Write and Fight scenes of war

Fighting are difficult to write, because they require extensive detail to view the action, which must be fast. Rhythm is the first defect that points generally to a clash between the writer and his subject. One way to overcome the problem of stimulation is to be meticulous about what to include in a fight scene.

Fight scenes should not be cluttered. Readers will have difficulty following the action if the description is squeezed too much action in a scene. Moreover, while describing the fight scene, write short sentences speed up action and slows it down as long.

One approach to look at a fight scene, in particular a kind of street-fighting scene, both from a personal perspective. Most people did not fight physically, let alone hit a person in real life. Unless someone interviews a writer who is an expert in this field and learn from it, can write the fight scenes giving more weight to the emotions rather than the details of the action. Could pad the action scenes with the rule of three, which is: Every sentence in action can be followed by a description of emotion or reaction. Example: Jennie screeching nails on the face of the intruder. The blood came out in small shots, dripping on his white shirt. The eyes of man reduced to anger, and raised his fists, ready to strike her.

Another way to improve a one-on-one fight scene is to join the audience or what's going on around the fighters in the scene, for example, citing the furniture removed or broken, the expressions on the faces of the onlookers', or stopped traffic, etc. This will add another dimension to the action.

Circumstances fight scene are endless. To properly define and highlight the differences between two scenes of combat, the surroundings and where fighting takes place should be changed when the story contains two or more scenes of combat. The objects of the fight or the weapons used by both sides even matter, and these must be well studied. If the writer is a Roman soldier to carry a wagon with an AK-57, its history will not be credible unless it is a parody.

In writing about the war or battle action, the point of view can make a difference. If the story is written from a subjective point of view of a single person, that character should not be placed in the middle of the fight, unless the plot called for him to be killed or seriously injured. He must, instead, watching the battle and witnessing the actions of other characters from a strategic point in the area.

Another method is to switch between third-person objective point of view of two or three people. The advantage of these multiple points of view is that they make the story read like an epic battle.

In battle scenes, as in scenes of love, every movement must be choreographed to become credible. If a knight fell to the ground thrusts his spear into the eye of a giant, the reader will not be able to picture the action, but if giant kneels down to look at the rider and the rider sticks his spear into the eye the giant, the action would be more conceivable.

It 'important that the fight scenes are not a violent act after another, and wars, a battle after another. To avoid the tedium of continuous action, a mix of history and development of the characters may be used. These are added to the drama and move the plot forward. To achieve this, the writer can weave the fight scenes in the whole fabric of the story, stressing in particular the characters.

In essence, all the stories revolve around characters. Even true-to-life battle stories deal with specific characters and individuals biggest stars battles, for example, in the Second World War, Hitler vs. Churchill or Montgomery against Rommel. This logic also applies to the characters supernatural, because the fiction is a personal creation, and in all its forms, represents the truth of human beings ....