Can a fight scene, component-wise, be too complex and complicated?

It really depends on how you write it, how important all the components are, and if you can construct a consistent narrative journeying through the story.

Think back to all the big budget movies you've seen where there are giant armies and dozens of characters fighting on screen. The scenes are usually chaotic with lots of things happening at the same time, and in many cases it's just too hard to follow. But some of them work out well because they focus on specific narratives at a time, and use the rest of the battle as a backdrop. For example, in the battle of Helm's Deep, we spend a lot of time following the characters we know, witnessing things through their eyes, and it's okay if we don't see everything in the fight because we're focused on the parts that are important.

In written text, it can be a little more challenging because you can't show simultaneous action well, so there's a big risk that you end up with a muddled and confusing mess. But it's not impossible.

The Wheel of Time had an epic fate-of-the-world battle, "The Last Battle", where all the characters in the 14-book series got together in a last desperate struggle. In this fight, seventeen factions of light take on seven groups of shadow, and each force's story is told from the perspective of one or more characters associated with that group - the characters readers have followed along throughout the series. All the character stories and plot threads are given space for resolution, and the battle chapter clocks in at a massive 81,000 words, more than the entire first Harry Potter novel!

You don't have nearly so many individuals and probably won't need 273 pages for your battle, but some of the things that worked for Robert Jordan may work for your case.

It sounds like you have multiple point-of-view characters you've been building up through your story. Your battle is large enough, you can tell different parts of the battle through the lens of your major characters. Break it down into the individual narratives and you can relay it like a sequence of events taking place as part of the overall conflict. Similar to how you've broken it down in your question, you can start with a few groups and their skirmish, and then have the next group show up, and the next, and the next as things spiral into chaos.

But also take care to keep the narrative scope small enough so that it doesn't become overwhelming. If Gang 1 manages to escape from Gang 2 for a while, Gang 2 can temporarily drop out of the narrative while Gang 1 encounters another gang until it's time for Gang 2 to resurface again.

Just like in the movies, if you have too many characters on screen at the same time, then the individual actions of each get lost in the shuffle. If you can keep the focus on a few characters at any given time - say, a half-dozen or so - it'll be easier to follow along.

posted about 5 years ago

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Troyen‭

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My personal opinion is that most fight sequences that involve more than a half dozen people will be too complex to describe in their entirety.

When you need to do is condense the whole sequence down to the key parts and emote the battle rather than describe it graphically - a reader's imagination will fill in far more gaps than you ever describe.

Still, everything has to fit.

My suggestion is to plot out the entire battle as a time line and a tactical chart/map. This way you have a complete reference to the whole mass-melee.

Once you have this, you can pull out the most important points/confrontations and build your story from it. From here you can add or remove details until the flow of the story has the correct balance of detail and speed you are aiming for.

With a timeline and tactical map, you know when one fight finishes, where and how long it takes the winning gang to get to reach the next gang. This gap is a natural transition to another fight. You could even just write the initial confrontations and the finales to each fight and let the reader's imaginations fill in those gaps. As B.L.E. mentions, the feeling is usually the more important part.

posted about 5 years ago

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user11861660‭

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Let's take a look at the Battle of the Pelennor Fields in the Lord of the Rings:

First, we have the Rohirrim. Among them are Theoden, Éowyn, Éomer and Merry. Then we have Minas Tirith, with its various forces, and with Gandalf and Pippin as focal point characters. There's the events inside the city with Denethor, and there's Imrahil outside. In the middle of the fray, Aragorn arrives with Legolas and Gimli. And of course there's Mordor's army. So, similar to your example, multiple characters and multiple storylines converging on one battle.

What are we presented with? A confusing whirlwind, within which first one event than another is highlighted. We have no trouble following our multitude of main characters: each small scene is clear, and they are presented in sequence. But once we lose sight of a character, we do not know where within the tumult of battle he will reemerge. And the full account of the battle is explicitly not given:

for it was a great battle and the full count of it no tale has told.
_{J.R.R. Tolkien, Lord of the Rings Book V, chapter 6 - The Battle of the Pelennor Fields}

This is done deliberately. Tolkien took part in the Battle of the Somme, he knew that a battle is just too big, too confusing, you can't see all of it.

What does this example mean for your situation?

You have a lot going on. You want all of it to converge on one battle. But the fact is your "camera" can only focus on one mini-scene at a time. So you would need to break "what is happening" into small scenes you want to show, and show them in sequence. A lot can be happening off-screen while that one thing is going on on-screen.

If you try to show everything all at the same time, this will indeed be too confusing. A narrative is sequential by its nature.

But, you may well say, there is more than one thing happening all at the same time. True, but then you will need to figure out which one you show, and which one you only show the effects of.

You will also need to consider pacing: if the situation is supposed to be tense, you don't want everything to stall because you're trying to tell too many things at the same time. You want every small scene to contribute to a larger shape of things.

Figure out in what order things are happening, in what order you wish to present them (something might have happened, which your POV characters only find out later), how it all resolves itself. Then, write every small scene and let it play out: while this is the event you're highlighting, it is an island in the stormy sea, it is the one thing that's Happening. No distractions.

So, to sum up, you can have a lot of storylines converge into one massive event. This can be very cathartic when well-written. But making that situation well-written - that is a significant challenge. It would require considerable mental storyboarding.

posted about 5 years ago

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Galastel‭

1885 reputation 81 551 319 3

Can a fight scene, component-wise, be too complex and complicated?

In general I don't think so. If by "component-wise" you mean the motivations and back-stories of the people fighting it, the only limit on that is the capacity of reader's memory to absorb and remember distinctly that many characters before the fight.

But you only have 10 "gangs", and the human capacity can easily absorb that, IF you have devoted enough story-time to each of them and made them distinct emotional characters.

I don't know about your family, but I had several siblings and twice as many cousins, most of whom now have children, spouses, friends and lovers. Generally I go to my brother's rather large house and yard for Christmas Afternoon and Dinner, I have counted forty people there; and known every name, profession (at least previous profession, sometimes they change), and legal trouble they might have. And that's just family and their close friends, it doesn't count the professors and staff I know at the university, and students I learn the names of every semester. Or, for that matter, the names and life stories of my neighbors and friends outside of family or the university.

The human capacity for new and memorable people can easily handle the characters you propose, for the span of time it takes to read a book.

The First Difficulty part is finding the space to make them memorable individuals instead of cardboard props without any depth.

The Second Difficulty is the technical aspect of writing an epic battle, which is already covered by Galastel and others. You probably need to jump from POV to POV, or pairs of POV, and accept that not every decision and move will be represented.

There are ways to handle that. Pre-Battle, strategies can be discussed by generals, so the reader is aware of what each expects to happen. This can also create tension if the reader hears John's strategy and it sounds good, but then hears Kevin's strategy, which anticipates John and may well defeat John.

A second way to handle it is, when you switch POV, Larry has been distracted by battle, but when given a chance to assess his situation realizes some other things have already happened; e.g. Larry looks up and realizes his ally John has lost more than half his men to Kevin, and will never break Kevin's defense, thus Larry is screwed and must regroup. This approach is "showing" Larry in action and thinking but also "telling" the reader about what happened to John.

So between pre-strategy and post-assessment, we feel like we know the outcome of John's battle, without having seen a single element of it.

These things take time to craft; you need to fully imagine the whole battle from every POV and why it turns out the way it does, but then figure out the shortcuts you can use to convey information pre-Battle, and then specifically which POV should report each turning-point in the battle, and what that POV can tell the reader about what we did not take time to show the reader; what has happened off-screen.

But these are mechanics, the number of components and their inter-relationships is not too much at all.

posted about 5 years ago

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4y ago

Amadeus‭

3156 reputation 2 1399 613 37

In any scene, you need to look at what story values are at stake. Narrative is interesting insofar as it develops or changes story values. It is boring insofar is it does not. Technical descriptions of how things work usually don't develop or change story values. Occasionally they do, as in the examples of Herman Melville or Tom Clancy. Sometimes how things work, or a fantasy of how things work, is a major story value, as in a procedural or a hospital drama, both of which function, among other things, to give us reassurance against the threat of crime or sickness.

The cut and thrust of a battle scene is not usually a story value. It might be if you have a student who has been learning martial skills and now needs to display that they have learned the thing that was always giving them trouble. (Think Karate Kid.)

Most of the time, though, the story value at stake in a battle scene is courage. The role of a fight or a battle in most stories is to test the courage or the resolve of the protagonist. So then the question becomes, what part of the cut and thrust of the battle speaks to the courage and resolve of the protagonist?

But there is no one answer to what works. The exact same description that works in one book may not work in another, because in the first it spoke to a story value that was at stake and in the second it did not. There is no right or wrong in abstract in these things. It is always, what serves the story?

posted almost 5 years ago

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Mark Baker‭

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