Writing Effective Combat Scenes

A combat scene that is well-written and well thought out adds excitement and tension to a story, whether it’s hand-to-hand combat between mortal enemies or an all-out four-army control-of-the-world skirmish of Tolkien magnitude. Writing a combat scene can be a complex process that may or may not work out, following a few simple rules can ease the headache a little by at least knowing which pitfalls to avoid.

The decision to insert a fight scene into your plot should not be taken lightly. Its purpose should not only be to liven the plot, but to move it forward. If it doesn’t add to the story arc, it shouldn’t be there. Unless, of course, your story is about frivolous violence. In that case, you may not have enough. But for the most part, fight scenes needs to propel your story, add tension, and move the plot forward.

Here are some tips on how to do just that.

 
The Stakes

What are the stakes of your battle? What are the possible consequences for your main character if he doesn’t win? Will he die? Or is it worse? Will his army/companions/country fall into the hands of the enemy? Will his entire race be obliterated? Or is it better? Will he win the hand of the princess and the day? Will he amass a fortune that he will use to take over the world? The higher the stakes, the more tension there is to build. Make the consequences high enough that something MASSIVE will be lost or gained.

Put it all on the line. Make your readers clamor for the outcome!

 

 

Reloading Is for Wussies

One of the most abused tropes of gunplay is just how many shots characters have fired before stopping to reload. If people knew the actual numbers, I think most of them would be surprised. Keep count sometime. Most go on for much longer than is realistic.
The capacity of fictional guns tends to be dependent on how much suspense the writer is looking for. The hero will always have plenty and the bad guy usually runs out. Sometimes the hero will have just enough for the fabled One Bullet Left. Reloading is usually only shown when the writer wants to show what a badass the hero is. If a character is firing an automatic weapon, you can rest assured that he won’t run out until he is 1) dead or 2) has killed everyone else. The only thing that can stop him is the inevitable gun jam. In reality, automatic weapons fire rounds really freakin’ fast. One good squeeze can empty a magazine in seconds.

Keep this in mind when you’re writing your combat scenes. You have the Wide Wide World of Web at your fingertips—don’t be afraid to use it. Do your research.

 
If you don’t know how many rounds a certain gun will hold, don’t just make a number up. “She fired until the gun was dry” will suffice. And if you do know, don’t recount Every. Single. Bullet. Complete with make and model number. The reader will be more interested in how you maintain tension during the scene that your intricate knowledge of the gun.

 
The Stormtrooper Effect

An extension to the previous section is the Stormtrooper Effect. This is where the bad guys can’t aim and then gets killed with one shot from the good guy. It actually really will add more tension and interest to the scene if there is something at risk. If you go into the scene knowing that the hero won’t get hit, it takes something away from the reader and leaves them disappointed.

 At least wing him.

 

Clip? Or Magazine?

One is a clip. And one is a magazine. They are completely different, non-interchangable terms. Though it seems that not everyone knows this. With the raging debates about gun control, you can see how often the terms are misused.

Here is the difference:
A clip hold cartridges together with a strip. This makes it easier to load into the firearm.
A magazine is a detachable container that holds the cartridges and is generally inserted into the firearm to make it function. Sometimes a magazine can be loaded with a clip.
And the dictionary doesn’t always help.

Though most people would actually know what you were talking about if you interchanged the terms, those who do know the difference will judge you. Harshly. If you’re going to talk about guns, at least know what you’re talking about.

 
What Did You Say?!

Battle is noisy. If your character is in a gun battle and doesn’t have ear protection, there will likely be hearing loss or at least ringing in the ears. Explosions and gunfire, especially in an enclosed space, are literally deafening. Write accordingly.

 
The Sword Is Mightier than the Pen

Know your swords. I don’t, but here are a few tips that I found. It seems like every warrior fights with a katana, when in reality, they were very rare. Katanas have a reputation as being the soul of the samurai who was considered to be the master of the weapon, but this, historically speaking, is false. There were no sword fights with katanas. It was usually one hit and the opponent was dead. Generally every cut from a katana is fatal. Real katanas also tend to completely destroy other real weapons.

The katana was not the main weapon of the samurai on the field. They actually used their bows as they originated as mounted archers, the spear for infantry maneuvers to support the archers, swords on spears to counter cavalry, and early firearms. The katana was reserved for when the other weapons became unusable.

If you do it right, a good draw will make no sound. A bad draw is noisy. If your character is using a sword, make sure he or she uses it silently.

 
“Let Me Tell You Exactly How I am Going to Kill You in Excruciating Detail…”

Monologuing. Is there any other way to create tension during a fight scene? Yes. Yes, there is. Make it real. Most warriors or fighters will not stop fighting to make a speech. When the adrenaline is flowing, as it usually is in battle, people generally won’t have the mental faculties to make a witty speech as entertaining as it is.

 Leave out long speeches during high-tension scenes. Replace them with more action (if it’s appropriate, of course).

 

 

What the Hell Happened?

Make sure that you show the outcome of your battle. Did your hero get injured? Is he bleeding? And if he has sustained life-threatening injuries, he should probably die. Or be a robot (which could be kind of awesome.) It’s a cheat to the reader when the hero gets shot 15 times and then goes home for lemonade.

 

Describe the battle scene. Let the reader know exactly what was gained or lost. If you can’t do these things, consider cutting the scene.

 
Visualize the Scenes

If you, as the writer, can’t see the battle scene in your head, your readers are going to have a hard time too. Create a good visual image of every scene in your head as you write it. Create multiple ways of how the scene plays out. This is a good place to use your resources. Ask someone to read it. Can they see the same things you did while writing? If they can’t, rewrite it to make it more clear.

Don’t ask your mom to read bloody torture scenes if she’s squeamish. She doesn’t like that.

 
Technically Speaking

When writing action, short sentences with little detail will create that frantic tempo you’re looking for. Reserve longer sentences for details during slower moments. Long sentences interrupt the pace. Action happens quickly, so write it so it can be read quickly. Use both to create tension and suspense.

When someone is in a tense situation, running for their life, racing against time, or battling the enemy, they usually don’t take the time to stop and admire the scenery. They don’t start reminiscing about the love of their life or comment on the décor. If the adrenaline is pumping, their attention is on their survival—either theirs or someone else’s.

 

I hope that I have at least given enough information to help improve your combat scene or at least pointed you in the right direction. I am not a weapons expert and I don’t pretend to be (except at parties after seven beers), so if there is anything you would like to add from the realm of your expertise, please feel free to leave a comment. The more information the better! So let’s hear it!

Additional Resources:
List of Martial Arts
List of Weapons
List of Military Tactics
Insane (Yet Successful) Battle Tactics from History
Badass of the Week
VIDEO: The Difference Between a Clip and a Magazine
Tactics
Additional Resources on Swords

5 Basic Things Every Writer Needs to Know

You know about plot. You know about character development and conflict. You know about setting and resolution. So what else is there? What are you missing? What else needs your attention?

You.

You are the crux of everything that you write. If you don’t take care of yourself, how are all of those beautiful words (or horrifying, or amusing, whatever your genre) going to get out of your head?

Here are some of the most overlooked but most important ways to make sure that you’re on top of your writing game.

 

Eat Your Heart Out

Your brain can only live off Yoo-hoo and Doritos for so long. It may save you time, but it’s costing you brain power. Not getting the proper nutrition can result in illness, aches and pains, and listlessness.

Listlessness may sound familiar. If you are looking for sugary foods to boost your energy level, here’s what actually happens:

Sugary snacks create a spike in your blood sugar, giving you that oomph of energy. Except your body then looks for more fuel, but since it burned everything on that spike, there’s nothing there. Then comes the crash, and goodbye good writing!

Next time, when you’re looking for a snack, see if you can munch on some veggies or a protein bar to satisfy your hunger. And if you’re not quite ready to give up your Fritos and bean dip, at least bolster it a bit with fruits and veggies. At least it will counter the effect.

Pro Tip:

Before you sit down to write, prepare some good-for-you snacks so when you’re on a roll and get the munchies, you don’t result to picking up something that won’t give you as much brain power. Be prepared.

 

The Hydra Station

I know that writers are supposed to stay up all night, drinking coffee by the gallon, and chain-smoking cigarettes while they crank out the next great American novel.

Studies show that’s probably not the best idea. It turns out that caffeine, in addition to being a stimulant, restricts blood vessels, pulls water from cells, and causes dehydration. So, I hate to be the one to deflate the stereotype, but trade in your coffee for water. Your brain is made of 70% water. Give that thing what it wants! Replenish its fluids and it will reward you by working properly.

Pro Tip:
If it’s not feasible to cut out coffee in lieu of water, try to drink at least one glass of water for every cup off coffee.

 

The Sandman Cometh

With a busy schedule, sleep is usually the first thing that gets cut—and writers get hit more than anyone—especially when there are deadlines. Maybe you get up early to write. Maybe you stay up late to get a little more done. Either of which is fine—but not both. You also need to make up that lost time. If possible, when you stay up late, sleep in. If you get up early, go to bed a little earlier.

Naps can be a two-edged sword. I find that if I sleep in the middle of the day, I wake up two hours later, wondering what year it is. So instead of napping, I try to make sure that I get enough sleep during my normal sleeping hours. I do understand that that’s not feasible for everyone. Enter the power nap. When your brain shuts down and you can’t think of another word, find a quiet spot, and close your eyes for 10-15 minutes. It is usually enough to get you over that bleary-eyed hump.

Pro Tip:
If mental clarity isn’t enough incentive to get adequate sleep, keep this in mind: shorting yourself on sleep can cause symptoms of premature aging such as wrinkles and disease.

 

Get Busy, Child

When you’re writing, it’s super easy to sit at your computer for 15 hours straight, even after inspiration wanes. Moving your body around brings blood back to your cells, including the ones in your brain.

It would be ideal to get half an hour each day to get moving. You could go to the gym (I know) or you could do something as simple as take a 15 minute walk in the morning and a 15 minute walk in the afternoon. Or turn up the music and dance around the living room. Or stretch. Or walk up and down some stairs. Or just step outside. It doesn’t have to be hard. Just get up and move. Any type of activity is better than none.

Pro Tip:
Set an alarm to help you remember to get away from your desk for 2-5 minutes each hour.

 

The Spirit Calls

Studies show that regular practices of the mind result in sharper memory, increased productivity, and increased creativity flow. You don’t have to become a full-on Yogi, but regular relaxation is needed, even if it’s just 5 minutes per day. You can meditate if you want, but gardening, reading, drawing, or even just appreciating nature for a few minutes is enough to do it. It’s very unhealthy to go full-tilt all the time. Even if you are on a roll, take time for yourself and give yourself a mental break.

Pro Tip:
Here’s an exercise that is easy to do with minimal effort. Get away from your desk and to a comfortable place. Get yourself comfortable and let your eyes close for 5-10 minutes. Forget your problems, forget your worries, just be. When the timer goes off, you will feel surprisingly refreshed. At the very least, you gave your brain and eyes some rest and will be ready to get back on that writing wagon.

 

The most important tool that a writer possesses is his mind. A well-rested, well-fed, and peaceful mind is ready to examine, explore, research, and express. Taking care of it will ensure that you are energized, clear, fresh, and inspired.

So, go ahead. Indulge in some self-care. The results may be just what you’re looking for.

 

How to Write Engaging Dialogue

Writing dialogue can be tricky, but it doesn’t have to be. After all, we participate in and hear several conversations per day.

Most of our conversations would be super boring to read for the most part. Take this conversation I had with a friend earlier:

“Hi there!” I said.
“Hi!” she said.
“How are things going today?” I said.
“Fine, just a bit tired after my trip,” she said.
“How was the convention?” I asked.
“Good, but long,” she said. “I set up my booth in the wrong spot and had to move immediately. Then some teenagers started hanging out next to me and I was sure they were going to start slacking at any moment, so I had to call security…”

Ugh. I would probably close whatever book contains this dialogue. But you could make it better by condensing it and adding some action and descriptors, like so:

“Hi there!” I said as she answered the phone.
“Hi!” she said, obviously happy to hear from me.
“How are things going today?” I said.
“Fine, just a bit tired after my trip,” she said.
I asked her about the convention, which she told me about in excruciating detail.

Much better to read. It also illustrates the difference between spoken dialogue and written dialogue. You can still relay the same information, just in a different way.

Dialogue Basics

One part of writing successful dialogue is formatting and style. Using the correct tags, punctuation, and paragraphs are almost as important as the quotations themselves.

Dialogue Tags

A dialogue tag is the he said or she said of the quotation. Many times, they are erroneously used as descriptors. For example:

“I hate cats,” he growled.

Keep your dialogue tags simple. Said will usually work just fine. Use asked in the case of a question. Fancy words like denounced or proclaimed, or descriptive words like cried, teased, hissed, joked, smirked, winked, frowned, smiled, et cetera, may be fun to write but actually take the reader’s attention away from your writing.

You can sometimes get away with using more descriptive dialogue tags, but use them sparingly. Instead, use the narration and dialogue itself to show the emotion or action. Remember to show and not tell.

“I hate cats,” he said, growling like a dog.

Dialogue beats

A dialogue beat is a brief description of action in between the dialogue that helps dialogue become livelier.

“Let’s do this,” Jean said as she wiped the sweat from her forehead. “I got places to be.”

Use dialogue beats to break up the spoken words of your characters so the conversations aren’t too boring for the reader. Again, less is more. Use these only when the action is necessary, otherwise you’ll end up on the other end of the spectrum with too many descriptions.

Capitalization

It is a common mistake to capitalize the pronouns in dialogue tags and beats. They are always lower case unless at the beginning of a sentence.

“Capitalization confuses me,” she said.
She said, “Capitalization confuses me.”

 

Punctuation

The first thing to remember about punctuating dialogue is that the punctuation, with very few exceptions, goes inside the quotation marks. If you have a question about whether or not you should put it inside, put it inside. 99% of the time, you will be right.

“Where are we going?” she asked.
“Nowhere,” he replied.
“Well, tell me when we get there.”

When the dialogue tag or beat interrupts the quotation, set it off with commas. Also notice that the first word of the second half is lower case.

“We will be there in,” he said as he checked his watch, “fifteen minutes.”

*Note: The punctuation rules here are for American writers. Rules in different countries will vary.

 

Long Quotations

When writing very long quotations that are more than one paragraph, only use end quotes when your character is done speaking. Don’t put them at the close of the first paragraph.

He began his speech. “Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

“Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.”

 

When to Start a New Paragraph

Start a new paragraph each time you change speakers in your text to show your readers that someone new is speaking. You don’t have to use dialogue tags every time the person speaks, but do it frequently enough that the reader doesn’t have to second guess who’s talking.

 

Action

If your speaking character is engaged in action, keep the description of the action in the same paragraph as the dialogue. Spreading it out only confuses the reader.

 

Dialogue as an Information Dump

Don’t rely on dialogue for story exposition—an information dump—to give the reader details about plot or backstory through what the characters are saying. The result is dialogue that sounds completely fake.

“As you know,” Milton said, “I have a PhD in pharmacology and trained at Harvard, so I can get this prescription filled for you right away.”

Dialogue should set the scene, give insight into characters, give the reader a reminder, foreshadow, and advance action. Don’t use it just to convey information. Put your dialogue to work for you. It should be multitasking and doing many things at the same time.

 

Vernacular

Vernacular is the specialized spoken language of a particular group, profession, region, country, etc.—also known as dialect. It is the spelling, sounds, grammar and pronunciation that distinguishes that group from other groups around them. It is a very powerful tool of characterization, but it is easily overused.

Using too many made up words to convey the vernacular slows the flow of the story and interrupts the reader as oftentimes he doesn’t know what the heck you’re talking about. Take this example from The Adventures of Huckleberry Finn by Mark Twain from the character Jim.

“I didn’ know dey was so many un um. I hain’t hearn ‘bout none un um, skasely, but ole King Sollermun, onless you counts dem kings dat’s in a pack er k’yards. How much do a king git?”

Ouch. I know it’s English, but it’s not at all readable. Here is a more palatable version:

“I din’ know dere was so many of ‘em. I ain’t heard ‘bout none of ‘em, ‘cept King Sollerman, ‘less you counts dem kings that’s in a pack o’ cards. How much do a king git?”

It’s washed out, but it does get the message to the reader.

The key is to stay consistent. Do your research. Find the common spellings of the terms you’d like to use. Find how people actually talk in the regions you’re referring. Don’t just make up your own terms. This will just confuse and alienate the reader. Also stay consistent in your own writing. If you use vernacular in one sense, don’t change the spelling later on. There is an art form to using vernacular.

 

Dialect and Slang

Use care when writing dialect. An accent alone does not make character come to life and, like everything else, it can be overdone. If overdone, it can turn your character into a stereotype or a joke. It can also annoy or even offend your reader. A little dialect goes a long way.

That being said, word choice can tell your reader a lot about ethnicity, sexuality, background, or appearance. Keep your character’s voice in mind, but make sure it’s readable (see above). Dialect in dialogue should read like real speech. Dialogue doesn’t have to be completely grammatically correct, but there should be a balance between realistic speech and readability.

 

When to Abandon the Rules

Speech tends to be more informal than written words, so know when to toss formal grammar out. Speakers tend to contract words (don’t instead of do not, can’t instead of cannot, etc.) and sometimes omit words, especially in the case of vernacular and dialect.

Speakers are more likely to make errors such as “There’s no more grapes” rather than saying “There’re no more grapes” which is correct, but no one talks like that.

Comma splices in an essay will make a teacher’s hair fall out, but can make dialogue less clunky if used with restraint.

Sentence fragments are a necessity to constructing good dialogue.

These are all examples of when you can break grammar rules to make your dialogue smoother.

 

All of this put together (plus your talent of course) will make your dialogue snap and pop. Do not fear, you don’t have to memorize all of this. The easiest way to get objective examples of correct dialogue usage is to read. Then read. Then read some more. Familiarize yourself with how other authors use dialogue to help with the flow of your own writing.

And as with anything, practice make perfect. Even the best writers don’t always get it right. Keep writing and soon you will be able to mold your words into the message that you intend. And it will rock.