“Writing a Fight Scene”

It’s been a long journey, but I’ve finally reached the last section of my novel, Cradlesnatch, and what I need to do now is write a fabulous ending. In an adventure story that usually means writing a kick-ass fight scene.

However, I’ve been having a bit of difficulty getting it on paper, so I decided to step back and ponder how best to go about things.  Here’s what I’ve come up with.


Storytelling is, in part, the art of painting a picture in someone else’s head. To do that you need to have a firm idea of what that picture is. Spending as much time at my desk with my eyes shut as I do with them open seems be becoming a norm with me. Acting out each dagger thrust, listening to each line of dialogue, watching the expressions on my characters’ faces. If I can see it, then that gives the reader a much better chance of seeing it too.


It goes further. A good story involves the reader in the emotions of its characters, and to do that a writer needs to dig deep. Simply viewing a scene visually isn’t enough, we need to know what our characters are feeling. An analogy would be the difference between sitting in a cinema watching a film, and being the actor performing in it.

Physical Presence

An actor performs using the whole of their body. In a similar way, a written character feels more three dimensional when a sense of their physical presence is created on the page. If a character is slapped, shaken, or hit in the face, how does his body react? Does his cheek sting? Can he feel his opponent’s fingers dig into his shoulder? Does the ache in his jawbone throb? Using a character’s five senses helps bring them to life in the reader’s mind.

Make the Reader Worry

Having drawn the reader in, it’s time to get them shouting from the side lines. Two men fighting is okay, but if they’re fighting inside a burning building which may collapse at any moment it’s a lot more exciting. An imagined danger can hold more thrill than one we see directly. Let the reader know all the horrible things which may happen. Show them the danger.


Have you ever finished a story and got the feeling the writer wanted to get to the end as quickly as possible? It can feel like you’ve been short changed. But maybe in the excitement of writing their final scenes they simply forgot to pace things out.

A good piece of advice I read many years ago is to make sure dramatic scenes include lines of action, description, dialogue, and thought. One after the other, or mixed up a little, but ensure they are fairly proportioned. All action and dialogue and the scene will run too fast. All description and thought and the scene won’t have the impetus it needs.

Action and dialogue are great for translating the way you visualise a scene, and thought and description are a good place to explore all that emotional depth and physical presence.

If you’ve found this post helpful I’d love to hear from you, or you might like to use the Share buttons below to tell others about it.

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Lorrie Porter

About Lorrie Porter

In a fit of youthful enthusiasm Lorrie Porter graduated from University College London with a degree in Ancient World Studies then went on to qualify as a teacher in Classics. She loitered for many years in a solicitors’ office where she spent a lot of time staring out of the window. However, her fascination for dead languages and civilizations continues to thrive. She graduated from MMU with an MA in Creative Writing. Lorrie writes fiction which embraces a dark and emotional aesthetic and is currently working on Dead Boy, an adventure set in bygone London. Her other novels are Cradlesnatch, a story about a monster who steals children and Fury, which has wolves, bandits and other miscreants among its pages. Lorrie lives on a narrow boat with her talented husband and impervious cat.