This Business of Writing

Posts Tagged ‘plot point’

How to Write Battle Scenes

In How-to's, The Craft of Writing on March 2, 2010 at 9:03 am

How to Write Battle Scenes

By C. Patrick Schulze

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Listen to a podcast of this article HERE.

There are two basic types of battle scenes. There is the one where an individual combatant engages in a fight. There are also those epics where generals maneuver grand armies over the countryside. Though both of these scene types have great similarities when it come to your writing, today we’ll discuss a scene in which one or a few soldiers is involved.

Battle scenes are unlike other scene types as they have a trickier side to them. They utilize a different construction and fewer words to move them forward. These scenes are all about speed, strength and emotion.

Under Fire

However, as with any scene, it must have meaning to the story and move the storyline further toward its conclusion. Does the battle offer a plot twist perhaps?  Does it help the hero grow? Might it enlighten your reader to more of your hero’s personality? Like all writing, these scenes should also utilize your characters’ five senses. And don’t forget about point of view either. It is as critical in battle scenes as any other. For example, how effective would an ambush be if the hero knows it was about to occur? Of course, this part of your novel must be well-written, punctuated with accuracy and all those other things novels require.

Write only about the action and trim out everything not related to the moment in time. In battle scenes you’ll employ fewer words than with your normal writing. Adverbs will become quite scarce as will adjectives. Also, search out specific nouns and verbs. You’ll find great command over your words if you choose that unique verb or noun for the situation at hand. For example, soldiers don’t “run” across a field, they “charge” or “rush” or “dash” across it.

The use of emotion is THE component you need to emphasize in writing battle scenes and you should employ all your powers of persuasion at this time. Though James Bond or Patton may be your exceptions, your characters are not indifferent to combat. Even your heroes will be utterly terrified. And consider the emotions of those at the home front. If you fail to bring their feelings into play, you’re missing a powerful plot point.

One powerful tool at your disposal is sentence structure. Your sentences should imitate a sword fight; furious, short and brutal. Long passages slow down the novel, whereas short, choppy ones increase the pace.

Dialogue is another tool that can enhance, or destroy, your action scenes. First of all, you should work for a bit of realism here, so please, no snappy comebacks. Keep your characters’ dialogue to the point. When a soldier is under fire, he’s not joking to his buddies about a YouTube video he saw last night. Nothing is on his mind other than the events swirling around him.

Now for some general tips.

Remember, this is a novel, not a flicker show. Though the slashing sword is important, the character’s reaction to that event is more so.

Insure your villain is worthy. Nobody’s impressed when your hero fights a challenger who is without adequate weaponry.

Don’t write about David and Goliath. That one’s been done.

Whether writing fiction or nonfiction, large battles or single combat, draw a map of your battlefield. It need not be of high quality, but you’ll be surprised as to how much this can help. Use photos of sites whenever possible. I travel to the actual battlefield where my combat occurs and take photos. I then place them on my screen when I write my battle scenes and refer to them often. You’ll be amazed how something as slight as a slight rise in topography can come into play in this type of writing.

When men are wounded, only four thoughts crowd their minds; what parts are missing, will they die, water and family, not necessarily in that order.

In a fight, if someone receives a minor wound, he doesn’t stop to look at it, touch it and study the blood on his fingertips, show it to his enemy and scowl, step back, retake a fighting stance and egg on his opponent with a flip of his fingers. The instant he looks down, he’s dead. That’s it. Keep it moving.

Adrenalin and panic can overcome only so much. Minor injuries won’t be noticed, more serious injuries will stun a combatant, if stop him. Characters run out of breath, they bruise, they bleed. Write to the realism.

Well, I could go on and on about this as battle scenes are my forte, but for the sake of word count, I’ll stop. I do hope you’ve picked up something of use to you.

You know by now I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

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How to Structure Your Story

In Editing Your Manuscript, The Craft of Writing on February 23, 2010 at 10:03 am

Listen to a podcast of this article HERE.

When some novelists sit down to write a book, they begin within a general feel for their story and characters then sit down to write. The book sort of takes shape, fills in and reaches its culmination of its own accord. This technique is the one I’ve used to date. The problem is it calls for much editing after the first draft. In my current manuscript, “Born to be Brothers,” I’m on my sixth major edit and only yesterday determined a seventh is needed.

Other writers organize their thoughts into a formal outline with all plot points scripted, every CHARACTER fleshed out to the level of ear hair, all IMAGERY constructed and each subplot developed in full.

This has nothing to do with the article

This method requires less editing after the first draft but more thought beforehand.

I think it’s obvious the method one chooses is determined by the writer’s personality.

There is a third option for those who are more organized than I and less ordered than God. It’s called by a number of names but is often known as the Three-Act Structure. In general terms, it  dictates a story has three distinct sections. Without surprise, you’ll find these “acts” are the beginning, middle and end.

Many say this is an arbitrary division of a story and has no real value within writing. They indicate the story revolves around the main CONFLICT and how that conflict is resolved. To be honest, I see their point. However, I think organizing does help us to stay focused, especially those writers new to the industry. With that in mind, I’ll offer this and hope you’ll feel free to do with it as you wish.

I did a bit of research and found the early Greek stories consisted of only one act while the Romans settled on five. I couldn’t determine why they the numbers differed, but regardless, today we utilize three acts. As mentioned before, the acts comprise the beginning middle and end of your story or as I prefer, the Set-up, the Confrontation and the Resolution.

When I wrote the first draft of my current manuscript, I’d not given any thought to the three-act structure. However, as it turned out, the novel naturally fell into the Set-up, Confrontation and Resolution  pattern. The Three-Act Structure seems to fit the human mind’s need for logic and may well be a natural storytelling methodology.

Although this is quite arbitrary, I’d guess you’d break up a hundred-thousand word novel into something like a twenty-five thousand word Introduction, a fifty thousand word Confrontation and a twenty-five thousand word Ending.

The Three Act Structure allows writers who don’t do a great deal of outlining to create a first draft with more efficient pacing. It gives them a feel for when to move from one part of the story to the next. This structure should also help eliminate the sagging middle, which is often caused by incorporating too much information too early in the manuscript.

The Set-up is designed to introduce your major characters, setting and premier conflict point. You might also toss in a subplot or two in this section. (For more on subplot, read my post from yesterday.) By the end of this section you’d have identified your detective, his lovely assistant, the murderer and the victim. There would be some action, a secret or two and maybe even an erotic innuendo here or there. However, the secret to the Set-up is it ends when your first major plot point, the hero’s great conflict, expels him from his normal life.

The Confrontation is all about thickening the plot. Think escalating tension and conflict, allies and enemies and character growth. It develops by way of the myriad of obstacles your protagonist faces and the many lessons he must learn in order to defeat the villain, whomever or whatever he may be. This is that part of your story where your second major plot point, the confrontation with the Big-Bad-Wolf, threatens. The formal confrontation takes place during Act Three.

The End is where the great villain is confronted and defeated. This section finalizes when you tie up all the loose ends and answer all the nagging questions you forgot to earlier. It is in this act you send your triumphant hero home to the welcoming arms of his lovely assistant – the very one your reader thought had died during the Confrontation.

For more on structuring your story, read my earlier post HERE .

In the mean time, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

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