What's the most important part of a fight scene?

[ThisAdamGuy]

When you're reading a fight scene, what's the most important ingredient when it comes to making it satisfying and memorable?

For me, it's movement. This is probably my inner Fanderson talking, but the more the characters are able to move around, and the more ways they have of moving around, the easier it will be to keep my attention. That's why so many of my characters' powers involve movement somehow. In Juryokine, Toke can manipulate his gravitational field, letting him jump rapidly from the walls to the ceilings. Henry can charge parts of her clothes with magic, and the explosion it creates when she releases it will launch her in the opposite direction. All of this put together let's me write fight scenes that are more interesting (and more fun) than "The good guy swung his sword. The bad guy blocked it. The bad guy swung his sword..."

What's the most important part for you?

 

[NotaNuffian]

When you're reading a fight scene, what's the most important ingredient when it comes to making it satisfying and memorable?

For me, it's movement. This is probably my inner Fanderson talking, but the more the characters are able to move around, and the more ways they have of moving around, the easier it will be to keep my attention. That's why so many of my characters' powers involve movement somehow. In Juryokine, Toke can manipulate his gravitational field, letting him jump rapidly from the walls to the ceilings. Henry can charge parts of her clothes with magic, and the explosion it creates when she releases it will launch her in the opposite direction. Miranda's dagger is imbued with a spell that teleports her to it, so she's constantly tossing it around the battlefield to appear and disappear unpredictability. Zara has the Break Gravity spell, which acts the same as Toke's power (yeah, I'm ripping myself off. cry about it!). I haven't gotten to this part of the story yet, but Jeremy is going to get a pair of boots with an airblast spell that shoots him off the ground, and an auto-retracting crossbow/grappling hook to let him zip around really fast.

What's the most important part for you?

Being clear on what is actually happening.

For example, A hits B.

As an author, you are required to tell me:
1. How A hits B? Punch? Fireball? Etc.
2. Where, which part of A is used to hit which part of B?
3. Scale of severity, what happens to B? What is his reaction/ rebuttal?

These might sound like simple ideas and common sense, but I had read some oddballs out there that flunked no. 2 and on rare occasions, no. 1. They just put A hits B and if I am in a bad mood, I will just imagine Dumbledore's calm demeanor in Goblet of Fire movie.

 

[Eldoria]

For me, symbolism is the most important part of a fight scene. Every battle carries a philosophical meaning about the clash of ideologies. Therefore, the characters' punches, kicks, and slashes aren't just meant to injure or kill their opponents, but more importantly, to uphold their ideological values. Thus, combat isn't just a physical clash; it also involves a battlefield of meaning.

 

[CharlesEBrown]

Trying to get a mix of drama (for the characters) and fun (for the reader) when I'm writing them.
When I'm reading them, just a dynamic flow. Does not have to focus on movement, or blow-by-blow, or special effects, it just has to flow in an engaging manner.

 

[blackcrowcrowd]

Being clear on what is actually happening.

For example, A hits B.

As an author, you are required to tell me:
1. How A hits B? Punch? Fireball? Etc.
2. Where, which part of A is used to hit which part of B?
3. Scale of severity, what happens to B? What is his reaction/ rebuttal?

These might sound like simple ideas and common sense, but I had read some oddballs out there that flunked no. 2 and on rare occasions, no. 1. They just put A hits B and if I am in a bad mood, I will just imagine Dumbledore's calm demeanor in Goblet of Fire movie.

To me, the most important part is 3.
Whatever method they use, what matters is what it causes, aka what each actions does to drive the scene forward.

 

[LuoirM]

As an author, I personally feel the need to have one of those scenes where no one talks, no one even thinks, they just move in response of close quarters almost instinctually, and the writer speeds up their writing pace, each action which usually warrants a paragraph now only consists of ~7 words

If a melee fighting scene doesn't have that, I'm dropping ovo

 

[FleecedSheep]

Depends on the fight scene really. I can't just say in a blanket statement what makes a fight scene a fight scene. Some fights serve better as a metaphor, some fights short and brutal with little to no descriptors. Other times a fight can seemingly drag on forever. Or devolve into a bloody struggle with the pair wrestling in the mud, bloody and broken.

I suppose if I had too, it would probably be, Intent? Knowing why the characters are fighting, what their goals are. The surrounding implications of the fight and how that affects the world, or something like that. Properly setting the stakes for the fight can be helpful too. Especially in regard to the overall story. Also, knowing that the fight isn't just some random occurrence, but has weight too it can help the overall narrative, whatever it is.

Maybe?

 

[crmsn_conqueror]

When you're reading a fight scene, what's the most important ingredient when it comes to making it satisfying and memorable?

For me, it's movement. This is probably my inner Fanderson talking, but the more the characters are able to move around, and the more ways they have of moving around, the easier it will be to keep my attention. That's why so many of my characters' powers involve movement somehow. In Juryokine, Toke can manipulate his gravitational field, letting him jump rapidly from the walls to the ceilings. Henry can charge parts of her clothes with magic, and the explosion it creates when she releases it will launch her in the opposite direction. Miranda's dagger is imbued with a spell that teleports her to it, so she's constantly tossing it around the battlefield to appear and disappear unpredictability. Zara has the Break Gravity spell, which acts the same as Toke's power (yeah, I'm ripping myself off. cry about it!). I haven't gotten to this part of the story yet, but Jeremy is going to get a pair of boots with an airblast spell that shoots him off the ground, and an auto-retracting crossbow/grappling hook to let him zip around really fast. All of this out together let's me write fight scenes that are more interesting (and more fun) than "The good guy swung his sword. The bad guy blocked it. The bad guy swung his sword..."

What's the most important part for you?

This is a great topic, but I'd like to pose an even more challenging question: how do you write a sports scene? How do you write a running scene so that your readers genuinely understand the force, timing and skill necessary in order to perform at that level? Or if you're writing a football scene, how do you draw in your audience to the point they sweat in their seat as if the ball was at their feet?

 

[Worthy39]

This is a great topic, but I'd like to pose an even more challenging question: how do you write a sports scene? How do you write a running scene so that your readers genuinely understand the force, timing and skill necessary in order to perform at that level? Or if you're writing a football scene, how do you draw in your audience to the point they sweat in their seat as if the ball was at their feet?

Then start your own thread and ask it there...

 

[Ruyi]

i feel like movement is part 1 of it, but you cannot disregard pacing. like HOW you write the fight scene completely dictates how it "plays out" in the reader's head. you need long sentences, short sentences, fragments, a healthy sprinkling of onomatopoeia...some internal thoughts but not too much or the fight will stall, etc. and not every detail will be crystal clear—sometimes actions are blurred, like you feel a sharp pain in your gut don't describe say, the action of being stabbed but consequences of it instead (ex: bleeding from the abdomen) which has great effect than a faithful 1-by-1 play-by-play. if you (like me) suck at writing the actual choreography of the fight you can sorta cheat by using analogies or description of the vibes you want (rushing waves, slicing winds blah blah).

basically i feel like you need to control the SPEED of the scene by zooming in/slowing down (AKA filling in details) of things you want readers to notice and skimming the rest. for more on that technique this is a nice video on it i love:

 

[Our_Lady_in_Twilight]

Perhaps I'd say character psychology? As in, what is the purpose of the scene to the hero's internal journey.

So for example, if I was writing Return of the Jedi, the most important part of the Jabba rescue would be to showcase Luke's growth, serene confidence and control of the situation as a full-fledged Jedi Knight. For the final battle with Vader/the Emperor, the most important thing to show is his inner turmoil, sympathy for his father, concern for his friends and danger of giving in to the dark side.

I wonder if, for me at least, the primary purpose of an action beat is to put the contradictions and tensions within the character under extreme stress in order to move towards growth. My top priority would be to make sure that was done well.

 

[DireBadger]

The aftermath.

I am actually dead serious. text combat doesn't tend to be that exciting, but dealing with the aftereffects can be deep fiction,

As an author, I personally feel the need to have one of those scenes where no one talks, no one even thinks, they just move in response of close quarters almost instinctually, and the writer speeds up their writing pace, each action which usually warrants a paragraph now only consists of ~7 words

If a melee fighting scene doesn't have that, I'm dropping ovo

If a melee scene IS that, I am dropping it. That sort of fight, with no depth, no real introspection, and no real feeling behind it. just action-reaction, is absolutely mind numbingly boring.

 

[Juia_Darkcrest]

I haven't read what everyone else says, but to me, your MC needs to be allowed to lose, or atleast struggle with the fight.

Nothing is more boring than an MC who just curb stomps everyone and everything in their path.

They need to take damage, get pushed back, take wounds. Hell even have them knocked out if you can write it to make sense.

Its one thing if he decimates a bunch of guys he ambushed, but unless its some wish fulfillment novel where dude is practically a god from day 1, any combat you write needs to have the drama of actual risk to your MC.

If you are unsure of what that is, head to your local biker bar one night, find the dudes dressed in leather, and tell them you need help understanding how a real fight works for your writing. If they deny you, go outside and push some bikes over, and they will show you first hand how it works :)

 

[ElenaV]

More than the fight, it's the tension and build before the fight that matters. Imagine two gunslingers, squaring against each other. The fights are quick. Immediate. Definitive, but the moments before the fight. The stance. The silence of a graveyard. The exchange of glances, insults traded without words, a warrior's cantrip. The twitching of fingers, that bead of sweat that runs down, those are what defines the fight. The fights never began when the guns are out. They begin when the author communicates the tension.

These are my personal opinions. Also, I like my fight scenes like my smut scenes. With lot of foreplay and exact act....

 

[ThisAdamGuy]

head to your local biker bar one night, find the dudes dressed in leather

Oh, good timing. My town is having its annual biker festival, so I don't even have to go to a bar. I found a bunch of friendly looking guys who keep calling themselves Hell's Angels. Will they work?

 

[Juia_Darkcrest]

Oh, good timing. My town is having its annual biker festival, so I don't even have to go to a bar. I found a bunch of friendly looking guys who keep calling themselves Hell's Angels. Will they work?

Actually they probably would.

I used to hang out with a bunch of HA when I was younger. They used to do a good job of keeping the more violent gangs in check.(true story, see City of Winnipeg to know more)

 

[CharlesEBrown]

Actually they probably would.

I used to hang out with a bunch of HA when I was younger. They used to do a good job of keeping the more violent gangs in check.(true story, see City of Winnipeg to know more)

My wife is friends with a guy who was deep into Hell's Angels for a while (got out after a few years of doing the illegal stuff, when he found legal ways to make the same amount of money with less danger). Never met him myself - talked to him once, very briefly on the phone but that's it - but the stories she's hinted at him telling her were impressive.

 

[OniKaniki]

fighting like throwing cards: the villain uses this ability, the MC uses this ability to counter his ability, the villain then uses another ability to counter the MC's ability to counter his ability, etc...
Then other characters use this ability on the villain; the villain then uses this ability to throw everyone in prison!
One character manages to escape the prison by using teleportation! That character then teleports and uses this ability to fight the villain!
The villain then uses his ability to counter his teleport, making him teleport back to the prison!

...
or just writing what's actually happening with long sentences, like he struggles to keep up, but he tries his best and moves his hand, draws an arc, and wounds scar his face... his body fills with wounds, blood spreads……

…
or use emotional dialogue when fighting, their thoughts when doing this, their struggle to keep up, etc…

…
or just aura farming

 

[BEARHOUSE]

Fight-write choreography is great, but tell me what your character feels when he gets punched in the face or kicked in the stomach. If they're striking someone else, tell me how their hand or foot feels when it strikes. If sending energy, describe how it feels running through them - or how it feels getting struck by plasma, magic, or worse.