| Sun, Jul 25 2010 12:51pm IST 1 |

Korinne
42 Posts
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I'm currently re-writing my first chapter and i'm struggling with
the battle scene.
Those of you that read my first (and second) draft will know that
this is one point that was really flawed.
How do you write a gripping battle scene that keeps the reader
interested?!
HELP! :(
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| Sun, Jul 25 2010 02:31pm IST 2 |

Nashelle
765 Posts
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Hi K,
Like any scene choose your narrator first. If you have and
omnisient narrator you will have an overview of the scene and will
include more aspects of it. If you see the battle through the eyes
of a character then this will narrow down what bits you will write.
The latter I think would be the easier way and will emerge the
reader right into the action. The reader will form a picture of the
scene themselves. I think we as writers forget that writing is a
two-way thing. When we try to take on everything and forget about
the reader writing can seem like an arduous task.
Don't know if this helps any! :)
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| Sun, Jul 25 2010 02:41pm IST 3 |

EmmaD
1797 Posts
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Nashelle's right that point-of-view is the key. Wideangle is hard
to get right and still keep it immediate and involving, and a
particular character's experience of what's going on is always the
best way of drawing the reader in. On the other hand, that can make
it hard to convey what you need to, of the progress of the battle,
that an individual can't know.
I'd suggest that there's always the option of using a third-person
narrator who has an omniscient point-of-view but also can slide
into the voice-and-point-of-view - the head - of a character
involved in the scene. Free indirect style, in other words. Or more
than one character, if you're feeling brave and want to be really
grown-up about it. Though you'll have to brace yourself for the
narrow-minded rule-grubbers who say it's 'not allowed'.
You might also want to think about the closely related issue of
psychic distance:
http://emmadarwin.typepad.com/thisitchofwriting/psychic-distance-what-it-is-and-how-to-use-it.html
If you think in terms of a rhythm of moving inwards and outwards -
then that can help a lot.
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| Sun, Jul 25 2010 03:33pm IST 4 |

Erebus
46 Posts
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I think with battle scenes you should slow it down. Break it into
sections and look at improving each one. Take out parts which you
don't think are vital to the storyline and finish off each
section with something that will link to the next part. This will
make your battle flow better.
If your struggling for ideas of what to write then try this
exercise; watch a movie like Lord of the Rings, Gladiator,
Braveheart, 300, Henry V (all have brilliant battle scenes) and
think how you would describe it in a book. Take into
consideration the sights, sounds, smells, feelings , anything
worth noting. Incorporate this into your book and it should be
great.
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| Wed, Jul 28 2010 02:25am IST 5 |

Babblefish
846 Posts
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Some useful things I once read about writing battle/action scenes
(Paraphrased here):
Bring the camera in. Focus on physical details (what a single arm
is doing, the blood trickling down chracter A's wrist, the hair
in his/her eyes sticking to her sweaty forehead, the feeling of
tiny pebbles in the dirt pressing into his/her elbow as they fall
down, maybe even smells). Us short sentences. Annihilate
adjectives/adverbs. Select your verbs carefully- a good verb will
take the place of all those descriptive words your shredding.
I think this corresponds to the bit in the movie where the camera
is all zoomed in with frequent cutting corresponding to frequent
full stops.
The only problem I've found with trying to apply this is that it
can make all but the most epic battles incredibly short-
seriously, I cut the final boss fight for an entire book down to
aprox 300 words. I was gutted.
Also It depends what kind of fight your dealing with. Is this a
brutal slog to the death with a pair of blunt swords? Is it a
comical bar fight with characters getting biffed across the
counter? Is it an elegant duel, both characters circling one
another- perhaps a more poetic turn of phrase would be more
appropriate in this case, talking of the singing metal, the
delicate deadly dance.
I'm not really sure what you're going for here, but just remember
that HOW you write sets the mood, and be very selective about
what mood you're going for.
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| Wed, Jul 28 2010 06:15am IST 6 |

stephenterry
1687 Posts
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Hi Korinne.
Try this. Put your head inside your reader. What does he/she
need to know about the battle and its outcome?
Keep your focus on this. It will allow you to utilize widescreen
and/or close-up, as is fitting.
Is there a surprise?
Is the main character going to win or lose?
Which other characters are integral?
I know I keep on harping about it - your readers are your
audience.
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| Wed, Jul 28 2010 04:55pm IST 7 |

Korinne
42 Posts
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Thanks for the advice everyone!
This is really helpful. When I get round to re-writing the battle
i'm going to take all this on board. x
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| Sun, Aug 1 2010 10:43pm IST 8 |

Valkia
255 Posts
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Treat a battle like any other event your characters endure. Be sure
to keep continuity; your initially timid, shy hero does not become
a bloodthirsty berserker in a moment, for example.
To do it well, you kind of have to balance two conflicting
points. On one hand, you have to keep it simple. The reader needs
to understand what's going on, and why it's important. On the
other, you have to remember that a battle is likely to be
intense, frenetic, chaotic and a naturally negative experience.
By that i mean that your primary emotions are fear, confusion,
anger, pain and hate. Even a seasoned soldier will find a battle
to be a terrible experience, far from a walk to the shops.
Detail is important, but i dont personally think it's a good idea
to be vulgar. Blood and guts arent always needed, especially if
the rest of the story doesn't run on that kind of level. That
said, you do need to convey the energy and impact of a battle,
and you can't really skim over the violence involved.
One last thing. I haven't read your pieces, but please dont
itemise your fight. There is nothing worse that reading a battle
that sounds like a shopping list: "And then he hit the bad guy on
the head, and then he tried to hit the other bad guy but he
blocked and tried to hit him back" A blow-by-blow account is hard
to keep interesting, and should probably be saved for pivotal
moments of a fight, rather than the whole damn thing.
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