Good Old Fisticuffs
As a hormonal male, I love nothing more than watching someone getting their face bashed in. It's the reason I hang around rough drinking holes casually tapping burly men on the shoulder, then when they look round, point to some random stranger and blame it on them.
But enough about my weekend habits. I'm a fan of literary work where there's generally some form of fisticuffs or action occurring and when it's written well you feel as if you're right in there watching protagonists and antagonists trade blows like vexed piñatas. When it's written poorly, or just boring, it's like the author is reading some kind of shopping list of violent manoeuvres:
"He punched Nathaniel in the jaw. Nathaniel then punched him in the stomach, which carried on for a good few minutes until the latter crumpled to the floor like a deflated sex doll."
Not particularly engaging, unless you're into that kind of thing. I mean, it's a pretty 'vanilla' account of how two people actually go about settling their differences through the art of physical face Tetris. There's just so much more going on than simple 'insert fist into face-slot A', it's not supposed to read like an Ikea instruction set.
But enough about my weekend habits. I'm a fan of literary work where there's generally some form of fisticuffs or action occurring and when it's written well you feel as if you're right in there watching protagonists and antagonists trade blows like vexed piñatas. When it's written poorly, or just boring, it's like the author is reading some kind of shopping list of violent manoeuvres:
"He punched Nathaniel in the jaw. Nathaniel then punched him in the stomach, which carried on for a good few minutes until the latter crumpled to the floor like a deflated sex doll."
Not particularly engaging, unless you're into that kind of thing. I mean, it's a pretty 'vanilla' account of how two people actually go about settling their differences through the art of physical face Tetris. There's just so much more going on than simple 'insert fist into face-slot A', it's not supposed to read like an Ikea instruction set.
Basic Tenants
Just like with the "5 W's" of journalistic writing there are also basic criteria, you should keep in mind when writing an action scene.
1. Capabilities
2. Mindset
3. Spatial awareness
4. Action pathos
5. The Rule of Cool
1. Capabilities
2. Mindset
3. Spatial awareness
4. Action pathos
5. The Rule of Cool
Capabilities
This is perhaps the most basic of those listed. Concisely this is what moves, thinking, and execution your character/s is capable.
For instance, there is a gulf between what a child is capable of doing compared to a wizened master of martial, wizardry, firearms, or sword skills. A character with training knows how to strike and when to strike.
Someone who is inexperienced has less of an 'arsenal' of skills to work with. They may be able to throw a few clumsy punches and kicks, tackle someone to the ground, but that's usually the extent of it, unless you have other forces at play which tend to delve into the magical.
Your trained fighter has more at their disposable. If they're a practitioner of say, close-quarters-combat, then they'll know how to disarm, apply locks, and generally lay a quick smackdown with minimal effort to novice opponents.
The same applies to other disciplines, kung-fu, master fencer, sage wizard, expert shooter all have different sets of skills and capabilities. Researching styles is key and acquiring even basic knowledge of what their experience, training, and background is, all lends to the flavour of the scene. The result is creating a scene, which is a lot more interesting than the basic exchange of fists and feet.
For instance, there is a gulf between what a child is capable of doing compared to a wizened master of martial, wizardry, firearms, or sword skills. A character with training knows how to strike and when to strike.
Someone who is inexperienced has less of an 'arsenal' of skills to work with. They may be able to throw a few clumsy punches and kicks, tackle someone to the ground, but that's usually the extent of it, unless you have other forces at play which tend to delve into the magical.
Your trained fighter has more at their disposable. If they're a practitioner of say, close-quarters-combat, then they'll know how to disarm, apply locks, and generally lay a quick smackdown with minimal effort to novice opponents.
The same applies to other disciplines, kung-fu, master fencer, sage wizard, expert shooter all have different sets of skills and capabilities. Researching styles is key and acquiring even basic knowledge of what their experience, training, and background is, all lends to the flavour of the scene. The result is creating a scene, which is a lot more interesting than the basic exchange of fists and feet.
Mindset
Mindset is how your character feels in the moment that they are thrown into a fight. Practice and technique go out of the window if your protagonist breaks down mentally, their brain turning to sludge.
If it's a training session they're usually confident, if there's a lot at stake than their nerves can get the better of them, causing muddled thoughts and clumsy actions. If you've just been tossed into your first battle then you're going to be scared, becoming competent comes with repetition.
It's pretty simple, and knowing your character and the situation gives you a gauge on how the scene is about to play out.
If it's a training session they're usually confident, if there's a lot at stake than their nerves can get the better of them, causing muddled thoughts and clumsy actions. If you've just been tossed into your first battle then you're going to be scared, becoming competent comes with repetition.
It's pretty simple, and knowing your character and the situation gives you a gauge on how the scene is about to play out.
Spatial Awareness
This is something that not only annoys me in literature, but in film as well. Too often I've read and seen conflict play out where you're made to feel as if the characters are on some otherworldly plain, just the two of them with no regard as to what else is taking place.
If you start a brawl in bar it's rare that it's just the two of you trading punches until one finally goes down in a lump of blood and broken teeth. There are other people around, other objects, many items at your disposal. Why have a character simply punch another when they can kick them into a table or uppercut them through a window.
The same goes for any other form of conflict, on open battlefields there are other soldiers, ditches, friendly fire, vehicles, animals, a load of other happenings that can intrude in the fray and make it more interesting. Simply put, knowing, and using your environment as the foundation to construct engaging and immersive battles is key.
If you start a brawl in bar it's rare that it's just the two of you trading punches until one finally goes down in a lump of blood and broken teeth. There are other people around, other objects, many items at your disposal. Why have a character simply punch another when they can kick them into a table or uppercut them through a window.
The same goes for any other form of conflict, on open battlefields there are other soldiers, ditches, friendly fire, vehicles, animals, a load of other happenings that can intrude in the fray and make it more interesting. Simply put, knowing, and using your environment as the foundation to construct engaging and immersive battles is key.
Action Pathos
The pathos of the scene is the device that binds the conflict together making it legible to the reader. Action is quick, disorientating, and surprising. If you look at a film that makes use of action scenes, you'll notice that the camerawork and cuts are more frenetic to mirror the pace of what's happening.
It's important to incorporate interesting moves and occurrences but you never want the reader to become bogged down in an overly long sentence describing how the blood majestically arched after he performed a masterful takedown by grabbing him in the crux of the elbow while pivoting on the ball of his foot and utilizing his bodily momentum to drive his head into a bathroom urinal.
It's a mouthful, and detracts from the flow of the scene like a car constantly sputtering on its journey.
It's important to incorporate interesting moves and occurrences but you never want the reader to become bogged down in an overly long sentence describing how the blood majestically arched after he performed a masterful takedown by grabbing him in the crux of the elbow while pivoting on the ball of his foot and utilizing his bodily momentum to drive his head into a bathroom urinal.
It's a mouthful, and detracts from the flow of the scene like a car constantly sputtering on its journey.
The Rule of Cool
This is one you either choose to include or not, and there's a reason for that, because in some genres and situations it simply does not fit. Like those form-fitting jeans you love but you rather overdid it the other weekend because of the all-you-can-eat buffet you went to, but what were you supposed to do, you'd paid for it--IF I WANT ANOTHER SLICE OF CAKE I'LL DAMN WELL HAVE ONE.
Anyway, the application of the ROC (Rule of Cool) depends on the situation. If there happened to be a minor kerfuffle in Tossington Hall in your period drama over a spilled glass of mulled wine, Lord Huxberry of Fife wouldn't drop kick his rival in the face to send him flailing over the balcony into the rose garden. It simply wouldn't fit, and shatter the mise en scène like gentleman Sprywinger's jaw.
Though it does work extremely well in action orientated books, where the grip on stone cold reality isn't as strong. The Matrix would be a broad example, but their world allows for it, but it does encompass the gamut of action, fight sequences, gun battles, car chases, foot chases, any kind of blood pumping sequence you can envisage, and to superb effect.
The rule is mighty cool, but it's a double-edged sword protruding from your rivals eye socket after you snap kicked the handle over a hundred feet because you're a badass.
Anyway, the application of the ROC (Rule of Cool) depends on the situation. If there happened to be a minor kerfuffle in Tossington Hall in your period drama over a spilled glass of mulled wine, Lord Huxberry of Fife wouldn't drop kick his rival in the face to send him flailing over the balcony into the rose garden. It simply wouldn't fit, and shatter the mise en scène like gentleman Sprywinger's jaw.
Though it does work extremely well in action orientated books, where the grip on stone cold reality isn't as strong. The Matrix would be a broad example, but their world allows for it, but it does encompass the gamut of action, fight sequences, gun battles, car chases, foot chases, any kind of blood pumping sequence you can envisage, and to superb effect.
The rule is mighty cool, but it's a double-edged sword protruding from your rivals eye socket after you snap kicked the handle over a hundred feet because you're a badass.
Inspiration
The biggest inspiration for me when constructing a fight/battle/hoedown comes from an assortment of places. The most obvious of these places would be film, as you're tasked with taking what's trapped within your brain and putting it to paper.
Film's all well and good, but there are of course other great wells to drink from, including video games, literature and animation. I believe however, that video games may edge out the others due to the fact that most of the time the only limit is your imagination. In games like Naughty Dog's Uncharted series the set pieces are jaw dropping, along with action sequences in games like Devil May Cry and Onimusha, both Capcom games and both excellent.
Here are some videos with some cool scenes that I like.
Film's all well and good, but there are of course other great wells to drink from, including video games, literature and animation. I believe however, that video games may edge out the others due to the fact that most of the time the only limit is your imagination. In games like Naughty Dog's Uncharted series the set pieces are jaw dropping, along with action sequences in games like Devil May Cry and Onimusha, both Capcom games and both excellent.
Here are some videos with some cool scenes that I like.
Shoot-outs
Sword Fights
Fist Fights
Conclusion
These were only basic martial/fantasy action sequences, and I didn't choose to include areas like chases (both vehicular and on foot) and whatever else may constitute as action. However, I do plan to in the near future. So there.
