fight scenes

“Battles are like people. No two are exactly alike.” (Ad-libed from Joe Abercrombie’s ‘Before They Are Hanged’.)

As a known Joe Abercrombie convert, I should preface this by saying that he is much, much better at fight scenes than I am.

I started this blog partly to show the progress on my novels, then partly to discuss writing theory and craft. Lately I’ve been working on revisions (59% done), and there’s not much to tell there that’s not a private discussion with my test-readers. And what I have been learning about writing at this time… it seems to make so much sense that I have to wonder if I really have any right to lecture anyone on plot theory, or style, or character development, or anything related. The longer I teach college, the less qualified I seem to be. So far from ignoring the book or the blog, I’m really hard at work. At this point, I’m still on track to be looking for agents come November when I’ll start my next book idea for NaNoWriMo (also: I’m really excited about this).

Back to fight scenes.

The more I read and write them, the more they seem to have a lot of character. That character comes almost directly from the limitations of the participants. What can the character see? What exactly is going on from his perspective? What can they do about it? (Oh, really? You think that they can pull that off?) It’s easy to get caught up in where the character ought to be at the end of the fight, but not the play and direction of the battle itself. The desire to get the character on the other side of the room when they’re not set up right can be overwhelming.

In an effort to organize my thoughts on this, I figured I’d go point by point.

1. Long sentences and description of any sort slow down the action. If you want a fight that’s fast paced, you’re going to have to cut down on the commas, nix the adjectives, and accept short actions and play-by-play writing.

2. A fighting character can not keep track of everything going on around them, and can be confused easily themselves, especially when it comes to taking their own wounds. This is something that Joe Abercrombie does that makes his fights so realistic– he’ll stick in short fragment of description instead of saying that the character was knocked onto their back. If the character doesn’t know what the heck is going on, why should the reader (if you’re writing in first or third POV)?

3. A fighter doesn’t think about reacting any more than you think about how to type. Personally, any time I start thinking about where the keys are located on my keyboard, my work gets riddled with typos. A practiced fighter has their moves locked into muscle memory. They react. They do not think actively about every stroke. There may be yelling. They may not realize it at the time.

4. People are very fragile. People are incredibly tough. (Don’t you love it when writing comes in paradoxes?) Real fights have real consequences. Scars can be more than decoration. Bad knees, limited flexibility, poor balance, all of these things can come out of a victorious battle. A good punch to the side of the ear can snap a man’s neck. Others can survive bullets through the head. A six foot fall on one’s neck can be just as deadly as being crushed by a maul, but miraculously men have survived falling from planes with faulty parachutes.

5. Fighting two men is not twice as hard as fighting one. If you’ve got two men on you, kill one very, very fast, and preferably not while standing between them. Three is even worse. Four and up? From personal experience with martial arts, three on one can’t be added to. There’s just no room to slide in. This of course varies with the weapon and type of combat.

6. Take your time with combat. Develop it, give it a ‘face’, a feeling, an environment. Change your language choice to reflect the sort of mood you want to create.

7. Be true to the point of view. Don’t show things that shouldn’t be seen. Not every stroke needs to be accounted for, and it will feel still and too crisp if tried. Even an omniscient POV focuses on the major actions.

These are my initial thoughts, anyway. Feel free to add anything that I’ve missed, as always.

research

I try to make my books as accurate as possible. There’s nothing more annoying than trying to take a movie or a tv show seriously that keeps violating physics, or hacking incorrectly, or having dance ‘experts’ that don’t know that the leads right hand does not belong at the girl’s waist. It makes me twitch.

I’m writing at my computer, and I get to a place where one of the characters gets stabbed. … Morbid, perhaps, but… I write dark fantasy and kill characters. It happens. The guy on the receiving end of this deal has thick clothing, but no armor.

So what does that sound like? Before the other guy starts screaming? Does it make a cracking sound? Crunching? Does it slide in silently? I have swords, but it would be such a bother to hunt down the neighbor’s dogs…

(Just a joke. Really.)

And do I want to get too close to the person that can tell me?