Reality Check- Things to Know before Writing a Fight Scene
Genuine hand-to-hand combat lasts seconds or a few minutes at the most for good reasons. Unless the fighter is trained and actively familiar with hand-to-hand combat an actual fight can become exhausting and tire the fighter quickly. The fighter could still win with luck, but they won’t be running from a firing squad, bomb, or evil assassin any time soon.
Everyone has something called a “flinch response” when they fight. This is the brain’s natural way of saying “move or get hurt.” Trained fighters or people with a history of abuse adapt to suppress the response. How much experience does your character have with fighting, and what style of combat is his opponent using? A character new to fist fighting will be hit a few times before their survival instinct overrides the “flinch response.” Until then that character could be in too much shock and indecision for them to fight back. Don’t count on adrenaline to kick in and save the day; it really won’t. In real life adrenaline naturally works against you, tiring the human body during battle and makes fighters shaky and inaccurate. During that time the adrenaline powers the human brain to focuses on surviving, not winning, the fight. In conclusion, don’t think adrenaline makes your character Bruce Lee or Jackie Chan.
Write in the perspective of your character. Use short and uneven sentences, stating one action and then another. When there’s a lull in the fight, take a moment, using longer phrases to analyze the situation– then dive back in. Apply this to words as well as sentences, keeping it short, simple, and strong in the thick of battle. Purposefully edit your words into shorter syllables.
Delete as many adverbs as you can. Characters do not dwell on things when they are in the heat of the moment. Being distracted results in injuries. Focus on actions, not thoughts or observations. Search your vocabulary with more descriptive verbs, such as
-Bellow, bolt, charge, claw, crumble, thrash, heave, hurtle, shatter, shriek, snarl, splinter, tackle, raze, roar. Use thesaurus.com to double check your definitions.
Remember to think about ALL of a characters’ senses. People remember more about how they felt in response with senses other than sight during battle.
- Touch/Feel: hands too sweaty to grip the enemy, muscles tense in preparation. Torn by strings or other injuries that flare white hot with pain.
- Taste: Dry mouth, salt from sweat, copper tang from blood, etc
- Smell: anything familiar or jarring about that cigar musk on the opponent’s coat? Does the smell of alcohol or urine make your character cringe?
According to a character’s experience or exhaustion things like sound and sight may blur or sharpen during a skirmish. Loud sounds or noises from behind may be the fighter’s only alert of an incoming attack. Quick movements and vivid colors will catch the eye, perhaps distracting them. Eyes might start to sting from sweat or blood pouring into the open eyelids. Do everything you can to keep the fight here and now.
Expanding on Physical Details & Minimizing the Theoretical
Writers using cool calculative characters struggle with keeping scenes immediate and casting away the character’s theories. If you have difficulty writing from a strategist’s perspective, or someone who needs to think ahead try keeping the strategy to before-and-after fights. Lay out plans in calm periods, try to guess what enemies are thinking or what they will do. I watch Robert Downey Jr fight as Sherlock Holmes for inspiration. Here’s a character who evaluates his enemy for potential weaknesses, observes his surroundings for weapons and other aids, and considers every likely scenario or option he has. Above all a strategist thinks of the terrain in immediate terms. This includes obstacles that might put him at a disadvantage or provide a means of escape.
During combat, however, the character should consider his options in immediate terms. He’ll focus on his opponent and terrain as it changes through out the fight. Look at the examples below:
♣ Large enemy rushing me; dive left, circle around.
♣ Two foes helping each other, separate them.
♣ Scaffolding on fire, pool below me.
After the Battle
Fights are chaotic, fast paced, and self-centered. Characters know only their self, their goals, what’s in their way, and the quickest way around those threats. It’s only after the danger has passed that details resurface.This stage allows characters to pick up things they cast aside during the fight, both literally and metaphorically. In the aftermath characters can regain their emotions, their rationality or introspection, and anything else they couldn’t afford to think or feel during the confrontation. Lastly, after writing, read it aloud. Anyplace your tongue catches up on a fast moving scene, edit. There will never be a smooth first draft, so don’t be discouraged.
If your character has been stabbed, or is losing blood quickly, refer to Assessing Fictional Injuries- Bleeding Wounds. This can give you insight into how someone thinks while they’re seriously or minimally injured.