Describe It: The Basics of a Fight

Few scenes captivate readers quite like a well written fight scene. Whether it’s a fierce duel between two adversaries or a brutal war, fight scenes have the power to evoke adrenaline, suspense, and raw emotion in readers. As authors, mastering the art of writing fight scenes is essential for creating dynamic and immersive stories that keep readers on the edge of their seats.

In this D-Script, we’re going to talk about unarmed fighting and will get into complexities of multi-person fights, fighting with weapons, and outright battles another time. Before you can get into any of that though, you’re going to want to know the things such as what moves people execute in fights, defenses for common moves in books, and other very basic knowledge.

Everyman: The average person

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The VERY Basics of Fighting

First things first, you should know that every blow in a fight can be fatal. It’s important to note that fighting often comes with unintended consequences. Every year, people die in fights that were never meant to be deadly, or they may suffer other long term consequences. We’re going to get into this here because you might be able to work these realities into your story, but also because covering what happens during a fight and leaving out the really bad stuff would be irresponsible. It also ties into later posts we’ll have on injuries.

Here’s a brief review of some of the things that can go wrong in fights by area that might receive a wound:

Head: Blows to the head can cause serious injuries, including concussions, skull fractures, traumatic brain injuries, and even death. Non-lethal injuries can have long-term consequences, including cognitive impairments, memory loss, mood disorders, and other neurological deficits. Additionally, blows to the head from a punch have the potential to break the hand of the person striking if the punch is poorly thrown or the fist isn’t formed correctly. Blows to the head and face can also cause damage the neck, or can knock someone down causing them to take a blow from the ground which could be more severe than the original blow itself.

Face: Strikes to the face can cause facial fractures, broken nose, eye injuries, dental trauma, and soft tissue damage. These injuries can result in pain, swelling, disfigurement, and difficulty breathing or eating. Blows to the head and face can also cause damage the neck, or can knock someone down causing them to take a blow from the ground which could be more severe than the original blow itself.

Neck: Attacks to the neck can cause severe injuries to the cervical spine, including fractures, dislocations, and spinal cord damage. Damage to the neck can result in paralysis, loss of sensation, and even death if the spinal cord is compromised. Strikes to the throat can cause tracheal injuries, laryngeal fractures, and airway obstruction. Damage to the throat can lead to difficulty breathing, swallowing, or speaking, as well as potential life-threatening complications if the airway becomes compromised. If a blow to the throat is severe enough, it can collapse the throat and suffocate the person.

Chest: Blows to the chest can cause rib fractures, lung contusions, and cardiac injuries. Injuries to the chest can result in difficulty breathing, chest pain, coughing up blood, and potential complications such as collapsed lungs or cardiac arrest (stopping the heart).

Abdomen: Strikes to the abdomen can cause internal injuries, including liver lacerations, spleen ruptures, kidney damage, and intestinal trauma. Internal injuries can lead to abdominal pain, swelling, nausea, vomiting, and potentially life-threatening hemorrhage or organ failure.

Knees and Elbows: Knees and elbows are simultaneously the strongest and weakest parts of the body. Strongest if bent and being used to deliver a blow. Weakest if in a locked position, leaving them vulnerable to collapse or breakage. Blows to the knees and elbows can cause ligament tears, meniscal injuries, and fractures of the patella or femur. Knee injuries can result in pain, instability, swelling, and decreased range of motion, potentially requiring surgical intervention and long-term rehabilitation.

Hands and Wrists: Punching or striking with the hands can cause fractures, dislocations, and soft tissue injuries to the hands and wrists. Hand injuries can result in pain, swelling, deformity, and impaired hand function, affecting grip strength and dexterity.

Feet and Ankles: Kicking or striking with the feet can cause fractures, sprains, and ligament injuries to the feet and ankles. Foot and ankle injuries can result in pain, swelling, instability, and difficulty walking or bearing weight, requiring rest, immobilization, or rehabilitation.

Back: Blows to the back can cause spinal injuries, muscle strains, and herniated discs. Back injuries can result in pain, stiffness, numbness, and weakness in the back or extremities, affecting mobility and quality of life. Depending on placement, it can also impact internal organs.

The videos provided below are just a snapshot of unintended consequences of fighting. These cover everything from the everyman fight to professional fighters, showing how even people who know what they’re doing may experience trauma or worse.

The First Step in a Fight is Always Avoidance

One of the first things you’ll learn in most training is how to avoid getting into a fight entirely. There are, of course, exceptions to this such as special forces using overwhelming speed and violence to intimidate and overtake an enemy, but in general de-escalation is the first step in day-to-day life.

In writing, trying to provide the opportunity to not have a fight break out only to fail adds complexity to the situation. On top of that, it can show your character is not a hot-head, fire and brimstone sort of person, but one who has the mental skills to understand risk and consequence, show that in a fight they are potentially more dangerous because they’ve been trained, and much more.

So, how does the everyman avoid conflict?

Stay Calm: Staying calm and composed, even in heated or tense situations. Avoiding escalating conflicts by speaking in a calm, respectful tone and avoiding aggressive body language.

Active Listening: Listen actively to the other party’s concerns and grievances. Demonstrate empathy and understanding by acknowledging their perspective and validating their feelings.

Communication: Communicate openly and clearly to address misunderstandings or grievances. Use “I” statements to express feelings and concerns without placing blame or escalating tension.

Apologize if Necessary: If someone has inadvertently contributed to the conflict, they can apologize sincerely and take responsibility for their actions. A genuine apology can defuse anger and resentment, paving the way for resolution. Pride is a major source of fights, both physical and verbal.

Seek Compromise: Look for mutually acceptable solutions or compromises to resolve the conflict. Focus on finding common ground and working together to reach a resolution that satisfies all parties.

Walk Away: Sometimes the best way to resolve a conflict is to disengage and walk away from the situation. Know when to get out of a potentially dangerous or unproductive environment to avoid escalation.

Involve Mediators or Authorities: If the conflict escalates and a person is unable to resolve it on their own, they can seek assistance from mediators, authority figures, or law enforcement to help facilitate a peaceful resolution.

What About Professional De-Escalation Techniques?

Police, military, or other highly trained professionals (such as mental health workers) might use the following techniques. At least, this is what they’re trained to do. In tense situations even trained people can let pride, arrogance, anger, fear, prejudice, desire for power, or other things get in the way of making good decisions.

Verbal Communication: Professionals should use communication skills to establish a rapport, diffuse tension, and gain voluntary compliance from those involved in a confrontation. They use calm and respectful language, active listening techniques, and empathy to establish a dialogue and understand the concerns and motivations of those involved.

Active Listening: Professionals should actively listen to the concerns, grievances, and emotions expressed by those involved in a confrontation, demonstrating empathy and understanding. By validating their feelings and perspectives, professionals can build trust and rapport, which can help de-escalate the situation.

Empathy and Understanding: Demonstrating empathy and understanding towards those involved in a confrontation, acknowledging their emotions, frustrations, and concerns can be helpful. By showing empathy, they can de-escalate emotions and build rapport, which can help facilitate a peaceful resolution to the situation.

Maintaining Distance: Professionals maintain a safe distance from those involved in a confrontation to minimize the risk of escalation. By maintaining distance, they reduce perceived threats and create space for dialogue and negotiation. This also gives them more reaction time if it escalates and gives them a fuller view of the body where they are watching for signs of someone readying an attack. We’ll get into this later.

Use of Time and Space: Professionals use time and space to their advantage, allowing those involved in a confrontation to cool off and regain composure before attempting to resolve the situation. By giving people time to process their emotions and consider their options, they can reduce the likelihood of impulsive or aggressive behavior. One of the first rules of conflict management for non-physical fights is to let people cool off for 24 hours before addressing what happened.

Offering Choices and Solutions: Professionals will offer choices and solutions to help resolve the situation peacefully. By presenting alternatives and brainstorming solutions together, they empower others to take control of the situation and find mutually acceptable outcomes. This gives people a sense of control when they may feel like they have no choice but to escalate.

Calling for Backup and Support: Professionals might call for backup and support from additional personnel or from specialized units to help de-escalate the situation and ensure the safety of everyone involved. Additional resources and expertise can provide valuable assistance in resolving complex or high-risk situations.

Non-Verbal Communication: Professionals use non-verbal communication techniques, such as body language, facial expressions, and gestures, to convey calmness, confidence, and professionalism. By projecting a sense of authority and control, they can help de-escalate emotions and maintain order in tense situations. For example, did you know standing with your shoulders directly facing someone can be intimidating and seen as a power move? Standing with the shoulders at a slight angle improves this and allows people to step down from their feelings of threat faster.

Respecting Boundaries and Dignity: Professionals are trained to respect the boundaries and dignity of those involved in a confrontation.

Seeking Collaboration and Mediation: Professionals might seek collaboration and mediation from neutral third parties, such as community leaders, social workers, or mediators, to help facilitate a peaceful resolution to the situation. By involving neutral parties with expertise in conflict resolution, officers can help de-escalate tensions and find mutually acceptable solutions.

Conservation of Energy

One of the most important things to do in a fight is to conserve energy. Fights are physically and emotionally draining. We’ve all seen movies where someone starts flipping all over the place. That burns a tonne of energy which will make it harder for them to maintain the battle for longer. You don’t want the opponent to have more endurance than you!

So, in a fight keep motion to a minimum if you want to be more realistic and to make your character look more skilled. The showing off you see in movies is for dramatic affect and gets ripped into a lot in modern movies.

Emotions and Fighting

If books are a playground, emotions are the equipment on it that makes it fun to be there. Great writers know that everything in writing a novel revolves around emotions. You use emotions keenly throughout your story, working emotive words into everything you can to engage your reader and help them connect with the story and its characters.

When writing a fight scene, take into consideration the emotions before, during, and after a fight and how they impact your story. They influence people’s thoughts, behaviors, and physiological responses. They even might be the difference between winning and losing.

Keep in mind that people who train to fight are usually trained how to regulate their emotions. That said, one can never fully prepare for real life situations. Even soldiers who have seen a lot of active battle still generally go through strong emotions. They tend to just be better at countering it, though it’s not always possible.

Emotions Before a Fight

Fear and Anxiety: Before a fight, people often experience fear and anxiety in anticipation of an impending conflict. Fear of injury, failure, or humiliation can trigger the body’s stress response, leading to increased heart rate, shallow breathing, and heightened alertness. You can learn how to describe those emotions here: Describe it: Anxiety / Nervousness, and Describe it: Fear / Panic

Anger and Aggression: Anger and aggression are common emotional responses before and during a fight. Anger can fuel motivation, increase arousal, and lower inhibitions, making them more likely to engage in aggressive, dangerous, and out of character behavior. You can learn how to describe this emotion here: Describe It: Anger

Confidence and Determination: Despite feeling fear and anxiety, people may also experience confidence and determination before, during, or after a fight. Confidence can help people maintain focus, overcome doubts, and perform at their best under pressure. Keep an eye out on the Describe it: Emotions section for more about these. Note that just because someone is confident, doesn’t mean they will perform well. They may overestimate their own abilities, underestimate the opponent, or be unable to see possible complications that will happen during a fight.

Emotions During a Fight

Adrenaline and Arousal: Get your head out of the gutter, arousal has other meanings than that! During a fight, the body’s stress response is activated, releasing hormones such as adrenaline and cortisol to prepare for physical exertion. Adrenaline increases heart rate, blood pressure, and energy levels, while cortisol enhances focus, reaction times, and pain tolerance. Keep an eye out on the Describe it: Emotions section for more about these.

Aggression and Intensity: Emotions such as anger, aggression, and competitiveness are heightened during a fight, as people channel their energy and adrenaline into physical combat. The intense emotions of the moment can override rational thought and impulse control, leading to impulsive or reckless behavior. You can learn how to describe this emotion here: Describe It: Anger

Fear and Panic: Despite training and preparation, people may still experience fear and panic during a fight, especially if they feel overwhelmed or outmatched by their opponents. Fear can impair judgment, coordination, and decision-making, making it difficult to effectively respond to threats or anticipate attacks. You can learn how to describe those emotions here: Describe it: Anxiety / Nervousness, and Describe it: Fear / Panic

Emotions After a Fight

Relief and Exhaustion: After a fight, people often experience a mix of relief and exhaustion as the adrenaline rush subsides and the body begins to return to its normal state. Relief may come from surviving the confrontation unharmed or achieving a desired outcome, while exhaustion may come from physical exertion and heightened stress levels. Keep an eye out on the Describe it: Emotions section for more about relief, but for now Describe It: Tiredness / Exhaustion is available.

Euphoria or Disappointment: Depending on the outcome of the fight, those involved may experience feelings of euphoria or disappointment. Winning a fight can elicit feelings of triumph, pride, and satisfaction, while losing can lead to feelings of frustration, anger, or sadness. Keep an eye out on the Describe it: Emotions section for more about these.

Physical and Emotional Pain: After a fight, those involved might experience physical and emotional pain from injuries sustained during the confrontation. Physical pain could come from bruises, cuts, sore muscles, or more serious injuries requiring medical attention. Emotional pain might stem from feelings of guilt, shame, or regret over their actions or the outcome of the fight. Keep an eye out on the Describe it: FIghts and Injuries section for more about this.

Regret: People who have engaged in fights might experience regret. Once emotions calm, they may realize they acted without thinking, may have hurt someone they cared about, may realize their actions were reckless, or may have done serious harm to someone without intention. Keep an eye out on the Describe it: Emotions section for more on this emotion.

Worry: Similar to regret but worry may include concern over legal consequences or relationship consequences. They might worry about the instability or high emotions they showed that led to the event. They may also worry if the fight isn’t truly over and will result in retribution or something similar. Keep an eye out on the Describe it: Emotions section for more on this emotion.

Assault, Self Defense, and Legality

In real life, there’s a significant chance of assault charges if one strikes another person or makes threats toward harming someone. However, legalities in books are often swept aside as this type of consequence adds complexity to our stories that might derail the plot or make it more complicated than what our word counts allow for. Still, for completion’s sake and to be responsible, let’s touch briefly on this.

Assault: This refers to the act of intentionally causing fear of imminent bodily harm or offensive contact in another person. It can include threats or actions that create a reasonable apprehension of harm, even if no physical contact occurs. Assault can be classified as either simple assault (misdemeanor) or aggravated assault (felony), depending on the severity of the threat or harm involved.

Assault laws vary by jurisdiction, but generally the key elements of assault include intent, apprehension of harm, and the perception of a credible threat by the victim. Prosecutors must prove that the defendant had the intent to cause fear or harm and that the victim reasonably believed they were in danger.

Touching someone without consent is often considered assault, as is throwing stuff on the person, or spitting.

Self-Defense: The legal right to protect oneself or others from imminent harm or danger by using reasonable force is common. It’s based on the principle of necessity and allows people to defend themselves against threats of violence or unlawful aggression without facing criminal liability.

Self-defense laws vary by jurisdiction but generally require that the use of force be necessary, proportionate, and reasonable under the circumstances. People must reasonably believe that they or others are in immediate danger of harm and that using force is the only way to prevent that harm. The amount of force used must not exceed what is necessary to neutralize the threat, and People have a duty to retreat if possible before resorting to force in some jurisdictions.

Some jurisdictions impose a duty to retreat before using force in self-defense, requiring people to attempt to escape or avoid the threat if possible. Failure to retreat when it is safe to do so can impact the legality of the use of force in self-defense. Other places have stand your ground laws. For example, some states in the United States have laws that allow people to use force, including deadly force, to defend themselves in places where they have a legal right to be. These laws vary by state and can impact the legalities of self-defense in those jurisdictions.

Fighting Myths

There are a few things that people assume or have been told that are incorrect about fighting. Here are some things you can work into your story either for the benefit or detriment of your characters:

A Knee to the Groin is Always Effective: While a knee to the groin can be painful and debilitating, it’s not always guaranteed to incapacitate an attacker, especially if they are highly motivated, adrenaline-fueled, or wearing protective gear. Additionally, some people have a higher tolerance for pain or are able to react quickly enough to mitigate the impact.

Size and Strength Always Determine the Outcome: While size and strength can certainly be advantages in a fight, they are not the sole determinants of success. Factors such as technique, skill level, agility, speed, and mental fortitude also play significant roles in determining the outcome of a fight. Additionally, not everyone who is big is slow and clumsy, and those who are lean aren’t neccessarily fast. This has more to do with training.

Street Fighting Is Like What You See in Movies: Hollywood often portrays fights in a dramatic and exaggerated manner, with elaborate choreography and unrealistic outcomes. In reality, street fights are chaotic, unpredictable, and often end quickly.

All Martial Arts Techniques Are Equally Effective in Real-Life Situations: While martial arts can be valuable for self-defense, not all techniques are equally practical or effective in real life. Some techniques require extensive training to master and might not be suitable for every situation. It’s important to focus on practical, realistic techniques that can be applied effectively under stress. Additionally, you don’t have to be in the martial arts community long to hear and see how certain techniques can leave someone vulnerable to other attacks. Pride makes a lot of martial artists see their discipline as the best, when in reality there are countermoves and weakness to pretty much all attacks and defenses.

Pain Compliance Always Works: Pain compliance techniques, such as joint locks or pressure points, rely on inflicting pain to control or subdue an opponent. While these techniques can be effective against compliant or untrained people, they could fail to work against determined or intoxicated attackers. Additionally, relying solely on pain compliance can be risky, as it can escalate the situation or provoke further aggression.

You Should Always Fight Back: While self-defense is important, there are situations where fighting back may not be the best course of action. Escaping, de-escalating, or seeking help from authorities could be safer options, especially if a person is outnumbered or facing an armed attacker. It’s essential to assess each situation carefully and prioritize safety above all else.

Name That Move! What’s Happening in a Fight

While it’s not always advised to use the proper name of a move in your writing, in some cases the name is simple enough to relay what’s happening. Even when you’re writing a character that knows what they’re doing, your reader likely has no clue what you’re talking about. Additionally, throwing in too many technical terms may make it appear like you’re trying to show just how much you know or are showing off in strange ways to the detriment of your writing. That’s why the below has not only the name of moves but brief descriptions of them.

I remember a book I was reading that was written for the Halo series (I’m a huge fan and even have a tattoo). I was motivated to read the books as well. The first book I picked up was well written…except for the fact the author got waaaay too technical and it made the story hard to read. Despite my fan-girl motivations, I have still yet to finish that book!

The below names and descriptions (and even tips) are written generally, not specific to how you would use them in a book.

In this D-Script, I am not using imagery to show what each move looks like. It’s just too complicated and there are better resources for that. I suggest using YouTube to look up any move or technique you’re planning to use. I also strongly recommend that if you are writing a trained character, you narrow the search term by martial art or profession (police, military, special forces, etc.) so you can see how that character is actually trained and potentially see the countermoves.

How People Stand in a Fight is Important

In the following sections, we’re going to reference stance A LOT. Proper stances are essential for maintaining balance, mobility, and readiness in a fight.

Neutral Stance: A relaxed and balanced position with feet shoulder-width apart. Keep knees slightly bent and weight evenly distributed between both feet (never lock the knees, it reduces reaction time and increases the chance of injury). Keep a straight posture with hands up, elbows bent, and palms facing inward toward the face. This stance allows for quick movement in any direction and facilitates rapid defensive reactions.

Fighting Stance (Orthodox): Standing with the dominant side (usually the stronger hand and foot) positioned behind and other foot slightly forward. Distribute weight evenly between both feet, with knees bent and body angled slightly sideways (never lock the knees, it reduces reaction time and increases the chance of injury). Keep the lead hand up to guard the face, chin tucked, and the rear hand positioned near the cheek for defense. The fighting stance offers balance, power generation, and protection for offensive and defensive maneuvers.

Southpaw Stance (Opposite Orthodox): The mirror image of the orthodox fighting stance, with the dominant side positioned forward instead of back. If left-handed or if the person prefers leading with the non-dominant side, adopt the southpaw stance. Keep the lead foot forward, rear foot slightly angled, and body oriented to present a smaller target to opponents. Guard the face with the lead hand and keep the rear hand ready to counter or block incoming strikes. The southpaw stance provides a strategic advantage by offering different angles of attack and defense compared to the orthodox stance.

Modified Stances: Depending on the martial art or individual preference, fighters might use modified stances to suit their style or strategy. Examples include the bladed stance (sideways stance with one foot forward), the long guard stance (extended lead arm for range), and the low stance (lowering the centre of gravity for stability).

Strikes

Backfist: A strike made with the back of the fist, often used in quick, close-range attacks.
Cross: A powerful punch thrown with the rear hand, usually following a jab or used as a counter.
Elbow Strike: A strike using the elbow, which can be thrown in various directions and angles for maximum effectiveness. Hammer Fist: A strike made with the bottom of the fist, like a hammer blow.
Headbutt: A strike using the head, aimed at the opponent’s face or head, often used in close-quarters combat.
Hook: A circular punch thrown with a bent arm, targeting the opponent’s head or body from the side.
Jab: A quick, straight punch thrown with the lead hand to create distance or set up other strikes.
Knee Strike: A strike using the knee, typically directed at the body or legs of the opponent.
Knife Hand Strike: A strike made with the edge of the hand, resembling a knife, usually aimed at soft tissue or pressure points.
Overhand Punch: A looping punch thrown over the opponent’s guard, aimed at landing on the top or side of the head. Palm Strike: A strike delivered with the palm of the hand, used in close-range combat.
Punch: A straight blow delivered with a closed fist, typically aimed at the face, body, or head.
Uppercut: A punch thrown upwards, typically targeting the chin or body from close range.

Tips, Tricks, and Warnings

Let’s face it, there aren’t many situations you’re going to write about the position of a character’s thumb when they’re in a fight. Still, having a basic understanding of what makes a skillful fighter (or at least one that isn’t going to break their hand), will help you put together a better scene.

Start with a Good Stance: Begin in a balanced stance with feet shoulder-width apart, knees slightly bent (never lock the knees, it reduces reaction time and increases the chance of injury), and weight evenly distributed between both feet. A solid stance provides stability and power for punches. Depending on training, the person could stand with feet side by side or one further back. Further back aids in ease of movement, can increase power to an attack, and helps prevent being knocked backward. Scroll up for the discussion on stances if you bypassed them.
Proper Fist Formation: The thumb should rest outside the fingers. The knuckles of the index and middle fingers should contact the target, while the wrist remains straight to prevent injury. That’s right, they should hit with knuckles not the fingers! It’s actually why you see so many fighters with scuffed up or bleeding knuckles. Still, it may be hard to control and hitting with the wrong area can cause damage to the hand, including breakage.
Rotate The Body: Generate power in a punch by rotating hips and shoulders in the direction of the punch. This kinetic chain transfers energy from the lower body to the upper body and through the fist, maximizing impact force.
Exhale on Impact: Exhaling forcefully as they throw the punch engages core muscles and increases power. This also helps to maintain relaxation in the body, which is important for speed and fluidity of movement.
Retract Quickly: After contacting the target, retract the punch quickly to guard against counterattacks and maintain defensive readiness.
Avoid Locking the Elbow or Knees: Locking the elbow or knee means holding it fully extended without a bend. Locking these joints increases the chances of injury to the joint, as I’m adding constantly through this post. A skilled fighter also knows a locked elbow or knee can be broken fairly easily.

RISKS AND DANGERS OF IMPROPER PUNCHING TECHNIQUE
We’ve already talked about this already, but to recap:
Hand Injuries: Improper fist formation or technique can lead to hand injuries, including fractures, dislocations, and sprains. Punching with the wrong part of the hand or hitting hard surfaces (including bony areas of a body like the skull) can increase the risk of hand injuries.
Wrist Injuries: Poor wrist alignment during punching can strain or injure the wrist joint, leading to sprains, strains, or even fractures. Avoid bending the wrist upon impact to reduce the risk of wrist injuries.

Kicks

Ax Kick: A downward kick aimed at the opponent’s head or shoulders, delivered with the heel or sole of the foot.
Back Kick: A kick delivered with the heel, usually aimed at the opponent’s midsection or face.
Crescent Kick: A swinging kick where the leg arcs in a circular motion, often used to strike the head or collarbone.
Flying Kick: A dynamic kick performed while jumping or leaping towards the opponent, typically targeting the head or upper body.
Front Kick: A kick delivered with the front of the foot or ball of the foot, targeting the opponent’s body or legs.
Hook Kick: A spinning kick delivered in a circular motion, targeting the opponent’s head or body.
Push Kick: A front kick used to push the opponent away or create distance.
Roundhouse Kick: A powerful kick delivered in a circular motion, often targeting the head or body.
Side Kick: A kick delivered with the edge of the foot, usually aimed at the opponent’s midsection or legs.
Spinning Back Kick: A powerful kick delivered by spinning the body 180 degrees, striking with the heel or ball of the foot.

Tips, Tricks, and Warnings

Maintain Proper Balance: Begin in a balanced stance with weight evenly distributed between both feet. Ensure that they maintain balance throughout the kick by engaging core muscles and keeping the body centred. Never lock the knees, it reduces reaction time and increases the chance of injury.
Chamber Kicks: Before executing a kick, chamber the leg by bending at the knee and drawing it upward toward the torso. This positions the leg for maximum power and extension during the kick.
Turn the Hips: Generate power in kicks by rotating the hips and shoulders in the direction of the kick. This rotational movement transfers kinetic energy from the lower body to the kicking leg, increasing the force of impact.
Extend and Retract Quickly: Extend the leg fully to deliver the kick with maximum reach and power, then retract it quickly to return to a starting position. Maintain control and balance throughout the kicking motion to avoid overextending or losing stability.
Use Proper Foot Positioning: Depending on the type of kick, use the appropriate part of the foot to make contact with the target. I recommend pulling up YouTube videos to see what part of the foot is used if you want to get into that sort of detail.
Avoid Locking the Knee: Locking the knee means holding it fully extended without a bend. Locking the knee increases the chances of injury to the joint and can slow movement. A skilled fighter also knows a locked knee can be broken or injured easily.

RISKS AND DANGERS OF IMPROPER KICKING TECHNIQUE
Loss of Balance: Kicking with improper technique or excessive force can lead to loss of balance and stability, increasing the risk of falls or being countered by the opponent.
Strains and Sprains: Overextending or hyperextending the leg during a kick can strain or sprain the muscles, tendons, or ligaments in legs and hips.
Impact on Joints: Kicking with improper alignment or technique can put undue stress on knee and hip joints, potentially leading to chronic pain or long-term joint damage. Ensure knees are aligned with toes and avoid locking joints during kicks to reduce the risk of injury, as discussed previously.
Potential for Counterattacks: Telegraphing kicks or leaving themselves vulnerable during the kicking motion can allow an opponent to anticipate and counter attacks. Minimize telegraphing and maintain defensive awareness to protect from counterattacks while kicking. We discuss this later in this D-Script

Grappling, Wrestling, and Holds

Grappling is a broad term that encompasses various techniques and styles of close-range combat. It includes techniques such as clinching, throws, takedowns, joint locks, and chokeholds and emphasizes controlling the opponent’s body and positioning to gain dominance or secure a submission. Wrestling is a specific form of grappling that focuses primarily on takedowns, throws, and pinning techniques.

Americana Lock: A joint lock submission where the attacker pins the opponent’s arm to the ground and applies pressure to the elbow joint.
Ankle Lock: The attacker secures control of the victim’s ankle and applies pressure to the joint by hyperextending or twisting the foot, potentially causing pain or injury.
Arm Triangle Choke: A chokehold where the attacker traps the opponent’s arm and neck between their own arm and body, cutting off blood flow to the brain.
Armbar: A joint lock submission where the attacker hyperextends the opponent’s arm by straightening it against the attacker’s hips or legs.
Bear Hug: A grappling technique where the arms are wrapped around the opponent’s body, used to control or lift them.
Body Lock: A grappling position where the arms are wrapped around the opponent’s torso, used to control or immobilize them.
Clinch: A close-range grappling position where fighters use various techniques to control their opponent’s movement and nullify striking.
Double Leg Takedown: A takedown where the attacker grabs both the opponent’s legs and brings them down to the ground.
Guillotine Choke: A chokehold where the attacker traps the opponent’s head under their arm and applies pressure to the neck.
Headlock: The attacker wraps their arm around the victim’s head or neck and applies pressure, potentially restricting breathing or causing discomfort.
Heel Hook: The attacker secures control of the victim’s leg and applies torque to the ankle joint by twisting the foot or heel, potentially causing pain or injury.
Kimura Lock: A joint lock submission where the attacker traps the opponent’s arm behind their back and applies pressure to the shoulder joint.
Kimura Trap: A series of techniques focused on controlling the opponent’s arm and shoulder to set up various submissions and sweeps.
Kneebar: The attacker secures control of the victim’s leg and applies pressure to the knee joint by hyperextending or twisting the leg, potentially causing pain or injury.
Omoplata: A shoulder lock submission where the attacker traps the opponent’s arm between their legs and applies pressure to the shoulder joint.
Rear Mount (Back Mount): A dominant grappling position where the attacker controls the opponent’s back, typically leading to chokeholds or rear naked chokes.
Rear Naked Choke: A submission hold where the attacker wraps their arm around the opponent’s neck from behind, cutting off blood flow to the brain.
Single Leg Takedown: A takedown where the attacker grabs one of the opponent’s legs and brings them down to the ground.
Triangle Choke: A submission hold where the attacker wraps their legs around the opponent’s neck and arm, cutting off blood flow to the brain.
Wrist Lock: The attacker secures control of the victim’s wrist and applies pressure to the joint by bending or twisting the hand or forearm, potentially causing pain or injury.

Tips, Tricks, and Warnings

Establish Control: Before attempting any grappling technique, focus on establishing control over the opponent’s body. This may involve clinching, gripping, or controlling their posture to limit their mobility and create opportunities for submission or control.
Maintain Proper Body Alignment: Maintain proper alignment of the body during grappling exchanges to maximize leverage and efficiency. Keep the spine straight, hips low, and centre of gravity balanced to maintain stability and control.
Position Before Submission: Prioritize positional control over submission attempts during grappling exchanges. Secure dominant positions such as mount, back control, or side control before attempting submissions to increase the chances of success.
Control Breathing: Stay calm and regulate breathing during grappling exchanges to conserve energy and maintain focus.
Apply Pressure Strategically: Apply pressure strategically to control the opponent and create openings for submissions or positional advancements. Use body weight, angles, and leverage to exert pressure on opponent’s joints, limbs, or torso.

RISKS AND DANGERS OF IMPROPER GRAPPLING TECHNIQUE
Joint Injuries: Improper grappling techniques, such as joint locks or submissions, can result in joint injuries such as sprains, strains, or dislocations.
Spinal and Neck Injuries: Grappling techniques that involve takedowns or throws can pose a risk of spinal or neck injuries if executed improperly.
Choking Hazards: Grappling techniques that involve chokeholds or strangulations can pose a risk of unconsciousness or injury if applied with excessive force or improper technique. Choking someone out can also lead to death easier than you might think.

Throws and Takedowns

Ankle Pick: A takedown where the attacker grabs the opponent’s ankle and lifts it, causing them to lose balance and fall.
Body Slam: A powerful takedown where the attacker lifts the opponent off the ground and forcefully throws them to the mat.
Circular or Stomach Throw: A throwing technique where the attacker falls backward, using their legs to lift and throw the opponent over their head.
Fireman’s Carry: A takedown where the attacker lifts the opponent onto their shoulders and throws them to the ground.
Hip Throw: A throwing technique where the attacker uses their hip to lift and throw the opponent over their back.
Judo Throw: A takedown where the attacker sweeps the opponent’s leg while simultaneously pushing them backward.
Knee Tap: A takedown where the attacker uses their knee to knock the opponent off balance and bring them to the ground.
Leg Trip: A takedown where the attacker sweeps the opponent’s leg out from under them, causing them to fall.
Minor Inner Reap: A foot sweep takedown where the attacker hooks the inside of the opponent’s leg and sweeps it out from under them.
Scissors Throw: A takedown where the attacker wraps their legs around the opponent’s waist and uses a scissoring motion to trip them to the ground.
Shoulder Throw: A throwing technique where the attacker grabs the opponent’s arm and throws them over their shoulder.
Side Separation Throw: A throwing technique where the attacker pulls the opponent to the side and drops to the ground, using momentum to throw them over their body.
Sweep: A takedown where the attacker uses a sweeping motion to knock the opponent off balance and bring them to the ground.
Sweeping Hip Throw: Similar to a hip throw, but with a sweeping motion to clear the opponent’s leg.
Suplex: A high impact throw where the attacker lifts the opponent off the ground and throws them backward or overhead.

Tips, Tricks, and Warnings

Maintain Proper Balance: Before attempting a throw or takedown, ensure they have a stable base and maintain good balance throughout the execution. Keep weight centred and stance balanced to prevent being countered or off balanced by the opponent.
Control the Opponent’s Centre of Gravity: Manipulate the opponent’s centre of gravity to create openings for throws and takedowns. Use footwork, grip fighting, and body positioning to disrupt their balance and set up techniques.
Use Proper Footwork: Footwork is crucial for executing effective throws and takedowns. Step in close to the opponent and establish a strong connection before initiating the throw. Pivot, angle, and drive with legs to generate power and momentum for the takedown.
Timing and Speed: Time throws and takedowns to capitalize on openings and exploit the opponent’s vulnerabilities. Execute techniques with speed and precision to catch opponents off-guard and prevent them from defending or countering effectively.
Transition Immediately: After executing a throw or takedown, transition quickly to a dominant position or follow-up technique to maintain control and capitalize on momentum. Maintain pressure and control over the opponent to prevent them from escaping or counterattacking.

RISKS AND DANGERS OF IMPROPER TECHNIQUE
Risk of Falling: Improper execution of throws and takedowns can result in falls or impacts that might cause injuries to all parties.
Joint and Ligament Injuries: Excessive force or torque applied during throws and takedowns could strain or injure the joints and ligaments of both the attacker and the recipient. Use controlled force and proper technique to avoid causing unnecessary harm.
Spinal and Neck Injuries: Throws and takedowns that involve impact or compression of the spine or neck can pose a risk of serious injury, including spinal cord injuries or whiplash.
Head and Facial Injuries: Falls or impacts resulting from throws and takedowns can cause head injuries, facial trauma, or dental injuries if proper precautions are not taken.

Blocks and Defenses

Catch: Intercepting a strike with one’s hands or arms to neutralize its impact.
Check: A defensive technique used to block kicks, typically with the shins or forearms.
Clinch: A grappling technique used to control the opponent’s movement and nullify their striking abilities.
Cover-Up: A defensive stance where the arms protect the head and body from incoming strikes.
Evade: A defensive maneuver where the fighter moves out of the way of an incoming strike.
High Block: A defense technique used to block strikes aimed at the upper body or head.
Low Block: A defense technique used to block strikes aimed at the lower body or legs.
Parry: A defensive move that redirects an opponent’s strike away from its intended target.
Slip: A defensive technique where the fighter moves their head to the side to avoid a punch.
Weave: A defensive movement involving bending the knees and torso to avoid strikes.

Tips, Tricks, and Warnings

Maintain a Ready Position: Begin in a balanced stance with hands up, elbows in, and chin tucked to protect vital areas. Keep knees slightly bent and be prepared to move and react quickly to incoming attacks.
Use Proper Hand Positioning: When executing blocks, position hands in a way that maximizes coverage and protection. Keep palms facing inward toward the face, with fingers loose to absorb the impact of strikes.
Focus on Timing and Distance: Time blocks to intercept incoming attacks just before they make contact with the body. Maintain an appropriate distance from the opponent to allow for effective blocking and counterattacks. Later, we’ll discuss how to anticipate attacks.
Move The Entire Body: Engage the entire body in defensive movements, not just arms or hands to angle the body away from incoming strikes and minimize the force of impact.
Angle Blocks: Angle blocks to redirect the force of incoming strikes away from the body. Use circular or diagonal motions to deflect attacks, rather than absorbing them head-on.
Follow with Counterattacks: After successfully blocking an attack, immediately follow with counterattacks to capitalize on openings and regain control of the engagement.

RISKS AND DANGERS OF IMPROPER BLOCKING TECHNIQUE
Injuries to the Arms and Hands: Blocking with improper technique or inadequate force can lead to injuries such as bruises, strains, or fractures in the arms and hands. Failing to position hands correctly or absorb the impact of strikes can result in unnecessary pain and injury.
Overextending and Off-Balance: Overextending blocks or committing too much force to a block can leave a person off-balance and vulnerable to follow-up attacks. It’s essential to maintain balance and stability while executing blocks to avoid being easily countered by the opponent.

Anticipating Attacks in a Fight

With enough practice, one might learn how to anticipate an attack. Here, we’re going to discuss not only that, but what skilled fighters do to use that to the detriment of the person they’re attacking.

Shoulder Watching: Observing the opponent’s shoulders to anticipate the direction and type of attack they may throw. This can help the defender prepare to block, dodge, or counter the incoming strike.

  • Counter Technique – Feinting: Making a deceptive or misleading movement to trick the opponent into committing to a defensive or evasive action prematurely. Feinting can disrupt the opponent’s ability to accurately anticipate the attack and create openings for follow-up strikes.

Footwork Analysis: Paying attention to the opponent’s foot positioning and movements to anticipate their next move. Changes in foot placement or weight distribution can signal an upcoming attack or shift in direction. (Caution: this one can take the eyes off most of the attacker’s body)

  • Counter Technique – Footwork Deception: Using subtle footwork adjustments or feints to mislead the opponent about one’s intentions and create openings for attack. By manipulating foot positioning and movement, the attacker can disrupt the defender’s ability to anticipate their next move.

Gaze Tracking: Monitoring the opponent’s gaze or eye movements to anticipate their target or intended direction of attack. The direction of the opponent’s gaze can provide valuable clues about their intentions and potential vulnerabilities.

  • Counter Technique – Eye Feinting: Making deliberate changes in eye contact or focus to deceive the opponent about the intended target or direction of attack. By manipulating their gaze, the attacker can confuse the defender and create openings for strikes.

Weight Shift Detection: Sensing changes in the opponent’s weight distribution or body alignment to anticipate their movements and potential attacks. Shifts in weight from one foot to another or changes in posture can signal an impending strike.

  • Counter Technique – False Tells: Intentionally creating false tells or deceptive cues to mislead the opponent about one’s intentions and disrupt their ability to anticipate attacks. By feigning weight shifts or body movements, the attacker can trick the defender into reacting prematurely or incorrectly.

What are Martial Arts?

Martial arts refers to various systems of combat and self-defense that are practiced for physical, mental, and/or spiritual development. These systems are typically rooted in traditions and philosophies that emphasize discipline, respect, and personal growth.

Below is an overview of martial arts systems from around the world. This is not an extensive list by any stretch of the imagination but is an overview of common ones. The below was originally derived from AI, however I did review and confirm descriptions. If you see any inconsistencies I missed, please feel free to let me know. (I’ll always try to be transparent with the use of AI, if I use it as a tool)

  • Aikido: A Japanese martial art centred on harmonizing with an opponent’s energy and redirecting their attacks. Aikido techniques often involve joint locks, throws, and pins, with an emphasis on fluid motion and non-resistance.
  • Boxing: A Western martial art focused on punching techniques using fists. Boxing practitioners train in footwork, head movement, and various punching combinations to outmaneuver opponents and score points or knockouts in competition.
  • Brazilian Jiu-Jitsu (BJJ): A grappling-based martial art that focuses on ground fighting and submission holds. Brazilian Jiu-Jitsu practitioners aim to control opponents on the ground, transition into dominant positions, and apply joint locks and chokeholds to force submission.
  • Capoeira: A Brazilian martial art that combines elements of dance, acrobatics, and music with striking and grappling techniques. Capoeira practitioners engage in fluid, rhythmic movements, often incorporating kicks, sweeps, and flips to confuse and outmaneuver opponents.
  • Hapkido: A Korean martial art that focuses on self-defense techniques involving joint locks, throws, and strikes. Hapkido emphasizes redirection of an opponent’s energy and using minimal force to overcome larger or stronger opponents.
  • Judo: A Japanese martial art that focuses on grappling and throwing techniques, with an emphasis on using an opponent’s momentum and balance against them. Judo practitioners learn to control and subdue opponents through various throws, pins, and joint locks.
  • Karate: A Japanese martial art characterized by striking techniques using punches, kicks, knee strikes, elbow strikes, and open-hand techniques. Karate emphasizes self-discipline, respect, and development of physical and mental strength.
  • Kendo: A Japanese martial art that focuses on swordsmanship using bamboo swords (shinai) and protective armor (bogu). Kendo practitioners learn striking techniques, footwork, and mental discipline through controlled sparring (keiko) and forms (kata).
  • Kickboxing: A hybrid martial art that combines elements of boxing and various kicking techniques from karate, Muay Thai, and other styles. Kickboxing practitioners compete in bouts using punches, kicks, and knee strikes to score points or achieve knockouts.
  • Krav Maga: An Israeli martial art developed for self-defense and hand-to-hand combat in real-world situations. Krav Maga techniques are practical and efficient, incorporating strikes, kicks, joint locks, and defenses against weapons and multiple attackers.
  • Kung Fu (Wushu): A Chinese martial art encompassing a wide range of styles, techniques, and philosophies. Kung Fu emphasizes fluid movements, acrobatics, and a holistic approach to combat, incorporating strikes, kicks, blocks, and throws.
  • Muay Boran: An ancient form of Thai martial arts that predates modern Muay Thai. Muay Boran incorporates a wide range of striking, grappling, and weapon techniques, including elbow strikes, knee strikes, clinching, and ground fighting.
  • Muay Thai: A Thai martial art known as the “Art of Eight Limbs” due to its use of fists, elbows, knees, and shins. Muay Thai practitioners use a combination of striking and clinching techniques to deliver powerful blows and control opponents in close-quarters combat.
  • Pencak Silat: A Southeast Asian martial art practiced in Indonesia, Malaysia, Singapore, and Brunei, characterized by its diverse range of techniques and cultural significance. Pencak Silat includes striking, grappling, throws, and weapon skills, often accompanied by music and dance.
  • Sambo: A Russian martial art developed for self-defense and combat sports, incorporating elements of judo, wrestling, and grappling. Sambo practitioners train in throws, takedowns, ground fighting, and submission holds for both sport and self-defense applications.
  • Savate: A French martial art that combines elements of boxing and kicking techniques, using the hands and feet for striking. Savate practitioners wear specialized footwear and compete in bouts using a combination of punches, kicks, and footwork.
  • Silat: A Southeast Asian martial art practiced in Malaysia, Indonesia, and the Philippines, known for its emphasis on fluid, dance-like movements and self-defense techniques. Silat practitioners learn strikes, joint locks, throws, and weapon skills in both armed and unarmed combat.
  • Systema: A Russian martial art emphasizing fluidity, relaxation, and adaptability in combat situations. Systema practitioners train in breath control, movement, and striking techniques, as well as grappling, joint locks, and ground fighting.
  • Taekwondo: A Korean martial art known for its dynamic kicking techniques, which often involve high, jumping, and spinning kicks. Taekwondo also incorporates hand strikes, blocks, and throws, with a focus on speed, agility, and precision.
  • Wing Chun: A Chinese martial art known for its close-range combat techniques, rapid strikes, and simultaneous defense and attack movements. Wing Chun practitioners train in sensitivity drills, trapping hands, and wooden dummy techniques to develop reflexes and coordination.
  • Kali (Escrima, Arnis): A Filipino martial art focused on weapons-based fighting, particularly with sticks, knives, and improvised weapons. Kali practitioners learn striking, blocking, and disarming techniques, as well as empty-hand combat and grappling skills.

What Makes a Martial Artist?

Every martial art has its own tennants: best practises, mindsets, focus on stopping an attack or overwhelming violence. However, some themes are common among most martial arts. Here’s a quick look at lessons often taught to suppor tbeing a good martial artist.

Respect: Respect for oneself, instructors, training partners, opponents, and the art itself is fundamental in martial arts.
Discipline: Martial artists cultivate discipline through regular training, adherence to rules and protocols, and self-control in both physical and mental aspects. Discipline helps practitioners stay focused, consistent, and committed to their goals.
Perseverance: Martial arts training often involves facing challenges, setbacks, and obstacles. Perseverance is the mindset of persisting through difficulties, overcoming adversity, and continuing to improve despite setbacks or failures.
Self-Control: Martial artists learn to control emotions, impulses, and reactions. Self-control allows practitioners to maintain composure, make rational decisions, and avoid unnecessary conflicts or aggression.
Focus: Developing mental focus and concentration is crucial for martial artists to perform techniques accurately, react swiftly to opponents’ movements, and stay present in the moment.
Humility: Despite achieving proficiency in their art, martial artists maintain a humble attitude, acknowledging that there is always more to learn and room for improvement.
Adaptability: Martial artists learn to adapt to different situations, opponents, and challenges. Flexibility in techniques, strategies, and mindset allows practitioners to effectively respond to changing circumstances and overcome unexpected obstacles.

About Street Fighting

Street fighting lacks the formal structure and instruction of traditional martial arts. Participants may have limited or no formal training and might rely on instinct, aggression, and raw physicality in confrontational situations. It focusses on practicality and effectiveness in real-life self-defense scenarios. Techniques are often simple, direct, and aimed at incapacitating or neutralizing an opponent as quickly as possible, without regard for aesthetic or traditional considerations. Street fighters must be adaptable and able to respond effectively to unpredictable and chaotic situations. They may need to improvise and use whatever means necessary to defend themselves, including utilizing the environment, improvised weapons, or dirty tactics. Additionally, street fights have no rules or regulations governing conduct or technique. Participants could employ techniques that are otherwise considered illegal or unethical.

About Law Enforcement and Military Training

Law enforcement training encompasses physical training, firearms proficiency, defensive tactics, legal education, and scenario-based training. Officers learn to maintain public safety, enforce laws, and respond to emergencies while adhering to department policies and legal standards. Training includes de-escalation techniques, arrest procedures, use of force protocols, and tactical skills for handling various situations, including armed confrontations, crowd control, and crisis intervention. This training emphasizes situational awareness, effective communication, and decision-making under pressure to ensure officers can safely and effectively perform their duties while protecting themselves and the public.

Military training prepares service members for combat operations, defense missions, and peacekeeping roles. It encompasses physical conditioning, weapons training, tactical maneuvers, and teamwork. Military personnel learn to operate in diverse environments and conditions, including land, air, and sea operations. Training focuses on combat skills, leadership development, and adherence to military protocols and regulations. Military training includes weapons proficiency, fieldcraft, navigation, first aid, and survival skills to ensure readiness for deployment in various operational theaters. Service members undergo rigorous physical and mental training to build endurance, resilience, and adaptability for the demands of military service, including combat situations, humanitarian missions, and disaster relief efforts.

Part of military training is to break the ‘civilian mindset’ and recreate personnel from the ground up.

Both of these roles impact mental health severely, as these people regularly put themselves in danger and may have no choice about it aside from leaving the job entirely, if they can (more difficult in military). This can result in behaviours counter to what is trained…but to be fair, so can the person just being a dick normally.

What about SWAT and Special Forces?

SWAT (Special Weapons and Tactics) teams are specialized law enforcement units tasked with handling high-risk situations, including hostage rescues, barricaded suspects, and counterterrorism operations. SWAT training focuses on preparing officers to respond to these critical incidents with precision, speed, and coordination. Here are some key aspects of SWAT training:

  • Tactical Operations: SWAT officers undergo extensive training in tactical operations, including room clearing, building entries, and close-quarters combat. They learn to work as a cohesive team to neutralize threats and protect civilians.
  • Firearms Proficiency: Advanced firearms training enhances marksmanship, weapon handling, and decision-making under pressure. SWAT members practice with a variety of firearms, including handguns, rifles, shotguns, and specialized weapons such as submachine guns and sniper rifles.
  • Specialized Equipment: SWAT teams utilize specialized equipment and gear tailored for high-risk operations. This might include ballistic armor, breaching (think breaking into places) tools, tactical communications gear, night vision devices, and less-lethal weapons for crowd control.
  • Negotiation Skills: Counter to the more violent aspects, SWAT officers also receive training in crisis negotiation techniques. Negotiators within the team work to establish communication with suspects and de-escalate situations whenever possible to achieve a peaceful resolution.

Modern SWAT teams are often, and controversially, outfitted similar to military personnel, including gear, weapons, and vehicles. In a world where criminals have access to equipment comparable to military personnel, sometimes this equipment is mandatory to protect the lives of law enforcement. Understandably, some people have concerns over law enforcement rolling down the street in the equivalent to tanks, especially with so much narrative going around about abuses of power that are continuing to come to light.

Special Forces such as the Navy SEALs, are elite military units tasked with conducting unconventional warfare, counterterrorism operations, and special reconnaissance missions. Training for Special Forces personnel is among the most rigorous and demanding in the world, designed to select and develop individuals capable of operating in extreme environments and executing complex missions. For example, most people who enter training to be Navy SEALs will drop out before the end of the first stage – Hell Week.

  • Selection Process: Special Forces candidates must first pass a grueling selection process that tests their physical fitness, mental toughness, and leadership potential. This process typically includes physical fitness tests, swimming assessments, psychological evaluations, and interviews. Selection is so intense it’s not only referred to as Hell Week but has recently come under some investigations as to how responisble it is.
  • Specialized Skills Training: Special Force Operators receive specialized training in a wide range of skills tailored to their specific roles and missions. This might include combat diving, parachute operations, sniper training, demolitions, language proficiency, and cultural awareness.
  • Unconventional Warfare: Special Forces training emphasizes unconventional warfare tactics, which involve working with indigenous forces, conducting covert missions, and operating behind enemy lines. Training scenarios focus on infiltration, reconnaissance, sabotage, and guerrilla warfare tactics.
  • Physical and Mental Resilience: Special Forces training is physically and mentally demanding, requiring candidates to push past their limits and operate effectively under stress and fatigue. Training instructors emphasize mental toughness, adaptability, and problem-solving skills to ensure candidates can thrive in challenging environments.

To be transparent, the above descriptions of selection and training of Special Forces Operators is…mild. Perhaps even politically correct.

“The USA Department of Defense defines unconventional warfare as activities conducted to enable a resistance movement or insurgency to coerce, disrupt, or overthrow a government or occupying power by operating through or with an underground, auxiliary, and guerrilla force in a denied area.”
* source: https://en.wikipedia.org/wiki/Unconventional_warfare_(United_States). (I generally avoid referencing Wikipedia, but this has a good, rounded discussion about the topic as it pertains to the US. Note that a lot of countries have Special Forces, including England, Canada, Israel…

Using Environment to The Advantage of Your Fight

Remember at the beginning of this D-Script we talked about planning your fight and part of that was thinking about the environment they’re in? Well, this is why! Anyone, not just skilled fighters (though it’s more likely in skilled fighters) can use their surroundings to their advantage. Writing this into your story will help make your fight scene more dynamic and show the quick thinking of your characters.

Characters should be aware of their surroundings, including potential hazards, obstacles, and opportunities for advantage. This includes taking note of objects that can be used as weapons or shields, escape routes, and terrain features that can be leveraged in combat. This will also allow them to use improvised weapons. Characters can use everyday objects to gain an advantage over opponents. This could include grabbing a nearby chair, bottle, or even using a piece of clothing as a makeshift weapon to fend off an attacker, grabbing sand or dirt and throwing it at the face if they’re fighting dirty or for survival.

Especially skilled fighters can use terrain and obstacles to their advantage by strategically positioning themselves to limit their opponent’s movement or create openings for attack. For example, they might maneuver their opponent into a narrow alleyway or use a low wall for cover and concealment. Further advantage can be taken if the person has elevation on their side. This might involve climbing to a higher vantage point to gain a better view of the battlefield or using elevated terrain to rain down attacks on their opponents from above. It can also be used to attain better cover from missile attacks (like arrows, bullets, thrown items).

Characters can also use their surroundings to create distractions. This might involve throwing objects to create noise or confusion, using shadows and cover to conceal their movements, or luring their opponents into traps.

And, again with the skilled fighters, they may want to know where potential escape routes are, especially if they find themselves outnumbered or outmatched. This might involve retreating to a nearby building, vehicle, or natural feature that provides cover and concealment while they regroup or call for reinforcements.

Defenses Against Certain Common Tactics

As we discussed at the beginning, opinions on what constitutes effective techniques and strategies can vary widely, even among experts. While there are fundamental principles and techniques that form the foundation of many martial arts systems, the application and effectiveness of these techniques can be subject to interpretation and debate.

In the below, we’re going to talk pretty basic maneuvers for defenses. There are a million ways to do these things, depending on who you listen to.

In General, Getting Inside the Guard Can Be Helpful…but Risky

What is “getting inside the guard”? It refers to a maneuver where an attacker moves within the range of their opponent’s extended limbs, making it difficult for the opponent to effectively strike with punches or kicks. What blows they can manage will lack power. However, being inside the guard opens one up to counter attacks that involve grappling. Being inside the guard is a more advanced technique as someone should be aware of their strengths and weaknesses in a fight, as well as what vulnerabilities they’ve opened themselves to.

Getting inside the guard can limit an opponent’s defensive options, making it harder for them to evade or block incoming strikes. This increases opportunities to land effective blows and disrupts their rhythm. It also can disrupt the opponent’s balance and stability, making it easier to off-balance them with pushes, pulls, or sweeps. This can set up follow-up attacks or takedowns to further control the flow of the fight. It may help back a person up into a position that is more adventageous for the attacker as well.

If utilizing this technique, one should exploit clinch and grappling techniques to control the opponent’s movement and posture. This can lead to positional dominance or openings for submission holds or strikes.

Keep in mind that when the character is inside the guard of another character, they’re often subject to the same vulnerabilities as the other person. That means limited striking options, exposure to clinch and grappling techniques, difficulties maintaining balance, limited mobility, exposure to joint manipulation, and it can make it difficult to escape.

Breaking a Wrist or Arm Grab

It’s possible for someone to have a VERY strong grip or large hand that makes it hard or impossible to break grabs. However, the greatest chance to break a grip is to focus on the thumb. The thumb is the weakest point of the grip. The thumb can either be grabbed and bent, or one can twist the restrained body part and pull toward the thumb to take advantage of that weakness. Likelihood is though that the second one will be more effective and faster, leading to greater success. It’s also very easy to teach to kids! I’ve run up to my kids, grabbed their wrist and shouted “BREAK MY GRIP!”. They think it’s hilarious, but from a young age both my children knew how to escape grabs like this.

The video below talks about women’s self-defense, but this is applicable to all genders.

Breaking Out of a Chokehold/Stranglehold

How to break chokes depends on if the choke is from in front or behind, and how many hands are used in the attack or if it’s the arms doing it. It can also depend on size differences between the person in the hold and those one the receiving end.

There are a LOT of ways to break a chokehold that involves hands. Before we get into specific types of grabs and their general defenses, keep in mind two things: the thumb is the weak spot (this is where grabbing is probably better in this case). Tucking the chin all the way toward the throat protects the throat from crushing and makes it very hard to hold on as well. Think of making as many double chins as you can!

Breaking Chokeholds from the Front

Front Choke with One Hand: In this chokehold, the attacker uses one hand to grip the victim’s throat, applying pressure to restrict airflow. Below are different ways to break the chokehold, not steps.

  • Swiftly step to the side to break the attacker’s line of force. Remember the thumb is a weak spot. Use hands to push against the attacker’s wrist or forearm from the inside to create space and release the chokehold.
  • If the elbow is locked (all the way straight), a blow to the outer part of the elbow can break the elbow and release the grip.
  • Grabbing the wrist, place the other hand on the outside of the elbow and spin toward the thumb. This gives control over the attacker’s arm and thus body. Raising the arm up behind their back will force them to double over – best case scenario.

Front Choke with Two Hands: The attacker uses both hands to grab the victim’s throat, applying direct pressure to restrict breathing. In this position, note that the attacker has left MANY vulnerabilities. Punches to the face, eye gouging, throat punch, abdominal blows, and kicks to the inside of the leg can be employed. Better techniques are:

  • Immediately tuck the chin to protect the windpipe and buy time. Use hands to pry or peel the attacker’s fingers away from the throat. Step back or pivot away to create distance and escape from the attacker’s grasp.
  • Grab the wrists by hooking around from the outside to the inside and try to pull them off and forward. This will bring the attacker off balance and toward you, where a headbutt might be effective (especially to the nose, causing lots of pain and the eyes to water).

Here are some more techniques:

Breaking Chokeholds from the Rear

Rear Naked Choke: The attacker wraps one arm around the victim’s neck from behind, while the other arm applies pressure to cut off blood flow to the brain.

  • Stay calm and avoid panicking, as struggling could tighten the chokehold. Use hands to create space or grab the attacker’s wrist. Lower centre of gravity and drop your weight to disrupt the attacker’s balance. Rotate the body to the side of the choking arm and tuck your chin to alleviate pressure on your neck.

Rear Guillotine Choke: The attacker uses both arms to encircle the victim’s neck from behind, applying pressure to restrict breathing and blood flow.

  • Protect the windpipe by tucking the chin and turning the head to the side. Use hands to pry or peel the attacker’s arms away from the neck. Step backward forcefully to break the attacker’s grip and create space for escape.

Breaking Chokeholds When Pinned to the Ground or Wall

When one can’t move fully, like being pinned against the ground or a wall, it can be more difficult to get out of the hold due to reduced ability to move.

When the Victim is on the Ground

Create Space: Use legs and hips to push against the attacker’s body, creating space between the person being attacked and the attacker. This can help alleviate pressure and give you room to maneuver. Put one foot in the crook of the leg and hip, if possible, which will provide better control of the attacker’s body.

Escape to the Side: Once space has been created, quickly turn the body to the side, either to the left or right. This movement can make it harder for the attacker to maintain the chokehold and may provide an opportunity to escape.

When the Victim is Against a Wall

  • Aggressively turn the body to the side, which should cause the grip to break
  • If the character’s arm is longer than the distance between them and their attacker, tuck the chin, reach out and punch beyond the head, move to the side using the character’s arm as a lever to take control of the attacker.
  • A twist on the above is to slap the hand over the attacker’s mouth and push their head to the outside and push. This will break their grip and force them back a little.

Finally, here are a few more resources for you:

SITE BROUGHT TO YOU BY

SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK

Writing Fight Scenes: The Basics

Writing fight scenes can be challenging. Whether you’re penning an action thriller or a fantasy epic filled with sword clashes and magical duels, the ability to craft compelling and realistic fight scenes is a valuable skill. We’re going to delve into the art of writing fight scenes but I’m not going to be able to cover it all in one post! This post will be one of a larger set of posts covering everything from the basics (this post) to writing realistic injuries and even weaponry.

Some concepts in this post are talked about in multiple sections as they might be a part of pacing, but also a part of choreography, for example.

Get Around the Post Quickly

Before you dive into the details of writing a gripping fight scene, it’s essential to understand the fundamental principles that underpin all successful action sequences. Let’s explore the basics of crafting compelling fight scenes that will resonate with your readers.

Creating an effective fight scene requires some preplanning – even for those of us who write without much of that. Here are the key concepts you’ll want to prepare for. These are just summaries, but we’ll cover more about each later in the post. These also don’t cover everything we address in this post, just what you want to prepare for in advance.

  • Know the purpose of the fight and how it enhances the story
  • Know why the fight is happening and what got it to this point
    • A fight is a release of tension from a misunderstanding or conflict in values, or something similar. You’ll likely have several fights throughout your story, remember to build up to them, getting more intense each time. Also, you need to be very familiar with what would drive your character into this fight, why they choose to fight. This should be clear to the reader by the time you reach the fight itself.
      We cover this in this section: Exploring the Purpose and Reasons for a Fight
  • Be aware of how to use pacing to drive tension
    • Pacing in a story is essential to creating something a reader doesn’t want to put down. When you get to a fight, pacing will ensure your pivotal scene doesn’t fall flat.
      We cover this in this section: Pacing During a Fight Scene
  • Have at least a general idea of the choreography so you can research fighting styles and realistic damage
    • Knowing how your characters fight, their strengths and weaknesses and realistically what damage they’ll take will help you avoid so many pitfalls. Pitfalls can be things like having a character fighting when it’s uncharacteristic, having skills they shouldn’t have, or walking away from damage that would have killed them.
      We cover this in this section: Tips for Choreographing Memorable Fight Scenes
  • Have an idea how the characters are going to feel during the fight
    • Even though the basest parts of their brain are activated during a fight (lizard brain), your characters are going to be feeling throughout. Relaying this information helps the reader to connect and become invested in both the scene and the character.
      We cover this in this section: Emotion and Fight Scenes: Conveying Tension and Intensity
  • Know what the aftermath and consequences of the fight are going to be
    • Every fight will have consequences. Whether those consequences are world altering or damage to the relationship between the characters involved, you’re going to have to know how to tie this into the story. This will make sure that the fight has meaning and isn’t just a floating scene in your book that really didn’t impact the story at all.
      We cover this in this section: What Comes After the Fight?

We may be creating fictional worlds, but repetition is the key to learning. When people see concepts repeated in media, they start to develop a truth to them in some people’s minds, even if that ‘truth’ is actually a lie. While writing fight scenes, it’s crucial to be aware of and avoid harmful stereotypes that can perpetuate bias, misrepresentation, or cultural insensitivity. Instead, focus on individual character traits, experiences, and training to explain their combat abilities.

Here are some stereotypes to be mindful of:

CULTURAL STEREOTYPES

Asian Martial Arts Expert
The “Kung Fu master” or “ninja” stereotype often portrays Asian characters as inherently skilled in martial arts. This oversimplification ignores the diversity of Asian cultures and backgrounds. It’s also common that people portray all those of Asian descent to be trained in martial arts.

Black Brute / Gang Member
This stereotype depicts Black individuals as aggressive or physically dominant fighters, often reinforcing harmful stereotypes about aggression and violence.

This stereotype has been used to make the Black people seem ‘scary’ or portray them as tribal or as criminals. It reduces them to stereotypes formed by others trying to justify injustices like destruction of culture or slavery.

Latino Gang Member
It’s a harmful stereotype to portray Latino characters as members of violent street gangs, perpetuating negative stereotypes about the Latino community. Unfortunately, we see this a lot in modern politics. It’s often used to portray one group of people as the reason for another culture’s issues and dismisses that culture’s propensity for those crimes.

Often, these stereotypes get justified by referencing instability in their home nations, ignoring the fact that most people have nothing to do with violent groups. Also ignoring other countries often have similar issues.

Native American Savage
Depicting Native Americans as violent or “savage” warriors perpetuates harmful stereotypes rooted in colonial history. As with Black people, it’s used to portray them as tribal and scary. This reduces them to stereotypes formed by others trying to justify injustices like destruction of culture and actions that are in all ways but name, genocidal.

Many indigenous cultures around the world face similar issues. They were called savage for having a society different than others with a different level of technological advancement. Protecting their way of life, children, and resources in the face of militant action was seen as nothing but violence and proof they were uncivilized, rather than often a necessity to protect themselves.

Middle Eastern Terrorist
This stereotype associates Middle Eastern characters with terrorism and violence, contributing to harmful prejudices against people from this region.

These stereotypes are often used to portray these people as monstrous. While violent extremist groups do exist in the Middle East and have taken power in some regions, these stereotypes ignore the fact that most people have nothing to do with these groups and are often victims of them.

Other times, it is used to cause hatred against Middle Eastern religions, while ignoring the problematic features and actions of other religions people may be more familiar with.

There are additional complexities here, but there are two examples.

Mystical/Magical Minorities
Some stories depict people from various cultures as having mystical or supernatural fighting abilities. This reduces them to exotic caricatures and ignores their individuality.

“But,” you may say. “Asian movies often show martial artists as defying gravity and with immense strength!” While that is true, that has become a theme in their home countries. It’s often an allegory for power, dedication, training, mastering of an art. Unless you are of that culture, writing for people in their homeland, it’s best to steer clear of this.

GENDER STEREOTYPES

Women as Weak
One common stereotype portrays women as physically weak and incapable of being effective fighters. This overlooks the many skilled female combatants throughout history and reinforces gender bias.

It also ignores the fact that history is often seen through the lens of those who wrote it, which were men. For example, we now know female Vikings were more common than originally believed. Also, many women in Asian cultures were trained to fight to protect the home and family when their husbands were called away. These are just two examples of how media you were raised on slanted your concept of reality.

Men as Aggressive
This stereotype suggests that men are inherently more aggressive and better suited for physical combat. It can promote toxic masculinity and overlook the diversity of male personalities.

Aggression in men is often portrayed as just a part of their make-up. They’re quick to fight. Quick to take offence. This reduces men to slaves of their primal instincts rather than people with fully functional, evolved brains.

For every highly toxic man who believes in this or lives it, there are many more that want nothing to do with it.

Fighting as Masculine
The idea that fighting is inherently a masculine activity can discourage women and non-binary individuals from pursuing martial arts or combat sports, limiting their opportunities and self-confidence. It can also encourage beliefs that women who know how to defend themselves are unworthy of relationships. This is, unfortunately, a narrative amongst some who believe in traditional gender roles.

Additionally, it goes back to that aggression thing we were just discussing.

Damsel in Distress
A related stereotype depicts women as helpless and in constant need of male protection, perpetuating outdated and harmful notions of female vulnerability.

While we covered much of this in the Women as Weak point, it also strips a woman of being anything but property and as owing affection to any man who does something which might be considered basic decency. You’ll notice almost all damsel in distress media shows the woman falling in love with the man or at least sleeping with him.

In real life, this causes women to become victims of violence by those who feel they are owed something.

Emotionless Warriors
Men, especially in action films, are often portrayed as emotionless, stoic fighters. This stereotype reinforces the idea that men should suppress their emotions and maintain an unfeeling facade.

There has been a long history of men being told they need to only feel specific emotions, and definitely note form deep meaningful bonds with people. This is a massive injustice to men and the root of many problems men experience.

Femininity as a Disadvantage
Some narratives suggest that embracing femininity is a disadvantage in fighting, implying that women must adopt more masculine traits to be effective.

Nothing is one sided. A woman could love to adorn herself in flowery dresses, cook elaborate meals, or other traditional feminine ‘roles’, but they may also love their Jeet Kune Do class and could hand most men their butts. These things are not mutually exclusive.

DISABILITY STEREOTYPES

Avoid depicting characters with disabilities as inherently weaker or incapable of defending themselves. Many individuals with disabilities are skilled fighters or adapt to their circumstances. Portray characters with disabilities authentically, emphasizing their unique strengths and challenges.

SUPERFICIAL CHARACTERIZATION

Steer clear of shallow characterizations that reduce fighters to a single trait (e.g., the “angry fighter” or the “stoic warrior”). Characters should be multi-dimensional and not defined solely by their combat skills. Explore their motivations, fears, and personal growth.

HYPERSEXUALIZATION

Avoid gratuitous or objectifying descriptions of characters, particularly female fighters. Overly sexualized portrayals can undermine their credibility and agency. Focus on character depth and their contributions to the plot beyond their appearance. If you are describing a woman’s breasts in a fight, you’re doing it wrong and should think long and hard about your choices.

To be fair, just because a cliche or trope exists doesn’t mean you can’t use it. Just use them sparingly and try not to rely on them to progress your plot. People will see right through it as weak writing.

The Hero Never Misses
The hero is an impeccable shot, and their bullets or blows unfailingly hit their target, even when faced with a horde of enemies.

The counterpart to this is the Storm Trooper, the villain or lackey who misses every shot, regardless of probability.

Convenient Weapons
A character conveniently finds a powerful weapon or tool at the right moment, often just in time.

Monologuing Villain
The villain pauses the fight to deliver a lengthy speech, giving the hero time to regroup or escape.

Explosive Barrels
Explosive barrels or objects are nonsensically scattered throughout the battlefield, offering a ready-made way to create explosions and chaos.

Unconscious Recovery
Characters knocked unconscious during a fight miraculously wake up at a critical moment, seemingly unscathed. The truth is that if someone is knocked unconscious, they’ve experienced brain damage. The longer they’re knocked out, the more extensive the damage.

The ‘wakes up the next day or in several days without prompt medical intervention’ trope may very well mean that person is no longer fully functional.

Last-Minute Rescue
A character is in a dire situation, but a friend arrives just in time to save them. This is overused and predictable. If it’s going to happen foreshadow. Actually work it into the plot. That doesn’t mean you loose tension, just because you foreshadowed something doesn’t necessitate it happening (red herrings). It can also leave the reader with ‘how bad is this going to get before ____ steps in?’ vibes, keeping tension high.

One-at-a-Time Attacks
The staple of almost every movie! Opponents attack the hero one at a time, allowing the hero to defeat them with ease.

Epic Leap
Characters perform gravity-defying leaps, often over obstacles or onto enemies, with astonishing precision. Also, with their knees intact.

No Backup
Law enforcement or military personnel are noticeably absent during a major crisis, leaving only the main characters to handle the situation.

“Magical” Healing
Characters who heal from wounds in unrealistic timeframes for no apparent reason, or simply because they’re the hero.

Easily Defeated Minions
The villain’s henchmen or minions are dispatched with minimal effort, serving as mere cannon fodder. If your enemy is employing easily defeated minions, they’re not very smart.

Unrealistic Durability and Stamina
Characters survive injuries or physical trauma that would incapacitate or kill a real person. In another post, we’ll cover how to write realistic injuries.

Additionally, fighting is strenuous both physically and psychologically. Fights don’t tend to last long because people run out of energy or can no longer think straight. Your fight isn’t going to last five minutes unless those fighters are taking long breaks in there.

Training Montage
A character rapidly improves their skills through a training montage, becoming a formidable fighter in a short time. Proficiency in fighting takes years to work responses into a person’s instincts. You don’t have that kind of time but be realistic. They’re not going from an everyday person to a black belt in the span of a few months.

Perfect Timing
Characters manage to time their actions to the split second, such as disarming a bomb with just one second left on the timer.

Foe Equals Friend
Two characters locked in combat suddenly realize they share a common enemy and join forces against a greater threat.

Ultimate Sacrifice
A character sacrifices themselves to save others, usually the main character, often in a heroic or dramatic fashion.

Glass Jaw Syndrome
Villains are often defeated with a single punch or hit, no matter their size or strength.

Senseless Fighting
A character doesn’t tell another character something important for ‘reasons’. This generally is to advance the plot only.

Writing fight scenes in different genres requires consideration of the genre’s conventions, settings, technology, and elements specific to that genre. Here are some tips for writing fight scenes in various genres:

FANTASY

Magic and Supernatural Abilities: In fantasy, characters often possess magical or supernatural abilities. Describe these powers, their limitations, and how they influence the fight. Magic spells, enchanted weapons, and mythical creatures can add complexity to the scene.

World-Building: Emphasize the unique world-building elements of your fantasy world. Show how the environment, magical systems, and mystical creatures impact the fight.

Symbolism and Prophecy: Fantasy often includes symbolic elements and prophecies. Incorporate these into the fight scene to add depth and foreshadowing.

HISTORICAL

Research: In historical fiction, accurate research is essential. Study the historical period, weapons, tactics, and combat styles to ensure authenticity.

Language and Manners: Pay attention to the language and manners of the era. Characters should use dialogue appropriate to their time and social status.

Realism: Historical fiction often focuses on realism. Describe the grit, danger, and brutality of historical combat while staying true to the time’s social norms and expectations.

SCIENCE FICTION

Technology and Futuristic Settings: Science fiction offers futuristic technology and settings. Detail advanced weapons, cybernetics, robotics, and other sci-fi elements. Consider how technology influences combat strategies.

Alien Species and Cultures: Sci-fi often features diverse alien species and cultures. Explore how these differences affect fighting styles, tactics, and communication.

Ethical Dilemmas: Science fiction often raises ethical dilemmas related to technology and human nature. Use the fight scene to delve into these moral questions.

HORROR

Fear and Suspense: In horror, emphasize fear and suspense in fight scenes. Describe characters’ terror, paranoia, and the overwhelming presence of the supernatural or the unknown.

Gore and Shock: Don’t shy away from graphic and disturbing descriptions when appropriate for the horror genre. Use visceral details to evoke dread.

Isolation and Vulnerability: Horror often features characters who are isolated or vulnerable. Show how these factors intensify the fight, making escape or survival even more challenging.

MYSTERY OR THRILLER

Mind Games: In mystery and thriller genres, fights can involve psychological elements. Characters may use deception, manipulation, and wit as weapons.

Tension and Suspicion: Maintain a high level of tension and suspicion in fight scenes. Keep readers guessing about character motivations and loyalties.

Clues and Revelations: Use the fight scene to reveal clues and unravel mysteries. Characters may discover vital information or hidden agendas during the confrontation.

ROMANCE

Emotion and Chemistry: In romance, fights can be emotionally charged. Highlight the characters’ emotional turmoil, unresolved feelings, and the chemistry between them.

Conflict Resolution: Show how the fight contributes to character growth and the eventual resolution of their romantic tension.

Intimacy: Romance can involve intimate moments during or after a fight. Use sensory details and emotional connections to convey the romantic aspects of the scene.

PURPOSE AND CONTEXT
Nothing should happen in your book unless it has purpose, although that purpose can be to mislead (red herrings, for example). You have a maximum word count you’re working with and don’t want to confuse readers with irrelevant info. Put each scene to good use.

WHY A FIGHT SCENE?
For a fight scene, ask yourself why this conflict is happening in the first place, and how it advances the plot or character development. Consider the emotional stakes for the characters involved. What are they fighting for? What’s at risk if they win or lose? Don’t just write a fight scene because you think it’s necessary for a good story. Also, and I’ll mention this a few times, do not write forced fight scenes. These fight scenes rely on characters not naturally communicating, or similar, forcing the fight to happen at some point later.

For example, a forced fight scene could be where one character doesn’t give another character vital information any reasonable person would. The omission later leads to a major conflict. This is often done because the character is trying to protect someone or is feeling shame. I can’t begin to count how many stories I’ve read or watched that have a character acting out of character to do this. Then, they’ll often watch things get worse and worse but say nothing despite tonnes of opportunity. While these protection and shame could certainly be legitimate in the short term, they should not cause major conflicts in your story. This shows a lack of planning on your part, or weak writing – like you didn’t know how to achieve this otherwise, so you forced it to happen.

Before you begin crafting a fight scene, it’s crucial to understand the motivations and driving forces behind the conflict. How do their goals and personalities affect their fighting style and strategy? Ensure that the fight is consistent with each character’s abilities, experience, and temperament.

Here are some common reasons why people engage in physical combat:

SELF DEFENCE
Self-preservation is one of the most instinctual reasons for fighting. Characters may have to fight to protect their lives, safety, property, or the lives of loved ones. Fear and the adrenaline rush of self-preservation can add intensity to a fight scene.

REVENGE
Revenge is a powerful motivator. Characters may seek vengeance for a perceived wrong or harm done to them or someone they care about. Revenge-driven fights can be emotionally charged and morally complex. Remember, however, how revenge makes a character appear.

IDEOLOGICAL CONFLICT
People often fight over differing beliefs, ideologies, or values. This can include political, religious, or philosophical disputes. Ideological conflicts can add depth to your story and explore complex themes. Make sure these ideologies are well explained before the fight.

COMPETITION
Competitions and tournaments often involve physical combat. Characters may fight for glory, honour, or to prove their skills or superiority. These fights can showcase character development and growth.

Competition can also be over resources, like access to food, water, a need to be richer than others (greed), or – unfortunately – the attention of others or access to them. If writing about competitions centred around greed, lust, or need for attention, you’ll want to also do some thinking about the mental issues or traumas that are driving it.

SURVIVAL
In extreme circumstances, characters may be forced to fight for essential resources like food, water, or shelter, as touched on under competitions. Survival-based fights can reveal the lengths characters will go to in dire situations. They can show what lengths a character is willing to go to survive or to procure resources so others can, which can tell the readers a lot about your characters.

PROTECTING OTHERS
Characters may engage in combat to protect vulnerable individuals, such as children, the elderly, or the weak. Or, they may be acting for the greater good of society, or the world! These fights highlight a character’s sense of duty or heroism. Don’t forget, a villain may be protecting others as well, it’s just that their willingness to go to extremes or cruelty defines it as something other than heroism.

MISUNDERSTANDINGS
Fights can arise due to misunderstandings, miscommunication, or mistaken identities. These fights can add elements of humor or tragedy to your story. A word of warning though, fights that happen because someone unrealistically held back information so your plot could continue how you wanted it to are weak writing. There are so many stories and movies out there written in a way where the conflict isn’t realistic because they sat on information any reasonable person would have brought up. Don’t do this. It makes your writing seem amateur and anyone with a bit of insight will see that you didn’t know how to build conflict or worse progress your story without forcing it to happen.

TRAINING AND DISCIPLINE
Characters who are warriors, martial artists, or soldiers may engage in sparring or combat as part of their training or discipline. These fights can showcase their skill development as well as be an excellent way to show characteristics about your character, like sportsmanship, how they react to losing, if they’re a graceful winner, if they approached this in good faith, etc.

IT’S THEIR JOB
Mercenaries, assassins, and soldiers fight because they’re being paid to follow orders (though there may be more complex reasons behind this, and certainly there tends to be). They may not agree with the reason they might fight of kill someone, but they’ll do it because that’s how they make ends meet, because they’re good at it and it’s morally easy for them, or because they’ve been ordered to. Think of the reasons why someone got into the business. For example, a soldier may be a soldier because the government will pay for their post-secondary education where they would never be able to afford otherwise. It’s a means to an end. A way of lifting themselves from poverty.

PSYCHOLOGICAL CONFLICT
Characters may face inner demons, or psychological battles that manifest as physical fights, representing their inner turmoil. These fights can be symbolic and reflective of the character’s growth or transformation. There are several conditions and situations where emotion may get the better of someone and cause them to break into a fight. Some people simply are built that way, and they never manage to learn the skills to control it. Others might have been raised in a tense environment where they witnessed violence – normalizing it – or were the victim of it, making them feel helpless and needing to show they are in control. Lack of a sense of control is a major reason for fights, same with needing to show they are dominant to help protect them from further threats, or sheer pride.

PACING AND TENSION
In general, you want to vary the pacing of your storytelling to create tension/excitement and lulls in between. For fight scenes, short, rapid sentences can convey urgency, while longer descriptions can slow things down for dramatic effect. For a fight scene, you can start slow with bigger words and longer sentences, but as the tension builds, the overall length of those words, sentences, and paragraphs should be reduced. Anger, fear, and fight, flight, and freeze responses are more basic, primal parts of us. Lizard brain, one could say. Tap into that. That said you will incorporate those longer sentences in the fight scene, just reduce them where you want to create urgency or tension.

Don’t forget to build anticipation before the fight and escalate the tension as the battle unfolds. A fight scene is like a mini climax in the story. Build up to it.

More information on pacing in general can be found here: Pacing – Measuring Time in Writing

Pacing is a critical element in writing fight scenes, as it can make the difference between an electrifying, edge-of-your-seat encounter and a lackluster skirmish. To master the art of pacing during fight scenes, consider the following strategies:

START SLOW AND BUILD
Begin the fight scene at a slower pace – not the fight itself, but the tension just before it happens. Use this time to establish the context, describe the combatants, and create a sense of anticipation. Allow tension to simmer as the characters size up their opponents and prepare for the impending conflict.

VARY SENTENCE LENGTHS
To increase the tempo, employ a mix of sentence lengths. Short, snappy sentences convey quick actions and heightened tension, while longer sentences can slow things down for reflection or description. Use sentence fragments sparingly for impact. Keep in mind though that there is a time and place for descriptions and fight scenes are typically not it. Use description strategically and limit only to what is needed to convey what is necessary. Also, getting into a lot of detail about how a person executes a maneuver won’t make them seem more adept at fighting. It may, however, destroy your scene.

Learn more about balancing description in a fight scene here: Balancing Action and Description in Fight Scenes

ACTION AND REACTION
Alternate between action and reaction sequences. Describe what each character is doing, followed by how they react to their opponent’s actions. This back-and-forth rhythm keeps readers engaged and allows them to follow the flow of the battle.

STRATEGIC PAUSES
If a fight scene isn’t going to be a quick spar, ending fairly quickly, you can employ brief pauses strategically to allow characters to assess the situation or exchange dialogue. These moments can reveal character motivations, add depth to the scene, or create tension. This can also give a character time to recover. Remember, fighting is a high energy engagement and the more fancy or florid the movements, the more energy they’re expending. The person expending the most energy may in fact lose due to exhaustion. Any professional fighter will tell you energy conservation is vital.

Keep in mind though that pauses and dialogue can very easily hurt your scene, just like excessive description.

BUILD TO CLIMAXES
Gradually escalate the intensity of the fight as it progresses. Each confrontation or exchange should feel more intense than the last. Reserve your most impactful moments and revelations for climactic points in the battle. Just be careful not to overdo it on character advancements in skill. Someone gets good at fighting because of practice, because it’s built into their instincts. Even those naturally adept are not going to rapidly improve. These things take years. You’re obviously going to want to show improvement, just manage your expectations or have a REALLY good reason why it’s going that fast. Having a character get really good really fast can be an obvious sign that you didn’t plan out your book well and are forcing it because of plot or word count restrictions.

KNOW WHEN TO END
Recognize when the fight has reached its natural conclusion. Avoid dragging out the scene beyond its dramatic purpose. After the climax, transition smoothly into the aftermath of the fight to address its consequences.

First things first, what sort of skill do these fighters have? While I’d recommend at least hinting that someone is a martial arts master, that can also be portrayed in fight scenes, taking both their opponent and the reader by surprise. Or maybe the first fight scene is the start of the book. However, otherwise, I’d recommend at least some foreshadowing.

Next things you’ll want to do is some research into a character’s fighting style. YouTube is a great resource for videos about martial arts, and police or military training. Utilize this by watching videos about that style. You can also search for things such as karate, how to break a neck hold, then choose videos. Watch the videos and they will often describe what they’re doing. Think about how you describe what you’re seeing and hearing in your own words, keeping details to a minimum.

Another consideration is what weapons they’re using, if any. For example, maybe they’re both wielding knives, swords, guns. You’ll also want to consider their skill level with those and how those are used by skilled fighters. That’s where those videos come in handy again. Then again, maybe they’re using improvised weapons, such as glasses they find on tables to smash into the face, or a nice cushy pillow to distract. Think about where those items are in your setting and plan to get the fighters to them some way or another.

Accuracy lends authenticity to your scene, even in a fantastical setting.

MAKE SURE YOUR OBJECTIVES ARE CLEAR
Define clear objectives for each character involved in the fight. What do they want to achieve? Understanding their goals helps structure the sequence of actions. What do you want to achieve? How does this progress the plot?

CONFLICT AND STAKES
Some point before the fight, unless it is the opening scene, the conflict should be foreshadowed, and the stakes should be clear. For example, letting the reader know there is an underlying tension between the characters that could one day get one of them fired. Create internal dilemmas for your characters during the fight. Do they prioritize their own safety, the safety of others, or their principles? Conflicting emotions add complexity to the scene.

If your opening scene is a fight scene, you still need to make these points clear during that scene. This is our introduction to the character, we’re going to want to invest in them right away.

BE AWARE OF WHAT WEAPONS ARE AVAILABLE TO THEM AND HOW THE ENVIRONMENT WILL COME INTO PLAY
It’s very possible that weapons won’t be involved but their surroundings definitely will. They may be in an open park, but maybe their foot slips on wet grass, their fall is cushioned by the earth, or maybe they strike their head on a concrete path. Is it daytime or night? Are there people around or not? These are details you’ll want to add to our fight scene.

PLAN TO SHOW VULNERABILITIES
Characters should not be invincible. Show their vulnerabilities, mistakes, and moments of weakness to make the fight relatable and suspenseful. On this note, unless the character is supremely overmatched (never has a chance of winning), show a back and forth of advantage and disadvantage in the fight. You should show times where the character is dominating and being dominated in the fight to keep up the tension of ‘who is going to win?”

Revealing vulnerabilities and weaknesses in your characters makes them relatable and makes their struggles more emotionally resonant.

PLAN TO BUILD MOMENTUM
With each fight, the difficulty should be harder. the stakes higher. But for longer fights, start with smaller, less impactful actions, and gradually escalate the intensity. This builds momentum and keeps the audience engaged. That said, for those larger fights that take longer, say open warfare on a field, incorporate moments of tension and release within the fight. Give the audience short breathers between intense sequences to maintain their interest.

USE A VARIETY OF MOVES AND STRATEGIES
You may not be a fighter or strategist at heart, but you have to write that fight scene! First recommendation I can give you is to watch some self-defense videos, or military training videos on YouTube. Tune in to an MMA fight or other professional sport, like competitive martial arts or wrestling. Do both. Watch carefully how they change things up as they try to confuse and overpower their opponents. Also watch how their opponents avoid (or don’t) the attack, how they got out of it, or how they reacted to the hit.

If you’re using weapons in the fight, which we’ll cover in another post, watch videos from people with understanding of those weapons.

Keep in mind that if you’re watching someone who advocates violence over prevention and protection, they are not professionals. Take their advice very carefully. Although, they can be an interesting study for a villainous character or someone with other serious issues.

Professionals will instruct someone to fight only when necessary, as a single blow can be unintentionally lethal (and…you know…laws). They’ll also show movements that minimize action and maximize power. Don’t trust someone who is showcasing showmanship over effectiveness. In a fight, one of the most important strategies you can have is to conserve energy. Fighting is exhausting and hard on the body and mind. Even where the intent is overwhelming force to win, unless the purpose is to kill, the fighter will stop when the other person can no longer fight or they surrender. When safety is achieved.

As for which fighting style is the best? That’s highly subjective. Every move has its pros and cons. Every sensei will be able to point out how their form can defeat another, while a sensei from that art could point out the same. Look into the tennents of each martial art (if that’s what you’re going for) and match them to your character’s personality.

UNDERSTAND THE EFFECTS OF IMPACTS AND WOUNDS
What you see in movies and video games is not realistic. For example, if someone is hit by a shockwave strong enough to throw them, they may not be getting up again. And if they do, they need to seek medical attention right away. Shockwaves can damage internal organs. A punch to the head? That person is likely to go down, have their jaw dislocated, or is going to have a concussion. One punch to the head can also be fatal, even unintentionally.

We’ll be writing another post for writing realistic injuries, but there are several books already on the market specifically for this. Alternately, medical videos describing injuries can be found from TikTok to YouTube. Or you can try your luck with AI, just fact check those answers.

Balancing action and description in fight scenes is important for maintaining the pacing, clarity, and engagement of the reader. It’s essential to strike a balance between the energy of the battle and sensory-rich descriptions that draw readers in. During a fight scene, you’ll need to choreograph physical movements and tactics and provide the reader with a visceral experience by evoking the sounds, smells, and emotions of the moment. A blend of action and descriptions can transport the reader into the fray, allowing them to feel the tension and adrenaline while maintaining a clear understanding of the unfolding events. When done skillfully, this balance enhances the overall impact of the fight scene and ensures that the action remains engaging and vivid throughout, leaving an impression on the reader.

PRIORITIZE CLARITY
Throughout your writing career, learning to make sentences and paragraphs clear and concise is essential. That’s not to say description doesn’t have its place, it definitely does, but it’s easy to get lost in adding unnecessary details. In fight scenes, this is even more important. Use precise language to describe movements, positions, and impacts.

Think about what your goal is, what you need to show through this fight, and stay very close to that. You can always go through a second time and add sensory details to make the scene more engaging.

Also keep in mind that often describing how someone executed a movement isn’t necessary. Restrict detailed descriptions of how a move was made to times when it’s absolutely needed. It’s not going to show the reader how skilled the fighter is. It’s going to come off as you showboating (look what I know!), and it will throw off the rhythm of the scene.

ACTIVE VOICE
In other posts we’ve talked about active voice vs. passive voice, but here are some examples:

Active: John read the book.

Active: John spoke at the conference.

Active: John threw the first punch.

Passive: The book was read by John.

Passive: The speaker at the conference was John.

Passive: The first punch was thrown by John.

While the general rule is to avoid passive voice where possible, this isn’t always possible. Nor should you try to make it possible. Just limit the use of passive voice when it’s feasible to do so. That said, active voice is even more important in fight scenes.

AVOID EXCESSIVE DETAIL
While description is important, avoid overwhelming readers with excessive detail. Focus on key actions and sensations that drive the narrative and character development. Reserve detailed descriptions for key moments, turning points, or emotionally charged sequences within the fight. Highlight the most impactful actions and decisions.

TIP: Choose details that enhance the reader’s understanding of the scene or contribute to character development. Avoid overloading the scene with minutiae.

EXAMPLE: Focus on describing the glint of a weapon or the intensity in a character’s eyes rather than a full inventory of their attire.

At the end of this section, I’ll provide an example of an unbalanced fight scene and a balanced one.

SHOW EMOTIONS AND THOUGHTS
We’ll cover this in a following section, but in case you’ve missed it you can scroll down or click here: Emotion and Fight Scenes: Conveying Tension and Intensity

BALANCE SHORT AND LONG SENTENCES
We’ve already covered this in a previous section, but in case you missed it you can scroll up or click here: Pacing During a Fight Scene

USE IMAGERY AND SENSORY DETAILS
Incorporate vivid imagery and sensory details to immerse readers in the fight. Describe the sights, sounds, and physical sensations experienced by the characters. Sensory details enhance the reader’s connection to the scene and provide a visceral experience. But, again, keep these descriptions concise. You can maximize description and conciseness by using strong words. For example, rather than someone running toward their opponent, they charged at them. Instead of describing blood in the mouth, you can mention the warm, coppery taste of blood. Convey the rush of adrenaline, the pounding of hearts, the grit of sweat, and the pain of blows.

Sprinkle this in like salt on your dinner. Just the right amount will enhance the flavour, but too much will ruin it.

USE BODY LANGUAGE
Describe the characters’ body language and non-verbal cues. Show clenched fists, rapid breathing, trembling, or other physical manifestations of tension.

  • Fatima’s knuckles turned white as she clenched her fists, determination etched across her face.
  • Raj’s shoulders slumped as fatigue took its toll, his movements growing sluggish.
  • George’s eyes narrowed, a wicked grin spreading across their lips as they sized up their opponent.
  • Mei’s brow furrowed in concentration as she assessed her adversary’s weaknesses.
  • Ahmed’s chest heaved with each breath, his broad chest rising and falling in rhythm with the intensity of the fight.
  • A bead of sweat trickled down Keisha’s temple, her face a mask of focus and unwavering resolve.
  • In a moment of hesitation, Jamal’s eyes flickered with doubt, giving his opponent an opening.
  • A shiver of anticipation ran down Priya’s spine as she readied herself for the clash, her muscles tensed and ready to strike.
  • Diego’s fists trembled with fear as he faced his first real combat situation, his wide eyes scanning for an escape route.
  • With a defiant toss of her hair, Aisha met her foe’s gaze head-on, her body language exuding confidence and fearlessness.

AN UNBALANCED FIGHT SCENE

In the dimly lit room, Mark and Carlos stood locked in a tense confrontation, their eyes ablaze with resentment and unresolved grievances. The air hung heavy with the electricity of their verbal exchanges.

Carlos’s voice dripped with disdain as he taunted Mark, his words sharp as shards of glass. “You’ve always been a coward, Mark. Running from your problems, just like you did with Sarah.”

Mark’s jaw clenched, and his eyes narrowed, revealing the barely contained anger coursing through him. “Don’t bring her into this, Carlos. This fight is between you and me.”

Carlos, undeterred, continued to provoke Mark. “Oh, it’s between us, all right. I’ve been waiting for this moment for a long time.”

Mark’s fists tightened, the knuckles whitening as he struggled to contain his mounting rage. The room seemed to shrink as the tension escalated, the stakes growing higher.

Mark launched the first strike, a powerful punch aimed at Carlos’s jaw. In a swift and graceful move, Carlos sidestepped the blow with the elegance of a practiced dancer. His retaliation was swift—a sweeping kick that caught Mark off guard. Mark stumbled, colliding with a nearby table. It tumbled over, its contents crashing to the floor in a cacophonous chorus.

Carlos’s taunt rang in the aftermath of the clash. “Clumsy as always, Mark.”

Mark gritted his teeth and pushed himself to his feet, pain coursing through his body. His every movement radiated frustration and determination.

AN EXAMPLE OF A BALANCED FIGHT SCENE

In the dimly lit room, Mark and Carlos faced off, their eyes locked in a charged showdown, years of animosity bubbling just beneath the surface.

“You’ve always been a coward, Mark. Running from your problems, just like you did with Sarah.” Carlos’s voice dripped with disdain.

Mark’s jaw tightened, his eyes sparking with anger. “Don’t you bring her into this, Carlos. This is between you and me.”

Carlos grinned. “Oh, it’s between us, all right. I’ve been waiting for this moment for a long time.”

Mark’s fists tightened, the knuckles whitening as he struggled to contain his mounting rage. The room seemed to shrink as the tension escalated, the stakes growing higher. Then, fury took hold. He launched a fierce punch toward Carlos’s jaw, but Carlos gracefully sidestepped, responding with a swift, sweeping kick that caught Mark off guard. Mark stumbled, crashing into a nearby table, sending it toppling with a deafening clatter.

“Clumsy as always, Mark.”

Mark gritted his teeth and pushed himself to his feet, pain coursing through his body.

Fight scenes are intense and there are intense emotions behind them. Show how the characters feel during the fight. Are they confident, terrified, determined, or conflicted? Use their inner thoughts, dialogue, and physical reactions to convey their emotional states.

Emotional beats provide depth and relatability to the combatants. Remember that tension and intensity in fight scenes are not just about physical action; they are about the emotional stakes and the characters’ inner struggles. By weaving these elements into your narrative, you can create fight scenes that resonate with readers on an emotional level.

Here are some examples of what people might be feeling, and what that might look like on the page:

Anger
In a whirlwind of rage, Marcus unleashed a series of brutal blows. They landed hard, fueled by the fury that had been simmering within him for years.

Cruelty
Blackthorn taunted Gregor with a cruel laugh, relishing in his suffering.

Desperation
In a final effort, Elena swung wildly, her movements born of sheer desperation.

Determination
Even as blood trickled down his brow, James gritted his teeth, determination shining in his eyes. Will unwavering, he fought on, refusing to yield.

Dominance
John’s confidence swelled with each successful strike, a smirk tugging at the corner of his lips as he asserted his dominance.

Ego-driven Power
With every successful strike, General Voss felt his ego swell, driving him to greater acts of brutality.

Envy
Envious, Xander struck down the lord of the house, determined not just to kill him but to take the wealth Xander had always been denied.

Elation
With each successful strike, a rush of elation coursed through Alice, a euphoric high that fueled her adrenaline and spurred her onward.

Fear
Sarah’s heart raced as the enemy closed in, fear gripping her like a vise. Her hands trembled on the hilt of her sword, uncertainty and dread clouding her thoughts.

Grief
Amidst the chaos of battle, Emily’s grief for her fallen comrades was a heavy burden.

Paranoia
Kalice watched their plans unravel, paranoia gripping them. The Risen were falling and without them, Kalice might as well be dead.

Malicious Satisfaction
Count Ravenvale’s malevolent grin grew wider as he cut deep into the warrior’s arm, rendering it useless.

Mania
Reverend Bloodmoon descended into a manic frenzy, his wild, unpredictable attacks a reflection of his deteriorating mind.

Regret
In the aftermath of the fight, a pang of regret washed over David. His victory soured with the realization that it had come at a heavy cost.

Resignation
Robert fought with a heavy heart, his movements sluggish with resignation as he faced inevitable defeat

While fight scenes are often intense and physically demanding, they can also be opportunities for character development and emotional expression. Here are some tips for crafting realistic dialogue in fight scenes:

USE SHORT AND STACCATO SENTENCES
During the heat of a fight, characters typically use short and direct sentences. Keep the dialogue concise to reflect the urgency of the situation.

“Stay down!”
“We need backup!”
“Hold the line!”
“Keep moving!”
“Cover me!”
“Stick together!”
“Enough!”
“Get off me”

“You again?”
“I’ve been looking forward to this.”
“You betrayed me.”
“I won’t back down.”
“This ends today.”
“Man, you suck.”
“No more lies.”
“You won’t survive this.”

However, be careful not to have your characters say things that no one would actually say just for the sake of drama.

EMOTIONAL OUTBURSTS
Characters may blurt out emotions, curses, or exclamations during a fight. Use these moments to convey their frustration, anger, fear, or determination.

TAUNTS AND PROVOCATIONS
Characters might use taunts or provocations to psych out their opponents. These can reveal their personalities and motivations.

  • “Your moves are like poetry…written by a toddler.”
  • “Why don’t you try a little harder? I’m falling asleep here.”
  • “If you were any slower, you’d be going backward.”
  • “Is that your fighting style or a dance routine?”
  • “You’re like a broken record – same old moves, same old outcome.”
  • “I’ve seen braver squirrels in my backyard.”
  • “I’d suggest a new career, but you’d probably fail at that too.”
  • “You must love losing, you’re so good at it.”
  • “Remember that time you won? Yeah, me neither.”
  • “You’re not even a warm-up, you’re just a stretch.”
  • “Did you learn to fight from a cereal box?”
  • “I bet you can’t even spell ‘victory,’ let alone achieve it.”
  • “You must have a degree in failure.”

INSTRUCTION AND STRATEGY
Characters may communicate tactical information or strategize with their allies during the fight. This can showcase teamwork and planning.

  • “Take the high ground and provide cover!”
  • “Stay in formation, shields up, and advance slowly.”
  • “Let’s focus on the archers first. Take them down quickly!”
  • “Cover me while I disable that turret.”
  • “Flank them from the left, I’ll draw their attention.”
  • “Hold the line here. We can’t let them break through.”
  • “Create a diversion to lure them away from the main group.”
  • “Stay close, watch each other’s backs, and move as one unit.”
  • “Get to higher ground for a better vantage point!”
  • “Coordinate your attacks and strike when I give the signal.”
  • “We need to regroup and rethink our approach.”
  • “Fall back and form a defensive circle!”
  • “Keep their attention on you; I’ll circle around and surprise them.”
  • “Use the terrain for cover and move quietly.”
  • “Stay in pairs and cover all angles.”
  • “Use hit-and-run tactics to wear them down.”
  • “Remember our training. Keep your discipline and stay focused.”
  • “Hold your ground while I go for reinforcements.”
  • “Get to cover and make them come to us.”
  • “We’ll draw them into the chokepoint, where they can’t flank us.”

CONSEQUENCES AND AFTERMATH
Once it’s done, address the consequences of the fight. How does it affect the characters and the plot moving forward? What emotional scars or growth result from the conflict? Explore the physical and emotional aftermath of the battle, as this can be just as compelling as the fight itself.

SITE BROUGHT TO YOU BY

SHONNA WHITE
Artist, Writer, Gamer, and GIANT GEEK