matter what. She must
       have the ability to act. She must be adaptable to the situation.
       Before she goes out Sable has to prepare herself mentally for the
       challenge.
       `You have to look the look and walk the talk - be believable.
       ` Dress the part - NO makeup. No jewelry. Nothing flashy.
       ` This is NOT pretty woman - she is UNBATHED, very dirty.
         Sable wont wash her hair for a week before she goes out. And
         once she's dressed she rolls around in the dirt.
       
    * Lead Investigator - head coordinator  of the operation, typically
       operates the surveillance equipment in the van. The Lead will
       assign the locations of all the other team members. This is the
       person who can hear the undercover and will signal the others
       when the case is made and tell them which direction the john is
       travelling.


    Prostitute talking to a potential customer in ...
     Kay Chernush for the U.S. State Department (Photo credit: Wikipedia)
    * Surveillance Team -  
       Plain  clothes. 
       Plain vehicles
       positioned in close
       proximity. When the
       undercover is done for ,
       officers  the day, the
       undercover will walk over
       to the car and talk to them,
       as if they were a john then
       get in and drive away and
       this way she maintains her
       "character."
       They periodically drive by the Undercover and maintain visual
       contact for safety.

    * Arrest Team - uniformed officers, marked units
       positioned just outside the target location.

    It is becoming more rare to find a prostitute on the street. They are often contacted over the Internet.
    * this makes children a target
    * the cleaner/nicer prostitutes are "escorts"
    * "Backpage" - is like Craig's List where your character can find all
        kinds of exotic offerings.
    * www.sexguideUSA.info - is a referral site.

    Brothels still exist.

    The costs - 
    50-100 -- oral
    60-300 -- intercourse

    The work day - 

    The peak times:
    * Before work
    * During lunch
    * Right after work
    * Sundays after church

    The officers usually work from 8am - 6pm
    The Undercover usually has about 30 conversations - but not everyone is a case. As a matter of fact, if a person with a mental disability approaches, and she talks to them, then SHE is breaking the law and can be arrested by her own team.

    Money DOES NOT  need to exchange hands. An offer needs to be made "________ will be given for the purpose of sexual arousal." It can be anything of value - Once Sable made an arrest after she was offered a chicken wing.

    How do they select the target location?
    * It's a known location where previous operations have been known

       to occur.
    * Crime Stopper request
    * The planning starts in the narc office where they know the
       surrounding streets and layouts and can pick a high visibility
       area.
    * There must be an area to accommodate the surveillance van.
    * As a safety measure the Undercover should not walk outside of
       the visual field of the surveillance van. She can be heard but no
       one can speak to her. She MAY have a camera on her. She has no
       identification and no weapons.
    * She gets the johns attention by eye contact and making subtle
       gestures.
    * SHE DOES NOT EVER GET INTO THE CAR WITH A JOHN
    * She uses the vernacular of the street when she makes
       arrangements with the john.
    * The Undercover will tell the john where she has her room. "I'm
       just down the street at Happy Lodge room 32 the door is
       unlocked. I'll meet you there." Then she will give the description
       of the john, his car, and what they agreed to in detail. 
    * The arresting officer will pull the john over for a normal traffic
        stop.

    After the arresting officer:
    * Will complete the arrest sheet including the undercover as
       part of the arrest.
    * Complete a support sheet including any "utterances" made by the
       suspect. This is written verbatim. 
    * Photograph the john at the rear of the vehicle next to the license
       plate.
    * Include all audi/visual evidence.


    Prostitute in Tijuana, Mexico.
    Prostitute in Tijuana, Mexico. (Photo credit: Wikipedia)





    A First Arrest - 
    *12 months probation
    *10 counseling sessions
    * Fines
    * Periodic drug tests

    I hope this helped with your plotting. If you have any questions or comments, please leave them below.
    I moderate for SPAM so they will not show up right away.

    Also, if you find my blog to be helpful, I'd appreciate your help in spreading the word. There are some easy social buttons below.
    Thank you kindly.

    Cheers,
    Fiona

    See original post...
  • Breach, Baby - An Explosive Way to Get Your Hero into the Building: Information for Writers

    GREM breach
     (Photo credit: Wikipedia)
    This article is based on my experience at the Writer's Police Academy 2014 and was instructed by Cpt. Randy Shepherd. Cpt. Shepherd serves as the Division Commander of the Pesonnel and Training Division. He is the Assistant Team Commander  of Guilford County Sheriff's Emergency Response Team (S.E.R.T.) and team Commander of the Mobile Unit. He's my sniper of choice if I were ever in dire straits. You can read more about Cpt. Shepherd's sniping HERE

    There are times when it is imperative to write your heroes into a fortified building fast. And the way to do it is not to knock politely at the door.

    Some ways to enter a building (interior or exterior doors):
    1. Knock
    2. Mechanical breach - such as lock picking
    3. Ballistic breach - uses a projectile to open the lock such as
        shooting the locking system.
    4. Thermal breach - cutting through with a blow torch
    5. Water breach - using water to cut. This is used when there is the
        possibility that a spark would explode the building.
    6. Ram
    7. Explosive Breach

    Why would your hero need to use an explosive breach?
    1. The door is barricaded (such as 2x4s on brackets)
    2. There are multiple locking systems
    3. Tactical considerations including:
       `history with this suspect
       `situation - such as hostages
       `intel from an informant

    Other considerations:
    1. They decide on the threat matrix - for example an explosive
         breach puts children at a higher risk.
    2. What is going on inside of the building? Using an explosive
        breach would be a no-no for example in a meth lab.

    An explosive breach uses the normal eight-person team. They are dressed like any SWAT team with protective gear including helmets, protective plating, and Kevlar shields.

    When the commander has determined that they will go in and that they will need to do an explosive breach, they lay the explosives. In this case they used 100gram detonation cord with C4 which is very stable (AKA detonation cord, detacord, det. cord, detcord, primer cord).


    English: A U.S. Marine Corps explosive ordnanc...
    A U.S. Marine Corps explosive ordnance disposal technician prepares a reinforced detonation cord filled with Pentaerythritol Tetranitrate (PETN) for a simulated aerial assault at Marine Corps Air Station Kaneohe Bay, Hawaii, Aug. 30, 2010. PETN is a stable explosive and is detonated by shockwave or heat. (Photo credit: Wikipedia)


    It sticks to the inside of the door. The door jam and the hinges are the weak points. The bad guys will fortify the locking side of the door and leave the hinge-side less protected.

    They attach 2 blasting caps. That way if the first fails they are not endangered while placing more blasting caps. Why might a blasting cap fail? Perhaps it wasn't attached correctly. If the second blasting cap fails they call it a " fail breach " and they move to a second entrance that was already predetermined.


    US Navy 090306-N-7130B-308 Armed Forces of the...
    US Navy Armed Forces attach blasting caps to detonation cord before conducting a controlled demolition of live ordnance  (Photo credit: Wikipedia)


    They do not only go through a door - sometimes they go through the wall - but it's good to have intel so your hole doesn't end up somehwere difficult like behind the refrigerator.

    They will run the fuse to a safe distance.

    * First they check to see if the door is locked.
    * The commander yells "breacher up"
    * Breacher says: 
      "I have control"
      "Breach 3...2...1..."
       When it doesn't work, "Fail breach."

    When it does work there is a LOUD explosion.

    I was sitting about fifty yards from the explosion. I felt the concussion cross my chest like three narrow waves of air. It raised the hair on my arm. My ears had a mild ring. But, actually feeling the concussive waves was very astonishing.


    Hope this was helpful in getting your hero safely into the building, now find the heroine and save the day! Happy plotting.

    Please leave your questions or comments below. I moderate for SPAM so they will NOT show up right away.  If you find this blog to be helpful, please share with your friends. Social buttons are just below. Thank you kindly.

    Cheers,
    Fiona
    See original post...

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