I am in the process of getting one of my works in progress, Billy Ninefingers, ready for publication. This tale takes place in the world of Waldeyn, and Huw the Bard makes an appearance, although not in the opening chapters.
The book opens on a sunny day, and my characters are wearing armor. Their conversation tells us they’re nervous about the trail they are on. Through their casual comments, we learn that the world they live in is dangerous, and people must hire guards to protect them from more than just highwaymen if they choose to travel. The three paragraphs of that conversation are all the reader needs to know about the work my characters do and the trail they are riding. That scene ends and the next scene takes them and the merchant they are guarding to their destination, the dark, dirty town of Somber Flats.
The second scene is the setup for the inciting incident, the moment we meet the first antagonist, Bastard John. When he enters the scene, it is one of the few times when the Bastard will be in such a place that we can see who he is as a person. The inciting incident makes no sense unless the reader knows that the Bastard is an obnoxious bastard, and proud to be so-named.
At this point, an argument ensues, which turns violent. Scenes involving fighting are controlled chaos—controlled on the part of the author. There must be a reason for the fight, one that goes beyond the need for livening things up. When it comes to fighting, I keep it concise and linear, as drawn-out fight scenes bore me to tears.
Most authors get hung up on the technical side of the fight–how they were dressed, who hit who with what weapon, and so on. These are necessary elements of the scene that good, responsible research and an author’s diligence can resolve.
But there is a larger consideration to your battle: you must have a good reason for the conflict. No one is going to stick with a novel where random, convoluted battles happen for no good reason. They hack, they slash, blood flows, the winner walks away–but why did it happen? What is the purpose of injecting that conflict into the narrative? In Billy Ninefingers, besides the obvious fact that he is seriously injured in the fight, which is the core plot point of the book, I had two other goals with that fight scene:
- I needed to show how the Bastard is jealous and acts on any thought that passes through his alcohol-soaked mind.
- In the resolution of that scene, my intention was to demonstrate that Billy, even with his life in ruins, has a sense of fair-play.
Each character in the fight is, and must remain, a unique individual. There should be no blurring of personalities, which can happen when an author focuses to intently on the action of the fight scene, writing it as if they lived it. For the author, acting out the action ensures that the moves are reasonable and make sense, but you aren’t done writing that scene just because the hacking, slashing, and gunshots are on paper. You must go back to the first part of that section, and make sure you haven’t lost the individuality of the characters in the chaos. Each character must be portrayed in the actions sequence in such a way the reader doesn’t say, “He wouldn’t do that.”
Consider the people you know. Picture the ones you like to spend time with. What is it about them that captured your interest in the first place? I’m not talking lovers here, so set the irresistible chemistry aside and think about their mannerisms, their habits.
That sense of uniqueness is what we must give our characters through their habitual movements and speech, and it is crucial we maintain those differences when we describe a fight scene.
Our bodies, as well as our faces, are in constant motion. You can show this in small, unobtrusive ways by sitting back and visualizing your scene as if you were the witness rather than a participant, making it real in your mind before you commit it to paper.
In conversation, people miss a few beats when they are speaking. They gather their thoughts and speak in short bursts. They shift in their chair, or stand up, or wave a hand to emphasize a point. They turn, and sometimes mumble.
Every character’s mannerisms are individual, uniquely theirs. You, as the author, visualize them this way, but the difference between success and failure as an author is the ability to commit their personalities to paper. Many authors don’t succeed at this—they either fail to give enough subtle clues to the reader, or they are too specific. The fine line between enough and too much is where the author’s artistry comes in.
Through physical actions and conversational interactions, we make our characters knowable and likable (or not, as the case may be). Their actions as they interact with their environment and each other illustrate the world they exist in. Each scene is your opportunity to convey the setting and the mood of your characters without resorting to an info dump.
Especially when describing a fight scene, the author must give the impression of detail, offering the reader a framework to hang his imagination on. We use our words sparingly and with intention, painting the idea and the atmosphere of the conflict as if painting the scene in the style of the impressionists.
I love it when I can suspend my disbelief and become immersed in the story, getting wrapped up in the fight because the battle is crucial, and the good people must win.