Fiction has a hard time with this whole business of silencers (aka suppressors, if you want to look smart), so I’d like to draw your attention to something that’s going to make everything a helluva lot easier. Continue reading
TLDR: Glock handguns use three safety mechanisms, but none of them require a character to switch anything off. Disregard Glock safeties entirely when writing fiction.
In keeping with the recent theme of things that may or may not have safeties (knives, revolvers, etc.), let’s talk about Glock handguns. I (and probably some regulars of this blog) can remember reading novels and short stories where a character switched the safety off a Glock semi-automatic pistol. This is a boo-boo. Glocks don’t have safeties that switch off.
TLDR: Pistols are handguns with one or more stationary chambers. Revolvers are handguns that use multiple rotating chambers. Don’t use them interchangeably.
Aaaaaand I can already hear my inbox filling up after posting the TLDR up top. But before you fire off a sternly worded letter through the contact form, give me a chance to explain.
Sue Coletta is a crime author and writer bud of mine with a new book out this November worth your time, Marred. I’m interested in how Coletta approaches the weapons in her work, seeing as how she came up with a primer called 60 Ways to Murder Your Fictional Characters. What follows is her guest post on how she chose the firearms for one of her law enforcement characters, along with a terrific example of how to load and shoot a semi-automatic pistol. Enjoy!
TLDR: If you can help it, a character might be better off with a handgun with more bite than a .25 caliber.
Last week’s post about the .25 caliber “lady’s gun” used by James Bond kicked off some interesting feedback from followers of this blog. Some agreed with my take that the ability to be accurate matters more than firepower (a perennial debate in the gun world, too). Others felt .25 caliber handguns are flat out a bad option despite how easy they are to shoot.
Characters in fiction can get away with plenty those in the real world can’t, so neither POV is completely right or wrong. It’s up to writers to make the final call.