On Writing Fight Scenes: A Long Post
My thoughts on the process of writing a fight scene.
Hey Story Crafters,
The main thing to keep in mind when writing a fight scene, is that fight scenes are the same as other scenes: they need to be relevant to the story. If a fight scene doesn’t give the reader insight into the character(s) in the scene, give insight into the world the character(s) inhabit, or move the story forward—in other words, if the fight scene is included just to let the characters “look cool”—then it might not belong in the story.
Note: For the purposes of this post, I’ll be focusing on physical altercation fight scenes. Arguments are another type of “fight scene” (verbal more than physical), but I won’t touch on them in this post—though again, all scenes should serve the story you’re telling, regardless of scene-type.
I know it can be hard. If you have a character with a cool ability, or a character armed with an awesome weapon, or a character that can perform neat combo moves with another character, it’s tempting to dedicate an entire scene to that character’s coolness. (If the character is a popular one from a previous book, the term “fanservice” might be appropriate here. 😊)
If you know you’re likely to fall into this temptation while writing your story, to counter it, consider writing the fight scenes you think need to happen in a journal first. Journal the fight scenes as they come to you, and in your story draft, simply mark where the fight scene needs to go with a note like: [See Journal pg #, Character A Fight 1], or however you choose to label your fight scenes in your journal. It’s unlikely that you’ll be able to copy-paste fight scenes from your journal into the story without editing them, but you’ll at least have ideas to pull from for the fight scenes that do end up in your story.
As I mentioned earlier, fight scenes operate under the same guidelines as any other scene. I’d say fight scenes can be a little more straightforward, though, in the sense that there are obvious sides in a fight—there’s one side (usually the protagonist’s, or the major characters’ side) the reader wants to root for. (Sometimes, with emotionally-charged scenes, the “sides” aren’t as clear; it can be easy to sympathize with even the antagonist(s).)
Three ways fight scenes should contribute to the story include giving the reader insight into characters, giving insight into the world of the story, and moving the story forward. Most fight scenes operate on two levels, but a fight scene should do at least one of the following:
3 Ways Fight Scenes Should Contribute to the Story
1) Give Insight into Characters.
This includes the core personalities, the physical abilities, and the mental/emotional capabilities of the characters involved in the fight scene, and their relationships with each other.
Core personality: A character’s fighting style is usually based on their core personality.
If Character A is nonconfrontational by nature, their fighting style may primarily be avoidance (such as frequent dodging, or avoiding a fight altogether), followed by a defensive style (mostly blocks and moves that keep them out of harm’s way) if they have no choice but to fight.
On the other hand, if Character B is prideful, she might have a very aggressive fighting style that involves getting up close and personal with her opponent.
Note: It’s also possible that a character’s fighting style doesn’t hint at or inform their core personality. This disconnect could make for interesting character development and tension in a story.
Physical ability: Along the same lines of core personality informing a character’s fighting style (and vice versa), a character’s fighting style is limited by their physical abilities. This does not necessarily refer to body-type. It’s entirely possible for Character A to have a slight build but not be quick, or for Character B to have a larger build but be able to move quickly. Depending on the amount of physical training a character does and their dedication to it (a character trait that you, the author, determines), it’s possible to overcome most physical limitations.
Limitations that might not be easy, or possible, to overcome could be illnesses or physical impairments (or alterations) that make a person less able-bodied. But this doesn’t mean a character isn’t able to fight at all. Regardless of how able-bodied a character is, how much they are aware of their limitations and their ability to use their strengths and creativity in a fight are factors that make them unique as a fighter.Mental/Emotional capabilities: This relates back to core personality. Is Character A hot-headed, impulsive? Is Character B level-headed and calm? And, if these characters are faced with a difficult decision mid-fight—for example, maybe their opponent is holding a loved one hostage—how will they react? Are they likely to stay true with their core personality, or will they react in an unexpected way?
Fights are another type of obstacle that characters may face in a story—they encourage, or force, characters to grow. Just like with any other obstacle, characters may be forced to confront their morals and beliefs during a fight, and make difficult decisions.Relationships: Fight scenes tend to be more straightforward in the sense that there are distinct sides. Not necessarily “good vs. evil,” but it’s clear there is a side the reader wants to root for and win (hopefully the protagonist’s, and their comrades’, side), and a side the reader wants to fail (the antagonist’s).
Additionally, fights can reveal how characters on each side feel about each other (since they’re comrades or allies). For example, say Characters A and B are fighting against a group of opponents, and Character B doesn’t trust Character A. Character B will be less likely to coordinate attacks or share weapons with Character A, and the fight might end up being a close one—they might even lose. On the other hand, if these characters do trust each other, they’ll team up and be more likely to beat their opponents.
2) Give Insight into the World of the Story.
It’s important to consider how the world of your story views physical combat (in other words, the societal value placed on physical combat) from a world building standpoint. Portraying violence in a story, no matter how tame, sends a message to the reader about the type of world your characters are inhabiting. So make sure it’s the kind of message you want your readers to get.
A couple of questions to keep in mind:
(1) Is violence the protagonist’s (or major characters’) go-to response when faced with conflict? Is it a last resort?
(2) Are there consequences (e.g. legal consequences, some kind of penalty) for using physical combat in public spaces, or is it accepted as a societal standard (part of the status quo)?
World building insights fight scenes can provide include:
The foundation of society: Physical combat can be viewed as a form of communication. As a building block of society, it can be a way to show opposing sides (or forces), like “the haves vs. the have-nots,” a difference in beliefs or cultures, etc.
Magic systems: The existence of special abilities doesn’t necessarily mean that fighting needs to be integral to the story for characters to use those abilities. But if a special ability has combat applications—for example, if Character A can make identical, physical copies of an object just by touching the original object—and the story world is set up so there exists the possibility that Character A might run into bandits, then the reader will expect Character A to use that ability to her advantage in a fight.
3) Move the Story Forward.
Fight scenes should help the story move forward. While this does tie into character development (by giving insight into character), fight scenes should also advance the plot. Ideally, the opponents that the protagonist (or major characters) face become increasingly stronger over the course of the story. As the intensity of each fight scene increases, the reader knows the protagonist is getting closer to reaching her overall goal.
Again, fight scenes should ideally operate on one of these levels, but it’s likely they’ll hit more than one.
Factors to consider during the planning phase
Entering a fight scene:
Purpose of the fight scene in the overall story: Is the purpose of this fight scene to give insight into character(s), give insight into the world of the story, and/or move the story forward?
Scene set up: Are the characters in this fight scene on equal grounds for this confrontation (i.e. are all the characters aware that they’re entering a fight), or is it an ambush?
For characters: Which characters are participating in the fight? What is their physical ability? Do they have any fighting skill(s) or experience? Do they have a special ability and/or weapon(s)?
During a fight scene:
Purpose of the fight itself: What purpose does the fight serve at this specific moment in the story? Is it meant to be a stall for time or a distraction to prevent the protagonist and the major characters from reaching a goal? Is it a way for the protagonist or major characters to test their own strength (e.g. a new ability/weapon/ally), or the opponent’s strength? Is it to achieve a mini-goal or mini-objective that will help the protagonist continue their journey?
Determining the purpose of a specific fight will help you decide how the protagonist or major characters will fight in the scene—and whether they’ll win and/or achieve their goal(s).
For characters: During a fight scene, the protagonist and the major characters may show off their existing skills/abilities, and how well they work together. Or they might show how they learn to manage new fighting skills/special abilities, or learn to work as a team, during the fight. Characters may also fail to learn how to use new fighting skills/special abilities, or fail to learn how to work together. In any of these scenarios, the protagonist may win or lose against the opposing side participating in the fight.
After a fight scene:
At the end of the fight scene, the purpose of the fight either is or isn’t achieved. (As in, the major characters learn or fail to use their new abilities, succeed or fail at teamwork, etc.)
If the fight is lost and the characters are forced to retreat and regroup, this will likely lead to a training and growth period as the protagonist and the major characters prepare for the next step of their journey. If the protagonist and major characters win the fight, they may skip this training period but face another type of obstacle (e.g. in-group disagreements, external temptations that lead to side-tracking, etc.) as they continue on their journey.
Consistency, consistency, consistency.
Consistency is key.
If Character A starts off a fight scene with only the ability to control water, she shouldn’t suddenly be pyrokinetic mid-fight, unless it’s a character trait established at the beginning of the story. If Character B isn’t carrying the Holy Sword-equivalent when a group of bandits ambush him in the middle of a forest, it shouldn’t suddenly appear in his hand during the fight.
Additionally, physical limitations and injuries should be reflected in a character’s fighting ability. If Character A enters a fight with a severe limp, her fighting ability should reflect this injury; her mobility should be compromised to some degree, and if this weakness is noticeable, her opponent(s) might target it. If Character A enters a fight with companions she trusts, their combination moves may change to support or accommodate Character A’s injury, which could also affect the result of the fight. And, if characters are injured during a fight, the injuries—depending on their severity—should have consequences as the story goes on. For example, in addition to pain and limited mobility, there could be a risk of infection for the injured character.
Weapons and/or Special Abilities:
If a character is an experienced fighter, their body can be considered a weapon—the character herself might consider her body a weapon. Adding actual weapons, like swords or a bō (a wooden staff), and special abilities (whether it’s magic, elemental manipulation, etc.) to an experienced fighter’s arsenal should enhance that character’s existing skills. In other words, the weapon(s) or special ability should be an extension of that character, not treated as an afterthought.
My go-to reference for fighters with special abilities is Avatar: The Last Airbender. While each bending style follows a certain fighting style or set of katas (e.g. earthbenders have solid stances while airbenders have light, quick footwork; firebenders favor quick jabs and kicks, while waterbenders follow swooping, flowing movements), the element being controlled follows the movements of the bender, if the bender is experienced.
Zuko and Aang are perfect examples of characters who use a special ability, and weapons, as an extension of their bodies. Zuko is skilled at using dao swords, with or without his bending. Aang uses his glider, and even handheld fans, as a weapon and as a tool to channel his airbending.
Arming characters with specific weapons or a special ability also gives opportunities for characters to show off their creativity.
In My Hero Acadamia (Boku no Hero Academia), individuals in that world are born with a unique ability called a Quirk. Quirks are divided into three categories, based on how they affect the user’s body (Quirk Types: Mutant-type = permanent physical alteration, Transformation-type = temporary physical alteration, and Emitter-type = no physical alteration). The characters who choose to undertake heroics training learn to be creative about using their Quirks in situations where their Quirk may be less effective (due to the inherent limitations/weaknesses of their Quirk), or in situations where the unique activation/deactivation requirements of their Quirk works against them.
In Jujutsu Kaisen, one of the main characters discovers that his primary ability—the ability to summon shikigami (a type of spirit animal) from his shadows—has a secondary one, which allows him to store weapons in his shadows.
Giving each character one, specific ability (or weapon/weapon-type) also reduces the risk of overpowering the protagonist or major characters. Remember, readers want to see characters struggle and grow in order to achieve their goals—even the superpowered ones!
A Strategy for Writing Fight Scenes
Since fight scenes should operate on the same levels as any other scene, it stands to reason there are many ways to write fight scenes, just as there are many ways to write in general.
I’m the type of writer who visualizes scenes in my head like a movie, and then writes the action onto the page. Once I have the action (including dialogue) written out, I flesh out the writing with internal dialogue, imagery, and other storytelling elements that are specific to the writing medium. I mention this because the strategy below may not be as helpful to you if you’re a different type of writer from myself. As a reader (and therefore as an editor), I also visualize scenes from the books (and manuscripts) I read as though I’m watching a movie.
Below is a strategy for writing fight scenes that’s worked well for me so far. Feel free to try it out, and alter it to fit your writing needs and style. If you’re a different type of writer, I hope this strategy gives you insight into my editing process.
1. Write out all the in-scene action.
One of the dangers while writing any kind of action is falling into the “he did/she did,” or “she said/they said” pattern. This is true for fight scenes. The first draft I write for fight scenes tend to be a mix of robotic and clunky, or unclear, confusing movement in space. “And then” makes a frequent appearance as well.
This play-by-play action writing happens because fight scenes are primarily meant for visual media—TV shows, movies, comics, manga, etc. With visuals, the creator doesn’t need to worry about explaining how characters are moving in space. They can just show the characters move (or fight, in this case), and go on with the story.
[Lincoln Michel wrote an amazing post defending the necessity of writers reading fiction, where he touches on the differences of storytelling based on media. I highly recommend reading it.]
Writers have it harder. We have to choose what to show, and write it as clearly as possible so the reader remains engaged with and entertained by the story. Remember: a frustrated and/or confused reader is more likely to stop reading your story.
Sometimes this means sacrificing specific technical details for the sake of keeping readers engaged in the flow of action. When a reader needs to leave the story to look up technical details, they lose the dream-like state that keeps them reading more. (Technical details in this case could be describing Character A’s attack as, “Character A spun around, aiming a kick at Character B’s ribs,” instead of “Character A aimed a back sidekick at Character B’s ribs”; or not naming the specific part of Character A’s armor where Character B’s sword landed and caused damage.)
After writing out the action that needs to happen—basically, how you see it playing out in your head—you can figure out which details can stay, which need to be removed, and what needs to be added for the sake of clarity. Once the action in the fight scene is as clear as you can make it, and flows as smoothly as you can make it, you can start experimenting with the pacing of the fight scene.
2. Add some internal dialogue for the protagonist or POV character.
The pacing of a fight scene can vary based on the type of fight, and based on the role the POV character plays in the scene.
For example, in an ambush scene, the character who is the victim (Character A) will have a very different experience during the ambush than the attacker (Character B). While Character B may be cool and collected—since Character B presumably planned the ambush down to the last detail (like location and timing)—to Character A, everything is chaotic. So the fight scene told from Character A’s POV will be more fast-paced and disjointed compared to the version told from Character B’s POV.
Mental/Emotional: Internal dialogue could give insight into how the POV character is feeling over the course of the fight, explore the motivation(s) for the fight, and the goal(s) that will be or need to be achieved.
Observations: If the POV character is an experienced fighter—or has good survival instincts—they’ll be more aware of their surroundings. At any point of a fight, an experienced fighter will take note of their surroundings (how the terrain or other features could benefit them in the fight), and how their opponents are faring (i.e. if there are any weaknesses to exploit).
3. Sentence length variation.
Sentence length also helps with pacing and building tension. Longer sentences can give the illusion of continuous movement, while short, punchy sentences can snap the tension like a rubber band stretched too thin.
4. Check placement in the story.
This is a good tip to keep in mind if you’re writing scenes out of order. While all major scenes that advance the plot should gradually increase with tension (and in difficulty, for fight scenes), the action and tension in the scenes between these plot points will rise and fall. It’s important to make sure the fight scenes you’re writing fit the tone of the story where you’re trying to place it.
5. Transitions—Entering/Exiting the fight scene, and interlude(s).
Entering/Exiting a fight scene: While it’s possible to enter a fight scene in media res, it might be a technique to avoid using early-on in a story, if the reader isn’t familiar with the characters yet. Fight scenes tend to be chaotic enough with proper transitions leading into and out of a fight scene.
As with most scenes, with a fight scene the transitions can be giving insight to a character’s mind before and after the fight, or physically move characters from Point A to Point B.Interlude(s): Fights can be fast-paced, with characters attacking and defending against each other without stopping to take a break. But unless these characters are super-human, they will need to take a breather. This “breather” is usually when characters on opposing sides of the fight snipe and goad at each other, trying to find weaknesses or try to trip the other side up into making a mistake. In climactic moments, it might take the form of the antagonist giving a dramatic monologue, while the protagonist struggles to regroup for a final attack.
But it can also just be an aside from the POV character, as mentioned earlier for adding internal dialogue.
Writing fight scenes can be frustrating at times, because the action we picture in our heads doesn’t quite translate onto the page. Sometimes it might seem like you’re writing draft after draft of the same scene, without making noticeable improvements. But don’t get discouraged! If you keep some (if not all) of these tips in mind as you write fight scenes, each draft is a sign that you’re getting closer to your intended scene.
Happy writing!
Best,
Leah
Announcement: I have big news! This Saturday, April 9th, I’ll be speaking on three panels at Flights of Foundry. Flights of Foundry is an international, virtual, multi-disciplinary convention for speculative fiction (SF/F) creators, running 24/7 from April 8th-April 10th.
If you’re interested in attending, you can still register now! Registration is donation-based. You must be registered to get access to the panels and presentations.
I’ll be a panelist on the “Next Steps in Editing,” “The Secrets of Line Editing,” and “Writing the Fight: Conveying Macro and Micro Action” panels. I hope you’ll check them out!