6 Simple Tips for Writing an Amazing Fight Scene

6 Simple Tips for Writing an Amazing Fight Scene If youve reached the point of writing a big fight scene in your novel and are struggling, dont worry. Thats just your intuition as a writer telling you to take a minute and really think about what you want to do here.Conflict in literature isnt just a plot point- its a vehicle to move a story forward, to reveal important character traits, and eventually, to achieve catharsis at the end. Knowing this, when its time to write a scene involving major conflict, particularly a fight scene, its important to take a minute to step back and evaluate what needs to happen with that scene to make it effective. And beyond effective- you need to take a step back to consider what needs to happen to make it memorable.What makes a memorable fightAnyone who has ever read the fight scene between Inigo Montoya and Westly in William Goldings The Princess Bride has read one of the most memorable fight scenes in literature.The man in black stood.You seem a decent fellow, Inigo said. I hate to kill you.You s eem a decent fellow, answered the man in black. I hate to die.But one of us must, Inigo said. Begin.And so saying he took the six-fingered sword.And put it into his left hand.William Goldings The Princess BrideWhat follows is a series of specialized sword attacks and subtleties that, across approximately seven pages, is one of the most memorable fight scenes of modern literature. And since Golding wrote the screenplay to the movie adaptation of the book, its just as good on film.Obviously, writing a fight scene can be one of the most intimidating parts of your story to write. So, lets look at a few tips for making your fight scene memorable.1. Make it more than just a fightYour fight scene should, above all else, be a moment when your protagonist confronts the antagonist (or minor henchmen/bad guys) and reveals important information about them both. As youll notice in the scene from The Princess Bride, the dialogue that occurs between the two characters is a kind of meta, fairytale- esque example of what makes all memorable fight scenes stand out from the rest.Consider the final fight between Darth Vader and Luke Skywalker in The Empire Strikes Back. The famous No, I am your father line not only changed the protagonist- it revealed something startling about the antagonist, thus developing both characters significantly within fight dialogue.2. Choose a great settingThe fight scenes in The Princess Bride and The Empire Strikes Back have something else in common- they both take place in great settings.This tip is a little tricky because in addition to choosing a great setting, you have to avoid too much description of the setting while the fight is taking place. Too much description not only slows the pace (which is usually the last thing you want to do when a confrontation is taking place), but it detracts the readers attention from the character development that needs to happen.Youll notice in both The Princess Bride and The Empire Strikes Back, we see the setti ng of the epic fight scenes before the actual fights take place. This gave the writer (and director) time to reveal details about the great location that would soon be the setting of the upcoming fight scene.3. Dont over-describe movementsIn the same sense that using the fight scene to write a lot of setting description will slow down the action, over describing the fight itself will have the same effect. Instead of doing this, use as many action words (verbs) as possible while keeping descriptive words (adjectives and adverbs) minimal.Youll also want to avoid giving your readers a blow-by-blow account of every moment in the fight. Keep in mind these simple rules- make it powerful and quick, choosing emotion over extensive setting or movement description. Let your reader fill in some of these details in their own imaginations and it will keep the pace of your fight scene on track.4. Include emotion and dialogueYour first impression when reading that heading might be, but wait, wont emotion and dialogue slow the pace during fight scenes? Again, think back to the pivotal fight between Darth Vader and Luke Skywalker when Vader finally admits that Luke is his son. Think about the pauses for effect and how dialogue- in small doses- increased the tension during the fight in ways that only emotional dialogue can.As for emotion, dont falsely assume that the only way to show emotion is to describe it. Here is a moment when it is even more important than ever to show, dont tell, when you write. Think about the ways your characters can show their emotions through physical response- heart pounding, blood racing, grip tightening responses.5. Be realisticWith the almost meta moments happening throughout Goldings novel, realism wasnt his goal. We all know that in the real world, two opponents wouldnt carry on such witty banter as they try to win against the other. However, unless youre writing a Golding-esque Fantasy with elements of satire, keep your fight scenes as realist ic as possible to keep your readers turning pages.Here are a few ways to ensure that your fight scenes are written as realistically as possible:Research the weapons your characters would most likely be using based on their job/role. If youre going to be using sophisticated weaponry or black-market technology, make sure you know it well by doing as much research as possible. While you dont want to go overboard on descriptions of these weapons or hi-tech gadgets, realistically mentioning them during the scene will make your fight more believable.Avoid over-use of dialogue and make sure that what is said has a purpose of either advancing the plot forward or revealing important character traits.Dont allow your character to have superhuman traits (unless its a superhero story), such as fighting off 12 guys at once or dodging bullets. This kind of unrealistic fighting should only take place when characterization requires it, such as stories of people with superhuman strength or science fi ction, in which an alternate universe or setting allows the laws of physics to be avoided.6. Know the purpose of the fightFinally, lets discuss the fights purpose and why youve chosen to write one in the first place. Before we do this, however, ask yourself this very important question: Am I throwing in a fight just to make the book exciting?If your answer to that question is yes, youd be better off thinking of other ways to ramp up the tension in your book. Sometimes a simple, menacing conversation between the antagonist and protagonist is all it takes to create conflict and tension. If your fights sole purpose is to build tension rather than the other tips Ive covered, it could very well be a distraction that doesnt do anything for your plot building and should be avoided.A fight is the perfect moment to reveal important things about your characters and create reader excitement, especially in interesting settings. However, its also a literal representation of conflict, and should be used with the utmost caution if you want your book to be a bestseller that readers cant put down. A fight for the sake of a fight gets old fast- give your readers more in your fight scenes and theyll turn out better than you ever expected they could.

Motion and Movement

Motion and Movement Motion and Movement Motion and Movement By Mark Nichol If a word begins with mot- or mov-, chances are that it refers to literal or figurative motion or movement. This post describes many such words. Motion and movement themselves are exemples of this class of word, which stems from the Latin verb movere, meaning â€Å"move.† (The connection for motion and other mot- words is that they derive from motus, the past participle of movere.) Motion and movement both mean â€Å"a change in place or position† and can also refer to physical activities and gestures. Motion also refers to an application or proposal made during a meeting or legal proceedings, and movement also describes an organized effort to achieve a goal or a distinct part of a musical composition. Motion is also a verb describing a signaling gesture or, in a legal context, making a motion. The verb form of movement is move, although move can also itself serve as a noun, referring to changing the position of a game piece or otherwise taking a turn during a game; it is also a synonym for maneuver, as in the phrase â€Å"making a move.† Mutiny, meanwhile, originally meaning â€Å"revolt† but later coming to denote an insurrection of military personnel, also ultimately derives from movere. Moment is, like mutiny, a word with a disguised shared ancestry; it derives from movere by way of movimentum. It generally refers to a brief portion of time or the present time, or a distinctive period, but on its own and as the basis of the adjective momentous, it also has the connotation of importance. (Moment also applies in specialized senses to physics and statistics.) Something that can be moved is mobile and has the capacity of mobility (motile and motility also have this sense); the antonyms are immobile and immobility. Mobile, in addition to referring to a piece of kinetic, or moving, art, is the second element in the compound automobile, the formal alternative to car (which derives from carriage), which is sometimes truncated to auto. Automobile literally means â€Å"self-drive† (in the sense of the driver operating the vehicle himself or herself, rather than the car driving itself, though technology for the latter has been developed). Coinages such as bookmobile (the name for a mobile bookstore or library) and bloodmobile (the name for a mobile laboratory for drawing blood to be donated), as well as snowmobile, have been derived in imitation. Automotive is the adjective pertaining to automobile. To remove is to change the location of something or take it away or eliminate it, and the word is also a noun meaning â€Å"a distance or degree of separation.† Removal is the action or process of removing something. Something that can be removed is described as removable, and the quality of the ability of something to be removed is removability or removableness, though such usages are rare. A motor is a device that enables an object to move or otherwise operate; that word is the first element of compound nouns such as motorboat and motorcycle (and motormouth, slang for a talkative person), as well as the altered compound motocross, which refers to a motorcycling sport and races in that sport. An associated adjective is motive, which describes causing motion. As a noun, motive means â€Å"a reason to do something.† Motive is also a verb, albeit a rare one; its meaning is identical to that of motivate, which means â€Å"give a reason to do something†; motivational is the adjectival form. Commotion (literally, â€Å"with motion†) and emotion (literally, â€Å"out of motion†) both originally meant â€Å"agitation,† but the former word came to mean â€Å"a disturbance,† while emotion eventually applied to mental reactions to stimuli. Emotional and emotive are adjectival forms, emotionally and emotively are the corresponding adverbs, and emote is the pertinent verb, while the slang word emo applies to a subgenre of punk music emphasizing anguish and screamo is a more intense variant. Commotion, by contrast, has only the rare verb form commove. Promotion (literally, â€Å"forward movement†) refers to advancing something by advocating for or publicizing it or advancing someone by giving the person greater authority and responsibility; the verb form is promote, and promotional serves as an adjective in the former sense. Premotion is a rare word referring to movement before another movement, sometimes in the religious context of a divine impetus to act. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:12 Signs and Symbols You Should KnowBody Parts as Tools of MeasurementI wish I were...