Showing posts with label Dixon Hill. Show all posts
Showing posts with label Dixon Hill. Show all posts

13 June 2014

How We Infuriated Two Generals and a Town Mayor


(For those wondering why my comments disappeared for a while this week, all I can say is that I was recovering from horrifying flash-backs brought on by Leigh’s kidney stone post. LOL)

Two weeks ago, I posted here asking what readers thought of mixing romance and mystery genres.

I wondered: When do the two genres make a good fit, why does this happen (or not), and how can a writer mix the two genres to best effect? I received many excellent comments, which I’ll talk about in my post on June 27th.

I’ve also thought a lot about those comments, as well as other ideas associated with genre mixing, and have formulated an idea I’d like to submit here. That, too, will have to wait until my next post, however, if you don’t want to read something seven pages long.

So, in the interest of brevity (he said, a bit deceptively), I will first tell you a humorous story that is very important to the idea I plan to submit for your comments on the 27th. It’s about how explosions create sine waves, and ways in which the amplitude of these sine waves may be manipulated—which probably sounds as entertaining as doing the laundry. But, please: bear with me. I think you’ll like this.

A Quick but Important Explanation 

Harmony and resonance are two terms most people probably identify with music. Being more comfortable with explosives than music, however—as my grade school band leader could undoubtedly attest!—I’m probably more inclined to think of harmony and resonance in relation to shockwaves created by the carefully synchronized detonations of properly located charges.

These shock waves, created when explosives are detonated, manifest themselves as sine waves that travel through those items targeted for demolition. In fact, according to explosive theory, they are largely the force that does the dirty work: tearing steel girders apart, punching holes through reinforced concrete, or throwing dirt high into the air while creating large holes in the ground.

They don’t just travel through the demolition target however. These explosion-created sine waves travel through the surrounding earth and air (or, in some cases, water), and can sometimes be felt miles away from the blast site, usually manifesting themselves as a rumbling roar and causing plates or windows to rattle, walls to crack, or glass to shatter. 

How I Learned to Play With Sine Waves 

Using sine waves to proper effect is an important part of explosives theory, of course, which I learned in the demolitions portion of the Special Forces Qualification Course.

Years after I graduated the Q Course, however, and was on an A-Team, we had a fellow from a civilian blasting company come out to share information about how he used explosives to break up rock at a nearby quarry. Around twenty of us (SF Demo Sgts.) went down to one of the demolition ranges at Ft. Bragg, where we met a nice young man. His boss had sent him down there, saying the young guy might learn something, too, if he kept his eyes and ears open while working with a bunch of SF guys. He proudly showed us the sausage charges and “nonel” ignition system he used, as well as his computer.

Then, we monkeyed around with them in a manner that really freaked this guy out, and got us in trouble.

What We Played With

The “sausage charges” he brought were well named. These low-order explosive charges really did look like oversize Jimmy Dean sausages—the kind that come stuffed in plastic tubes at the grocery store. Each tubular plastic-wrapped charge was probably about two feet long by four inches in diameter.


nonel fuse
The nonel fuse ignition system, which he commonly used to set off his charges, came with a blasting cap factory-installed on one end of each short fuse section. This fuse was tiny, compared to standard time fuse, probably about a sixteenth-inch in diameter and bright orange. It was also a bit stiffer than time fuse.

“Nonel” is considered an instantaneous non-electric firing system because that thin, orange plastic-tubed “fuse” carries a powder train designed to ignite at the rate of around 2000 meters per second. Thus, the person doing the blasting (called “the blaster”) connects a firing machine to one end of the nonel, then pulls a trigger, or pushes a button, which creates a spark that ignites the powder train. The flame shoots down the length of the fuse at around 2000 meters/second, finally shooting a brief spit of flame into the blasting cap at the far end and—BOOM!

Nonel is not really instantaneous, of course. It takes a little while—maybe half-a-second, or a second or two—from the time the blaster hits the button, to the instant of explosion, depending on distance from blaster to initial charge. But, nonel ignition is fast enough; it’s generally considered instantaneous.

Nonel clipped together for firing.
Nonel fuse is available in large rolls, so the blaster can get some ‘standoff distance’ before detonating his/her charges. As I mentioned earlier, however, it also comes in short sections. These sections can be rapidly and easily clipped together, and the ones we were using had 25-millisecond delays built into them.

The photo above, right, shows a short segment of nonel with a blasting cap at one end and the clip at the other. The photo at left shows multiple nonel fuses linked together.


How It’s Supposed to Work

Our visiting quarry blaster normally used his computer to create a model, which told him where to place his charges and how many milliseconds to delay each detonation by, in order to reduce the impact on people or structures in the local area.

By placing his charges where the computer told him to and using the computer-suggested time delay between detonations, he was able to cause the explosive sine wave created by one detonation to be cancelled out, when it collided with the sine wave created by the next detonation, and vice-versa.

You may recall, from my earlier posts about explosives, that ‘low order’ explosives may be thought of similarly to ‘low gear’ in a truck—they push and heave heavy things, like dirt and rock. This means their sine waves are very powerful. So, using distance and time-delay to cancel-out the sine waves created by these explosions strongly muted what, otherwise, would have been a series of long, deep sine wave vibrations created by low order explosives, from shaking up people in the surrounding areas or potentially damaging buildings hit by the deep sine wave’s rumbling THUMP!

Roots of an Idea

The first time we took the explosives down-range and set them off, we did it the way the guy suggested. We wanted to see how well the technique worked. And, it worked pretty well. In fact, the result was rather boring.

Each man set up two charges, for a total of around forty charges. Since the blaster had only brought a limited amount of ‘standoff’ nonel fuse along, that day, we used time fuse to detonate the initial charge, daisy chaining the rest of our charges with those nonel sections that incorporated the 25-millisecond delays.

Forty charges went off, each about 25-milliseconds apart. Nothing to write home about. There wasn’t even a satisfactory big THUMP! in the ground beneath our feet, because the charges had canceled out each other’s sine waves.

While walking down to plant those charges, however, a few of us, who’d been talking it over, asked the visiting quarry blaster if he thought adjusting the calculations for charge location and timing, in ‘thus and so’ manner might result in something a bit more exciting.

“Oh, you wouldn't want to do that,” he said. “That might increase the amplitude of the sine wave instead of canceling it out.”

“Exactly!” we responded, smiling. At this point, we reached the location where we had to fan out and start planting our charges.

We couldn't ask him more questions on the way up the range to the bunker, before firing that first shot, however, because he wasn't with us. Evidently, he’d used nonel all his life, and never dealt with time fuse before.

When we ignited the time fuse, to set off the initial charge, his eyes went wide and he said, “What are you doing?”

“Igniting the time fuse.”

“While we’re still here? Standing beside the charges!?!”

“Well, we’ve got four and a half feet of time fuse. That’s enough to let us get back to the bunker.” 

“But … we aren’t leaving!”

“Right. We have to make sure the time fuse is burning, first. Then, we’ll remove the mechanical matches from the fuse, so we can reload them.”

“WHAT!?! The fuse is burning? NOW?

“Yeah, see how it’s melting here? That’s good. In just a minute we’ll be able to remove—”

But that guy was gone, buddy! He looked like a character on Scooby Doo, legs churning wildly as he smoked-it back up the hill to the bunker.

The rest of us followed at a leisurely pace, a few of us discussing our idea of increasing the sine wave’s amplitude. We figured the idea made sense, but we had to decide how to calculate for it.

How We Pissed-off A Lot of People

When something happens that changes the size of a sine wave, it’s called Amplitude Modulation. When the quarry blaster used his charges to cancel out his explosions’ sine waves, that was just another example of amplitude modulation. And the small group of us, who’d been discussing how to increase the amplitude of the sine wave, were really discussing just that—amplitude modulation.

By now, we’d formulated a few ideas about how to accomplish what we wanted. So, while standing in the bunker, waiting for the time fuse to burn down, we quizzed our visiting blaster about what he thought.

He professed not to know, saying there was no way to tell what the result would be. He even kept claiming he didn’t know what formulas his computer used to arrive at its conclusions. Naturally, a bunch of guys who walked around, on a daily basis, with umpteen charge formulas, relative effectiveness factors, and other arcane explosives details in their heads, found this claim a little suspect. Besides, he kept interspersing this claim with the statement: “You guys are scary. You’re really, REALLY scary!”

Unfortunately for this fellow, he’d chosen the wrong words.

His repeated “You’re scary” encouraged us to believe we were on the right path, so we continued with our discussion. And, other guys heard this repeated phrase and came over to find out what he was talking about. After all, they wanted to be scary too.

By the time our first set of charges had disappointingly gone off, everyone was discussing the idea. In the end, about fifteen of us decided to experiment with a rudimentary formula on the next shot, while the rest decided to just adhere to the original plan.

We ran our calcs, then took our charges (two per man, again) down-range and planted them. This time, our visiting blaster decided not to accompany us, staying at the bunker and trusting the sergeant in charge to connect his standoff line to the daisy-chained line segments.

With everyone back up in the bunker, the visiting blaster hooked up his blast machine and fired.

The charges of the first five guys—ten charges total—went off, cancelling each other’s sine waves.

Then, one by one, the next thirty charges went off …
… the sine waves building on each other as they went along.

Each time another charge went off, the blast got louder, deeper and more satisfying. Soon, though we wore earplugs, we had our hands over our ears, and the ground beneath our feet was dancing a nice jig. Finally, it all came to an end. The final shot was not visually exciting, but the roaring cacophony and deep thump in our feet were truly GLORIOUS!

Amid an extended round of whistles, yells and cat calls, I turned to look at the young quarry blaster. I can still see him in my mind’s eye: blonde hair sticking up on one side, where he’d yanked on it with his hand, face ashen, eyes wild. He looked as if he’d just survived a strafing run by an A-10.

I was still laughing when the field phone in the bunker went off. People were making a lot of excited noise, but the instant the sergeant in charge, who’d answered the phone, popped to rigid attention, all noise cut off abruptly. We knew what his behavior meant. It was Pavlovian, and we’d all responded in similar manner in the past. Every man in the bunker knew: somebody BIG was tearing into the sergeant on the phone.

In the sudden silence, we could hear the angry voice bellowing on the other end, but not what he was yelling. On his end, the sergeant just kept answering with things like: “Yes, Sir!” “Only twenty charges, sir!” “I’m sorry, sir. That wasn’t planned.” “No, sir. It wasn’t intentional.” “I understand, Sir!” “It won’t happen again, sir!” “Yes, sir! Yes, sir!”  He concluded with the phrase: “Crystal, sir!”

After he hung up, the sergeant turned his back to us, asking: “So, I know most of it’s missing, because it just got royally chewed off, but . . . have I got ANY ass left?”

He explained that the caller had been the General commanding the 18th Airborne Corps and Fort Bragg. In other words, this was the guy who issued the commanding generals of the 82nd Airborne and 101st Airborne Divisions, and several other major units, their marching orders. He had none-too-gently informed the sergeant that his staff was receiving reports concerning our little science experiment from across Ft. Bragg and the gate town of Fayetteville, as well as personal phone calls from the commander of Pope Air Force Base next door, and the Fayetteville mayor who was upset that shop owners were complaining of damaged merchandise.

To top it off, the 18th Airborne Corps Commander’s wife had called him directly, to complain of a house that rocked from the blasts and windows that had threatened to shatter—as well as an expensive antique China tea set that had been bounced around, and which she was currently inspecting for potential damage.

“Pray the tea set has no cracks,” said the sergeant. “The general said he’d call me back, if it was damaged.”

Thus, our little science experiment ended— at the direct orders of the 18th ABN Corps Commander.

Thankfully, the sergeant in charge never got a call about the tea set. But, I never forgot what I learned about amplitude modulation that day, and the way it can depend on location and timing.

And, that’s the take-away I want you to remember for my next post, on June 27th.

See ya’ then!
—Dixon

30 May 2014

The Romance of Mystery



There is something innately romantic about a well-wrung mystery, isn’t there?














The intriguing allure of Character entwined with Occurrence, sensuously dancing across the tight-sprung terrain of Setting.















The syncopated gyrations of Crime and Motivation bumping against the carefully mitered couple of Puzzle and Solution . . .








             


. . . while Suspects and Red Herrings crowd the dance floor or sit this one out.



























And, through it all, a Question.

A Quest.

To find some Truth or McGuffin that rented the ball room or cheap dance hall, arranged a rave in an empty warehouse—or perhaps just switched on an inexpensive stereo, in a living room with a small space cleared—and called the dancers together.






 It called a time and place, to set all in rhythmic motion.










To me, there is no question about the presence of romance in mystery.












But, is there room for Romance in Mystery, one genre enfolded in another? That’s the question that strikes me, today.












Why? It’s been running in the low hundreds over the past few days. The true heat of summer still waits in the wings, but there can be no question that the short, pleasant, breezy days of balm we call Springtime here in the desert are over. I love the heat of summer, in a painful way I can’t explain. But, during this transitional crux, crossing Summer’s threshold as it were, I miss the biting chill of dark morning, before the rising sun can burn it off.

And this has me thinking Spring thoughts, about Romance sub-plots in Mysteries. Be they short stories, novels, stage plays, radio plays or movies, how often do mysteries seem to contain an element of romance? Does romantic entanglement belong there, or not? Does it work sometimes? Why or why not? Is there some arcane secret formula that allows a writer to skirt the problem of the romance of the Romance clashing with the romance of the Mystery? If so—what is it? And, why and how does it work? These questions and more rebound against the walls of my mind.

All my answers elicit more questions, which thicken the horde of swirling, gnashing unknowns.

Which leaves me asking you, Dear Reader: What are your thoughts on the subject?


--Dixon

16 May 2014

In the Heart of Dark Ghost Trains


     We’ve mentioned NetFlix on this blog, in the past, and I recently saw an episode of Anthony Bourdain’s Parts Unknown, on NetFlix, which contained elements that I found applicable to writers.

     In this episode, Bourdain visited the Republic of the Congo, and traveled down part of the Congo river. On the trip, they visited a railway station, with dilapidated rolling stock and ruined rail lines.

     Frankly, it reminded me of a rail station near the Jungle Warfare School in Ghana, West Africa. When we were there, running a leadership academy for Ghana Army NCO’s, we ran some patrols that encountered the defunct rail station/junction.



     I was in Ghana for work, not photo-tourism, so I took no photographs. And, unfortunately, I was unable to find photos of that junction, but I did find some that have the same attributes found there. They might give you a good feel for the place.




     It was a hauntingly beautiful sight:  Dozens of rusting rail cars—freight cars, old passenger cars, even a lone caboose—sprouting up from green growth where “The Bush” had encroached and begun to consume them. Inside the cars: ancient antique fixtures, rusted and decaying remains that would have made a railroad enthusiast’s or antique hunter’s heart race.




     We climbed the rickety steps to the dilapidated switch tower (which looked a lot like this one below) and marveled over the huge clamp-lever manual switches (left) that had once been used to shunt trains from one line to another on the switch yard below.





   




    No trains ran through that yard at the time. The tracks weren’t just rusted; whole sections were missing. And the sections that remained boasted not only profound ruination and tall grass, but also bushes and small trees that grew up between the ties.


    Yet, back at our barracks, late at night, we sometimes heard a locomotive hauling a train of many cars at high speed down through that switch yard. Our ears would catch the rumble of steel wheels grinding against the narrow-gauge rails, the rhythmic thump and rattle of quick-rolling cars clattering down the track, sometimes a long mournful horn blast as the engineer warned people or animals to clear the way. But no trains rolled down those tracks.
   
No train crossed that overgrown, ruined switch yard. So what did we hear?

   


     The Ghanaians said, “Oh, sir, that is the ghost train. It comes at night. It is bad luck to be at the station at night, when it comes by, because then it might stop for you. This would not be a good thing.”

   






Congo’s rail line in that show looks like the one I saw in "The Bush" in Ghana, but men still work on that Congo rail line. According to a 2011 BBC report, they hadn’t been paid for over four years. But, still they worked. On a railway system with nearly no rolling stock, large sections of missing track, almost no hope of revival -- though the PRC may have come through some capital to begin reconstruction.

     Meanwhile, at a defunct research facility up-river, Bourdain found a group of volunteers maintaining the large library that had been abandoned when the facility was closed in the Sixties.

     Why work to maintain a library of old, outdated research material, virtually in the middle of nowhere, for over fifty years? Without pay? Without access to electricity? Keeping an antiquated card catalogue system in rough, but working order while trying to keep the books from mildewing into muck? Why?

     To me, the answer to both questions— Why the railroad workers keep going to work and the library volunteers continue their work — seemed to boil down to a single answer. I think it’s called hopeful persistence.

     They persist in their work, in the belief it will one day pay dividends of some kind—either to them, to their loved ones, or to some future human beings who will one day benefit from all that thankless work.

     When a writer gets a rejection, I think this hopeful persistence is a good thing to have in abundance. In fact, I suspect that’s why the men in these stories appealed to me: I felt a common bond with them. Though, hopefully, my goals are more attainable.

     Here’s wishing you an abundance of Hopeful Persistence, and a long string of acceptances that renders your persistence superfluous.

See you in two weeks!
--Dixon

18 April 2014

Post Tax-Day Fun Post (A Short One ... for a change!)


David Dean’s tax-day post, asking for advice concerning an upcoming talk to writers, stymied me.

I’m usually pretty long-winded, but I had no idea what to suggest to the guy, because I’d never found myself in such a situation. On the other hand, I also know that—to me—the difficult part of writing is not the writing; it’s the selling of what I’ve written. And I figure that holds pretty true for most writers.

Thus, I thought “How to sell your writing” might be a good topic, but felt too inexperienced to make such a suggestion. It did get me thinking, however, of how I go about selling work, which brought me into direct confrontation with my feeling that markets tend to be hard to find sometimes.

In an effort to find markets that might be interested, I follow blogs such as Cindi Myers Market News. Every so often, I get an email with a list of markets seeking work. The list has embedded URL’s I can follow to get further details and writers guidelines.

On Wednesday, I noticed that my latest email from Cindi Myers held a tidbit I thought other SS’ers might find interesting.

It seems that the Maurice A. Deane School of Law at Hofstra University—a school sometimes better known as “Hofstra Law”—is holding a mystery writing contest. For those who don’t know, Hofstra University is located in Hempstead, Long Island, 25 miles east of NYC.

And, not only are they holding a contest, the judges include Lee Child and Marcia Clark (Yep! The same Marcia Clark we saw in the O.J. Simpson trial has now written three novels featuring Los Angeles Special Trials prosecutor Rachel Knight. TNT has optioned her books to create a drama series.). The third contest judge is Alafair Burke, a Hofstra Law prof. who has written ten novels, including her Ellie Hatcher series.

The prizes aren’t huge, and contests really aren't my cup of tea, but anyone looking for a possible chance to have Lee Child or Marcia Clark look over a manuscript of 3500 words or less (maybe just for S&G lol), might like to click HERE. for more details.

I wonder what blogs YOU follow, or other sources you use to learn about new markets.  Love to hear about them in the comments.

See you all in two weeks!
--Dixon

04 April 2014

Photo Quiz Redux (or: "Honey, where are we now?")


A few times, we've discussed the visual aspects of blogging, and how this differs from the confines of using only words to tell a story.
Some time ago, while helping my daughter get signed-up for classes, I used my cell phone to take photos of Scottsdale Community College, which I posted here, challenging you to determine where I took the photos and why I was there.

So just what are the photos below all about?

Take a look and tell me:  What am I showing you? -- and -- WHY am I here?

This time, you'll find the answer below.



PHOTO 1
Why does this shot look so grainy???

PHOTO 2


PHOTO 3
Aha!  Do you see an answer to the question in Photo 1?
Where was this shot taken, and what was I doing here?

PHOTO 4

PHOTO 5
PHOTO 6


PHOTO 7
PHOTO 8

PHOTO 9



PHOTO 10

PHOTO 11

PHOTO 12



PHOTO 13


PHOTO GROUP 14

14


14
14

14

14






PHOTO 15
My Favorite!  Why?

What are these photos of?  Below is the explanation:

Photos 1 and 3:  The view from the living room window at our new apartment -- taken through the screen.

For a number of reasons, my wife and I have found renting to be the best answer for our housing needs over the past several years.   However, since leaving the army, we've always lived in a house.

Our last house was a 3 bed, 3 bath main house, with large living room, dining room and kitchen area.  We also had a pool, a large yard, a pool house that was really a studio apartment, and a two room apartment (plus bathroom and kitchenette) add-on where the carport once was.  As many of you know, I used the back half of the two room apartment as my office.  We used the front room for storage.  We also had a large metal storage shed on site.

A few weeks ago, however, the home owner decided that the housing market was finally looking up. She announced her decision to sell the house, and I finally managed to convince my family to try apartment living in the 21st Century.

Photo 2:  Yes it's a dumpster.  But, the city's name is right on there.

Photo 4:  This is a shot of the same area seen in Photo 3, but taken from a reverse angle and much closer.

Photo 5:  This shot shows the small Ramada with gas BBQ, which is visible in Photo 1.  The Ramada is equipped with ceiling fan and lights, as well as electrical outlets.  I'm sitting there, as I write this, smoking a cigar, my computer tethered to the internet through the Wi-Fi in our living room.  So far, I've found this a very pleasant place to write ... and to burn burgers and steaks!

Photos 6,7 & 8:  These shots show what's called "The Quiet Pool."  The apartment complex is located about four miles from Arizona State, but rental prices keep most students from living here.  For those grad students, or out of state students -- or just young singles who have the money to live here -- the complex throws parties at one pool on weekends, while maintaining the other pool in a more family-oriented atmosphere.  Frankly, I prefer this pool because the Jacuzzi is hotter and has more jets than the Jacuzzi at the party pool.

Photo 9:  The dog park, located beside the Quiet Pool.

Photo 10:  A look at some of the apartments in the complex.

Photo 11:  Grill overlooking Volleyball courts.  There are several small BBQ Ramadas here.   Two are located beside the sand volleyball courts. 

Photo 12:  Covered parking is very important here in The Valley, if you don't want your vehicle's paint to get bleached-out in very short order.

Photo 13:  This is the Fitness Center.  It's one of my two favorite shots, because I can get my son in there.

One problem I've had for the past year, is that I hadn't been able to find a gym that would let my 11-year-old son work out with me.  Gym policies usually stipulated no one below 16 or 17 could use the equipment.  Unfortunately, school Phys. Ed. classes are woefully inadequate, here, so my son hasn't been getting the exercise he needs.  That had me pretty worried, until I found this apartment complex, where my son can use the Fitness Center -- open 24/7 -- as long as I'm with him.  Since moving in, he's run miles on the treadmill, and I don't know how far he's gone on the elliptical machines.  Frankly, it's tough to get him off the rope-climbing machine when it's time to go home!

Photo Group 14:  The Party Pool.  As you can see, there is a nice bar setup, with two large gas grills. I have little doubt that this works wonders for creating that party atmosphere -- and even less doubt that I'm glad this pool is located at the opposite end of the complex from our apartment.

Photo 15:  This is my favorite shot.  Luxurious green grass that I need neither plant, feed, water, nor mow.  Now THAT's paradise!!

See you in two weeks,
Dixon