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How To Describe Battle Scenes In Writing (10 Best Ways)

Battle scenes are the heart-pounding, pulse-quickening crescendos of many stories. They are the moments that grip readers, plunge them into the chaos of conflict, and leave them breathless with anticipation.

Crafting a compelling battle scene is a remarkable art, one that demands an intricate interplay of various elements – from vivid imagery and character development to pacing and emotional resonance.

Describing battle scenes in writing is not just about detailing the clash of steel and the chaos of war; it’s about immersing readers in the heart of the conflict, making them feel the fear, the courage, and the desperation that characters experience.

In this guide, we will embark on a journey through the steps, techniques, and nuances of describing battle scenes , equipping writers with the tools to create captivating, unforgettable clashes on the page.

Whether you’re an aspiring wordsmith seeking to craft your first battle scene or an experienced writer looking to refine your skills, this guide will help you master the art of weaving warfare into the tapestry of your narratives.

Table of Contents

How To Describe Battle Scenes In Writing

To describe battle scenes in writing, focus on vivid and sensory details to immerse your readers in the action. Use strong verbs, specific imagery, and engage multiple senses to create a gripping and realistic portrayal. Also, consider the following tips:

Show, don’t tell

Use action verbs and descriptive language to make the battle come alive.

Engage the senses

Describe sounds, smells, sights, and physical sensations to create a multi-dimensional experience.

Character perspective

Show the battle through the eyes of your characters, describing their emotions, thoughts, and reactions.

Vary the pacing to reflect the ebb and flow of the battle, mixing intense moments with quieter ones.

Strategic focus

Explain the tactics, strategies, and formations used by the combatants to add depth and realism.

Characters’ stakes

Make sure your readers understand why the battle matters to the characters involved.

Foreshadowing and tension

Build suspense before the battle and maintain it throughout to keep readers engaged.

Use realistic and purposeful dialogue to reveal character motivations and move the plot forward.

Familiarize yourself with historical battles or military tactics to create a more authentic and believable scene.

Revise and polish your battle scenes to ensure clarity, coherence, and impact.

Remember that the key is to balance action with emotion and engage the reader’s imagination.

Setting the Stage

In the world of storytelling, the battleground is not just a backdrop; it’s the symphony hall where emotions crescendo, the canvas upon which heroes and villains duel for destiny, and the crucible where the essence of your story is distilled.

Setting the stage for a battle scene isn’t just about choosing a location; it’s about invoking the very soul of your world, turning the ordinary into the extraordinary, and weaving an atmosphere so vivid that your readers can smell the sweat, hear the distant battle cries, and feel the very earth tremble beneath their feet.

It’s the alchemical blend of detail and imagination, where the mundane is transformed into the mystical, and the ordinary becomes epic.

The importance of world-building

World-building is the secret alchemy of storytelling, where the essence of a narrative transcends the confines of mere words and takes on a life of its own.

It is the backbone upon which the entire story rests, the invisible hand that shapes cultures, landscapes, and histories, breathing life into characters and conflicts.

Whether your tale unfolds in a magical realm, a distant future, or the familiar streets of a real-world city, world-building is the architect of immersion.

It invites readers into an intricately crafted universe, where they can wander through vibrant bazaars, navigate treacherous political landscapes, and witness the ebb and flow of life.

It’s the magic that allows readers to suspend disbelief, to believe in the fantastical, and to lose themselves in a realm so captivating that they forget it exists only between the covers of a book.

World-building is the passport to alternate realities, a testament to a writer’s dedication, and the cornerstone of memorable storytelling.

Character Development

Character development is the forge where literary heroes and heroines are not born, but transformed. It’s a sacred alchemy where words breathe life into mere ink and paper, turning two-dimensional sketches into vibrant souls that dance across the page.

Characters aren’t merely names and descriptions; they are the pulse of a narrative, the beating heart that readers come to love, loathe, or cheer for.

Their arcs are the rollercoaster of emotions that we willingly embark upon, where they grapple with flaws, chase aspirations, and confront the intricate mazes of their own souls.

Character development is the art of crafting individuals who leap off the page, take residence in our hearts, and linger in our thoughts long after the final chapter.

It’s the spellbinding magic of storytelling, where characters transcend the boundaries of fiction to become cherished companions on our literary journey.

Establishing unique character perspectives

Establishing unique character perspectives is like giving each person in your story their own pair of enchanted glasses through which they see the world.

These perspectives act as prisms, refracting reality into a kaleidoscope of emotions, biases, and experiences. Each character’s vantage point unveils a different facet of the narrative, providing depth and dimension to the overall story.

It’s not just about who they are, but also where they’ve been, what they desire, and the lens through which they interpret the events around them.

These distinctive viewpoints create a rich tapestry of understanding, painting a more complex and authentic portrait of the story’s world and its inhabitants.

Through these individual perspectives, readers are gifted with a multifaceted narrative that mirrors the complexities of our own world, making the characters and their journeys all the more engaging and relatable.

Pacing and Tension

Pacing and tension in storytelling are like the dance of a thousand fireflies on a moonless night, a delicate balance between frenetic chaos and electrifying stillness.

It’s the art of orchestrating heartbeats, where words on the page become the conductor’s baton, controlling the rhythm of emotions.

Pacing dictates when to sprint and when to tiptoe, guiding readers through an intricate maze of suspense and anticipation.

With each heartbeat of the narrative, tension is woven into the very fabric of the story, and readers are held in its mesmerizing grip, yearning to turn the page.

Like a symphony that rises and falls, pacing and tension are the pulse that keeps the story alive, compelling readers to ride the tumultuous waves of plot with bated breath and wide-eyed wonder.

Balancing action with reflection

Balancing action with reflection in storytelling is akin to a well-choreographed dance between the heart-pounding crescendos of battle and the hushed interludes of introspection.

It’s the art of providing readers with moments of respite amidst the storm, allowing them to catch their breath, ponder the character’s inner thoughts, and deepen their emotional connection to the narrative.

Action propels the plot forward, but reflection immerses readers in the character’s psyche, fostering empathy and understanding.

It’s in these quiet interludes that the true essence of a character is revealed, their vulnerabilities exposed, and their growth illuminated.

Balancing these elements creates a harmonious narrative rhythm, where readers are not just spectators of events but intimate companions in the character’s journey, making the action all the more impactful and the introspection all the more profound.

It’s the ebb and flow of storytelling that weaves a tapestry of depth and resonance, transforming a tale into an unforgettable experience.

Vivid Imagery

Vivid imagery is the sorcerer’s wand in the realm of storytelling, conjuring entire universes from the ink and parchment of our imagination.

It’s the key that unlocks the hidden chambers of a reader’s mind, painting landscapes with words, and breathing life into characters, emotions, and atmospheres.

With vivid imagery, you can make readers taste the salt in the sea air, feel the weight of an ancient sword, and hear the whispered secrets of the night.

It transforms mere storytelling into a multisensory experience, a waking dream in which the boundaries of reality and fiction blur.

Every word becomes a brushstroke, every sentence a masterpiece, and every reader an enchanted traveler in your literary world.

Vivid imagery is the beacon that guides the mind’s eye through the labyrinth of your creation, leaving a trail of wonder and awe in its wake.

The power of figurative language

The power of figurative language in writing is like a symphony of words that transcends the mundane and propels storytelling into the realm of the extraordinary.

Metaphors, similes, personification, and other figurative tools are the secret incantations that breathe life into the written word, transforming the ordinary into the extraordinary.

They are the brushstrokes of emotion and the architects of imagery, enabling writers to convey complex ideas and emotions in a way that engages the reader’s senses and emotions.

Figurative language isn’t just about describing; it’s about invoking, evoking, and enveloping the reader in a world of heightened sensations and deeper understanding.

Like a tapestry woven from dreams, it adds layers of meaning, richness, and depth to the narrative, making it resonate in the hearts and minds of readers long after the final page is turned.

Dynamic Action

Dynamic action in storytelling is the adrenaline surge that transforms words into a heart-thumping, cinematic spectacle.

It’s the narrative rollercoaster, where readers are strapped in for a breathtaking ride of conflict, danger, and high-stakes drama.

Dynamic action isn’t just about the physical spectacle of sword fights or car chases; it’s about the emotional crescendo, the rapid pulse of decision-making, and the magnetic pull of consequence.

It’s where characters reveal their true mettle, their instincts sharpened, and their fates hanging in the balance. Dynamic action doesn’t just invite readers to witness the chaos; it immerses them in the very midst of it, making their hearts race, their breath quicken, and their eyes widen in awe.

It’s the narrative adrenaline shot that leaves an indelible mark, reminding readers that in the world of storytelling, action isn’t just a scene—it’s an unforgettable experience.

Choreographing battle sequences

Choreographing battle sequences in writing is akin to composing a symphony of chaos, where every stroke of the pen becomes a strategic movement on the battlefield.

It’s the delicate art of harmonizing the clash of steel, the thunder of war cries, and the ebb and flow of conflict into a mesmerizing ballet of action.

Each duel, each maneuver, and each rally carries its own narrative weight, revealing the intricacies of character, strategy, and the shifting tides of fate.

Like a master choreographer, a writer must envision the battlefield as a stage, mapping out the dance of warriors, the crescendo of combat, and the dramatic crescendos of triumph or defeat.

Choreographing battle sequences is about not just painting a vivid picture but guiding readers through the adrenaline-pumping rhythm of the fight, where every thrust and parry propels the narrative forward, keeping readers on the edge of their seats.

It’s where the pen becomes a sword, and the writer, a martial artist of the imagination, creating scenes that leave a lasting mark in the reader’s mind.

Emotional Resonance

Emotional resonance in storytelling is the invisible thread that binds the reader’s heart to the narrative, creating a visceral connection that transcends the boundaries of the page.

It’s the heartbeat of empathy and the catalyst for tears, laughter, and soul-stirring contemplation.

Like a master musician, a writer orchestrates the emotional symphony of their characters, infusing their joys, sorrows, and inner struggles with such authenticity that readers can’t help but feel their pulse quicken in solidarity.

It’s the storyteller’s alchemy that transforms words into shared experiences, where the reader’s own hopes, fears, and dreams become entwined with the characters’.

Emotional resonance isn’t just about evoking feelings; it’s about forging a bond, leaving an indelible mark on the reader’s soul, and ultimately, ensuring that the story becomes a cherished part of their own narrative.

Conveying fear, courage, and desperation

Conveying fear, courage, and desperation in storytelling is akin to capturing the essence of the human spirit in its most vulnerable and triumphant moments.

It’s the art of delving into the deepest recesses of the characters’ souls, where fear is the jagged edge of the unknown, courage is the blaze that defies it, and desperation is the crucible that tempers them both.

Through nuanced descriptions, raw emotions, and heart-wrenching dilemmas, a writer can make these fundamental human experiences palpable to the reader.

It’s not just about describing emotions; it’s about making them resonate, creating a symphony of empathy that reverberates in the reader’s own heart.

Conveying these complex feelings is the alchemy that transforms characters into living, breathing individuals, and their struggles into a reflection of our own.

In this emotional crucible, readers can witness the full spectrum of humanity, from trembling vulnerability to resolute bravery, and, in doing so, find a mirror to their own fears and triumphs.

Point of View

Point of view in storytelling is the kaleidoscope through which we experience the world of a narrative. It’s the lens that determines not just what we see, but how we see it, and it’s the artistic choice that allows a story to take on countless shapes and colors.

It’s the whisper in a character’s ear, the bird’s eye view of an omnipotent narrator, or the confessional intimacy of a first-person perspective.

Point of view isn’t just a technical decision; it’s a doorway to the heart of the characters and the soul of the narrative.

It can shape our sympathies, challenge our assumptions, and immerse us in the most private chambers of a character’s mind.

Point of view is the storyteller’s ultimate tool, the architect of connection and the magician of revelation, where the chosen viewpoint isn’t just a window into the story; it’s the very essence of how we engage, empathize, and become part of the tale.

The advantages of multiple viewpoints

The advantages of employing multiple viewpoints in storytelling are akin to unfurling a rich tapestry, each thread representing a unique perspective.

This narrative technique allows readers to traverse the diverse landscapes of the human experience, witnessing the same events through different eyes.

It not only broadens the scope of the story but also offers a deeper understanding of characters , their motivations, and the intricacies of the plot.

It’s a literary kaleidoscope where readers can empathize with heroes and villains alike, fostering a nuanced sense of empathy and a profound connection to the narrative’s multifaceted world. Multiple viewpoints provide a multidimensional richness that keeps readers engaged, challenges preconceptions, and offers a more holistic, emotionally resonant exploration of the story’s themes, making it a captivating journey of discovery.

Reader Engagement

Reader engagement is the sacred pact between storyteller and audience, a dance where imagination meets ink, and the narrative transcends the realm of words.

It’s the spellbinding connection that transforms the pages of a book into a portal to distant realms or into the hidden chambers of the human soul.

Reader engagement isn’t just about turning pages; it’s about making hearts race, minds ponder, and souls yearn for more.

Like a symphony conductor, a writer orchestrates the emotions, the pacing, and the revelations to keep the reader tethered to the story’s beating heart .

It’s where storytelling becomes an unspoken dialogue, an unbreakable spell, and a shared voyage where reader and writer journey hand in hand, their destinies intertwined by the power of words.

In the realm of reader engagement, each page turned is a whispered promise that the tale will leave an indelible mark on the reader’s life.

The role of reader empathy

The role of reader empathy in storytelling is the catalyst that forges an unbreakable bond between the written word and the human heart.

It’s the mirror in which readers see reflections of themselves, their struggles, and their dreams, creating a bridge of understanding that transcends the boundaries of reality.

Reader empathy isn’t just a literary device; it’s the alchemical formula that transforms characters from ink and paper into living, breathing companions on a shared journey.

Through well-crafted narratives, readers can walk in the shoes of protagonists, feel their joys, their sorrows, and their growth.

It’s the empathy that compels us to cheer for heroes, mourn for their losses, and understand the motives of even the most enigmatic antagonists.

In the world of storytelling, reader empathy is the storyteller’s compass, guiding the narrative to resonate in the hearts and minds of those who seek not just entertainment, but also the profound human connection that stories have the power to create.

Realism vs. Fantasy

Realism vs. fantasy in literature is a thrilling duel of opposites, a literary tug-of-war where the boundaries of the ordinary and the extraordinary collide.

Realism anchors us in the familiar, allowing us to explore the human condition in a world that mirrors our own.

It’s the gritty authenticity of everyday life that resonates deeply, capturing the nuances of our experiences. On the other hand, fantasy catapults us into realms uncharted, where the impossible becomes plausible, and the extraordinary is woven into the fabric of existence.

It’s the domain of mythical creatures, magic, and the boundless tapestry of the imagination. The interplay of these realms is where the magic happens, where writers conjure the impossible into the possible and where readers are whisked away to explore the limitless horizons of human creativity.

It’s a delicate balance, an ever-evolving dance, and a literary playground where the storyteller’s imagination knows no bounds.

Striking a balance in speculative fiction

Striking a balance in speculative fiction is akin to navigating the fine line between the known and the fantastical, where the extraordinary is interwoven with the familiar.

It’s the art of creating immersive worlds that capture the imagination while maintaining a grounding in relatability.

Too much fantasy may alienate readers, but too much realism might stifle the genre’s essence. Skillful speculative fiction finds equilibrium, ensuring that even amidst alien landscapes or supernatural phenomena, characters’ emotions and experiences remain recognizable and authentic.

This balance invites readers to suspend disbelief, delving into the speculative with a sense of wonder and a connection to the human condition.

It’s a literary tightrope act that invites us to explore the limitless possibilities of alternate realities while never losing sight of the universal truths that make us human.

Editing and Revision

Editing and revision are the unsung heroes of storytelling, the chisel and polish that transform a rough-hewn manuscript into a literary masterpiece.

It’s where the wordsmith, who was once the architect, becomes the sculptor, meticulously refining every sentence, every phrase, and every punctuation mark.

Editing is the keen-eyed detective, ferreting out plot holes and inconsistencies, while revision is the symphony conductor, orchestrating the narrative’s rhythm and flow.

In this dance of refinement, a story is distilled, its essence brought to the fore, and its flaws expertly concealed.

Editing and revision are where storytelling transcends craft and approaches artistry, where the wordsmith’s passion meets precision, and the tale evolves into a timeless journey of literary wonder.

Polishing descriptions and language

Polishing descriptions and language is akin to the fine art of crafting a literary gem. It’s the meticulous process of sculpting raw language into a masterpiece, where every word becomes a brushstroke and every sentence a stroke of genius.

Descriptions must evoke sensory experiences that transport the reader into the story’s vibrant tapestry, where sights, sounds, and emotions are brought to life with a vividness that lingers in the imagination.

Language should flow like a melodic river, captivating readers with its rhythm and resonance. Every word must carry its weight, and every phrase should be a revelation, enhancing the narrative’s depth and impact.

In this process, storytelling transcends mere communication and enters the realm of artistry, where the mastery of language becomes a medium through which emotions, images, and ideas are conveyed with a profound and lasting impact.

Frequently asked questions about How To Describe Battle Scenes In Writing

What is the significance of describing battle scenes in writing.

Describing battle scenes in writing is crucial for creating immersive and engaging narratives. It allows readers to visualize and emotionally connect with the conflict, making the story more memorable and impactful.

How do I balance action with reflection in a battle scene?

Balancing action with reflection involves alternating between intense action sequences and moments of character introspection. This pacing keeps readers engaged and provides depth to the narrative.

What’s the role of vivid imagery in battle scenes?

Vivid imagery brings battle scenes to life by using descriptive language to appeal to the reader’s senses. It helps create a rich and immersive experience, making the scene more tangible.

How can I convey emotions like fear and courage effectively?

Conveying emotions in battle scenes can be achieved through character development, internal monologues, and vivid descriptions of their physical and emotional reactions.

Is it important to consider the point of view when describing battle scenes?

Yes, the chosen point of view (first-person, third-person, multiple viewpoints) significantly impacts how battle scenes are described and how readers engage with the story .

What’s the difference between realism and fantasy in battle scenes?

Realism refers to keeping battle scenes grounded in the rules of the story’s world or real-world historical accuracy. Fantasy allows for elements like magic and mythical creatures.

How do I know when my battle scene is well-written?

The effectiveness of a battle scene can be assessed through feedback from beta readers, peers, or writing groups. It should engage and resonate with the audience.

What are common pitfalls to avoid when describing battle scenes?

Common pitfalls include overloading the scene with excessive details, using clichés, and not balancing action and character development effectively.

Are there any recommended resources for improving battle scene writing?

Yes, there are many books, workshops, and online resources available for improving your skills in writing battle scenes . Joining writing communities and seeking advice from experienced writers can also be beneficial.

Can battle scenes be described differently based on the genre of the story?

Absolutely. The way you describe battle scenes can vary depending on the genre and the tone of your story. For example, a battle scene in a historical drama may differ from one in a high-fantasy epic. It’s essential to tailor your descriptions to fit the overall style and atmosphere of your narrative.

In the realm of storytelling, battle scenes are the crucible where heroes rise, villains fall, and destinies are forged.

Throughout this guide on how to describe battle scenes in writing , we’ve explored the intricate steps, the emotional nuances, and the literary techniques that bring these moments to life on the page.

It’s not merely about detailing combat but about captivating the reader, drawing them into the heart of the conflict, and making them feel every sword clash, every surge of adrenaline, and every heartbeat of courage and fear.

Whether you’re crafting epic fantasies, historical dramas, or intense personal confrontations, the principles of vivid imagery, emotional resonance, and balanced pacing remain the pillars of creating gripping battle scenes.

As you embark on your own literary battles, remember that the words you wield have the power to transport readers into worlds unknown, stirring their hearts, and etching your characters’ struggles into their memories.

With the insights gained here, you have the tools to make each battle scene an unforgettable journey for your readers, ensuring that your storytelling leaves an indelible mark in the hearts and minds of those who venture into your literary realms.

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• How To Describe Fear In Writing (13 Steps You Need To Know)
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How To Write An Epic Battle Scene

• by Hannah Collins
• January 18, 2017

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Whether it’s a muddy siege on a Medieval castle, rugged cowboys firing pistols from horseback, or a laser-beam shoot-’em-up in another galaxy, a great battle scene is a staple of action stories. High stakes, high body count, and – if it is in space – really, really high up.

We’ve covered the fundamentals of writing a good fight scene before , so let’s expand those ideas into the ingredients of an epic battle scene.

One battle scene is great, twelve is too many

Less isn’t always more. I, for one, prefer ‘more’ cake, for instance. But when it comes to battle scenes, this age-old phrase rings true. Why? Because they’ll start to seem like the worst thing an action scene can be: pointless and, by extension, dull. It may be tempting to fill your story with wall-to-wall, adrenaline-pumping battles in the spirit of ‘giving the people what they want’, but this level of drama is hard to maintain.

You also shouldn’t underestimate the power of breathing room in between periods of action. The best romance novels harness this power to its fullest – tantalizing readers with a slow build up of tension punctuated by short flurries of excitement, leading eventually to one or two big, um, ‘ pay-offs ’. This technique is applicable to novels with all kinds of action; it’s just that in a battle scene, the pay-off is more along the lines of slicing off someone’s head.

Define the goals and consequences

We’ve established that you should have plenty of breathing room between big battles, but what should you use that breathing room for? It may seem obvious, but a battle scene needs to have a point. Establishing your character’s goals will help you define why your battle scene is happening in the first place. What is your character’s motivation to fight? What is the end result they need from the battle? Are they going to win or lose? What does the outcome of the battle mean to them? What does the outcome mean for the story?

Determine short, medium and long-term goals for your character. If we use The Hobbit as an example, a short-term goal for Bilbo is answering Gollum’s riddles correctly or distracting Smaug long enough to steal the Arkenstone. A medium-term goal is for men, dwarves and elves to unite and defeat the orcs and wargs in the Battle of Five Armies on the Lonely Mountain. The long-term goal for Bilbo is… Well, just to get back home ASAP and put his hairy feet up. Each of these goals are character-building for Bilbo, as he truly – though begrudgingly – goes above and beyond his role as ‘thief’ in Thorin’s company, and as a result, changes the course of history in Middle Earth. Each of these conflicts also advances the narrative. They serve a purpose beyond mere spectacle.

Make the battle a personal struggle

As always, establishing empathy for your character will prompt your reader to invest in whatever perils you put them through. This is why – with the exception of sequels – starting your book in the middle of a battle is seriously risky. Without your reader knowing who any of the characters are or what the stakes are, there’s no way to make them really care about what’s happening.

The easiest way to heighten the stakes of a battle is to make them personal to both the protagonist and antagonist. Combining internal and external conflict grounds the fighting in something relatable. Huge explosions and thousand-strong armies are exciting, but they aren’t enough to fully engage us. Warring families, grudge matches, vengeance missions, and separated lovers, on the other hand, imbue a battle scene with emotional resonance.

The Battle of Hogwarts in J.K Rowling’s Harry Potter and the Deathly Hallows is a fittingly epic climax to the saga. Even though the reader knows this is a classic clash of ‘good’ vs ‘evil’, the emotional center of the drama rests on a long-awaited grudge match between two established enemies.

“Protego!” roared Harry, and the Shield Charm expanded in the middle of the hall, and Voldemort stared around for the source as Harry pulled off the Invisibility Cloak at last. The yell of shock, the cheers, the screams on every side of “Harry!” “HE’S ALIVE!” were stifled at once. The crowd was afraid, and silence fell abruptly and completely as Voldemort and Harry looked at each other, and began, at the same moment, to circle each other. “I don’t want anyone else to try to help,” Harry said loudly, and in the total silence his voice carried like a trumpet call. “It’s got to be like this. It’s got to be me.” – J. K. Rowling,  Harry Potter and the Deathly Hallows

Use perspective to your advantage

Writing an epic battle scene can be a tricky task for one simple reason: it’s a chiefly visual  event. Of course, as an author, this doesn’t need to hinder you. Rather, it should make you even more creative when you sit down to write your battle. Sure, the sight of blood splattering across a camera lens and the clashing sound of steel blades is a potent experience, but narrator-less battles can also be repetitive, confusing, and exhausting to watch. The ‘ Bayhem ’ of the Transformers movies is a good (or should I say ‘bad’) example of this.

Shifting perspective is a key tool, here. In the following action scene from John le Carré’s The Spy Who Came in from the Cold , Le Carré uses the third-person point of view to show us not only what’s happening around Leamus, but his own viewpoint on it.

Leamus was blinded, he turned his head away, wrenching wildly at Liz’s arm. Now she was swinging free; he thought she had slipped and he called frantically, still drawing her upwards. He could see nothing – only a mad confusion of color dancing in his eyes. Then came the hysterical wail of sirens, orders frantically shouted. Half kneeling astride the wall he grasped both her arms in his, and began dragging her to him inch by inch, himself on the verge of falling. – John le Carré, The Spy Who Came in from the Cold

We are able to clearly visualize each action as it happens through Le Carré’s economical sentences, and understand the emotional weight of them through Leamus’ reactions – aided by Le Carré’s focus on sensory description. Totally immersive, even without a single robot vs. alien smash-fest.

Keep track of your characters

If your character has to get from A to B via a war zone, you need to know how. After all, it’s probably not going to be a straightforward journey for them, and if it is, you probably haven’t thrown enough hurdles at them. Tracking your character’s path through the battle will stop you (and them) from getting lost or missing out key details, which is especially essential if you’re going to be jumping between different characters’ perspectives. How should you track them? Draw an actual map of the battle. It doesn’t have to look pretty, just functional.

This should also help you keep track of where landmarks are in relation to your characters at every point in the battle. Landmarks can be used as anchors for your reader as you move your character around the scene. If there’s, say, a castle to the north-west of where your character starts, where will that castle be when they’re at the half-way point, or at the end? How many yards or miles away is it? You may not end up including all of these details, but clear planning will help with clear description. You might want to convey a sense of chaos to your reader, but you don’t want to lose them in it.

The perfect battle scene

The major mistake that most authors make when writing a battle scene is to treat the battle itself as the focus. In written works, battles are about results, and these are far easier to communicate through individual characters.

Don’t try to communicate the chaos of warfare head on, but have it happen to your characters. Blow up their escape route, drop a building on them, and bombard them with trouble. If you want to show the battle on a wider scale, split them up, or spread them throughout the battle scene before it starts.

Spectacle is drawn from consequence – if a city the reader has never visited is overrun, they’ll struggle to care, but if they’ve been there in peacetime and know what’s being destroyed, or understand the city’s tactical value to the protagonists, then they know exactly what its loss means. The key to a great battle is in quantifying the events within it; the reader needs to know what’s at stake, what’s being lost, and what each specific event means for the overall outcome .

Why is the arrival of the cavalry always such a great moment? Because it completely alters the stakes and outcome in a way the reader understands (usually bringing the ‘good guys’ back from the brink). If you want to guarantee an epic battle scene, start with the goals of the protagonists and extrapolate moments that put those goals under threat. You’ll have a tense, exhilarating battle scene before you know it.

Do you have a favorite battle scene that’s inspired your writing? Let me know in the comments! Or, for more advice about writing combat in your story, check out Here’s How To Write A Damn Good Fight Scene ,  The 5 Immutable Laws Of Writing A Good Action Scene , and  How (And When) To Kill A Character .

• Action , Alternate history , Antagonist , Case study , Fantasy , Fiction , Plot , Point of view , Protagonist , Science fiction , Story settings , World building , Young adult

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Hannah Collins

6 thoughts on “how to write an epic battle scene”.

Thank you, Hanna, wonderfully concise and understandable. Love that you used LeCarre to illustrate; one of my favourite scenes. You explained why, beautifully.

Thank you very much for the kind words! Yes, any opportunity to reference LeCarre has to be taken, IMO.

Thanks, Hannah

Hanna, this was good. I particularly liked (and took notes) about sketching the battle site/city/planet/dungeon. The point you made of “consequence” is spot on. Your example author, Tolkien wrote some epic battle scenes; Battle of Pelennor Fields comes straight to mind. He did just as you recommend, narrowed the viewpoint to only a few main characters and let their experiences reveal the action. One thing I’d add, if your battle comes before the Grand Kablooie, then it must have its own significant plot consequences. Main characters have to die. A battle for the sake of adding drama or action to an otherwise dull sequence will only make it worse.

Thanks for the comment and the kind feedback. Yes, Tolkien really was a master of his craft. I don’t think Peter Jackson’s adaptations would have been as strong as there were without the source material being so good.

I agree – without reason and consequence, a battle scene is all empty spectacle. A battle scene preempting the climax would – as you said – have to contain something as significant as a character death or bring closure to a subplot in order to avoid that trap.

Thank you Hanna, this was well made and everything I had hoped for. There are really good points to take away from this. Especially the thoughts on personal struggles, consequences for the reader and keeping track of your characters.

But I have some questions for my own story. My story starts with a battle scene, even though this is risky. It will be fairly short and not an entire intricate battle. Even though the reader does not know the character, or the stakes, I figured this a way to show what the character has gone through before he returns to the place where most of the action takes place. And it shows there will be battles and blood.

What do you make of this? Is this a viable “start with action”? Or should I keep some things in mind?

Hi Francis,

Thanks for the comment – I’m glad you found the article useful.

Starting a battle is a risky thing to do, as you said, but by no means impossible to pull off. I think keeping it fairly short – as you mentioned you would – is a good idea, just so you don’t risk losing the reader’s interest. If I were you, I would consider focussing that battle around your main protagonist(s) and use it as a device for your reader to get to know them. Personally, I don’t usually mind if I’m thrown into an action scene (or just any scene) and don’t immediately know what’s going on and what the stakes are, because there’s a kind of pleasure in discovering that as the scene continues. But what I do think is essential is connecting with the characters as quickly as possible. You want the reader to want to keep following them, even if they’re not sure of the destination yet.

Try and inject your protagonist’s personality into all of their actions and dialogue, and keep in mind how they’d be feeling during the battle – excited? Nervous? Scared? Angry? Once the battle is over, you can move into a ‘quieter’ section to reflect on what’s just taken place, which is when some key exposition will probably be needed to contextualise everything – including the all-important stakes.

I hope that helps.

For further advice on starting a story, you might find these articles useful too: //www.standoutbooks.com/how-to-write-first-chapter/ //www.standoutbooks.com/four-story-openings-put-people-avoid/ //www.standoutbooks.com/should-you-always-start-with-the-action/

Good luck with the writing!

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19,890 quotes, descriptions and writing prompts, 4,964 themes

battlefield - quotes and descriptions to inspire creative writing

• a war veteran
• battle frontier
• battle ready
• Dead People
• Remembrance day
• returning soldier
• The General
• war ravaged

Come as a friend we shall make a festival upon this grass so woven with blooms, with their gay colours bright under a buoyant sun. Come with weapons to harm those we love and we shall make a battlefield. The choice is yours.

God gives me the right to protect whom I love, yet never for your ideologies and dogmas. You slay for no more than semantics and greed, blind to how we live from passion and in a sense of liberty. So you step foot on these hills and you make them not a meadow yet a battlefield, because you are in my backyard now and I change from lamb to lion.

It was a battlefield that appeared to be anything but, the players unknowing of their roles and every one of them a double agent. I wish I could have told them all what reality is, how to choose the side that is love and healing... avoiding the chasms that open and the knives that appear in the hand without asking for them. Each sought to be on the right side, convincing themselves that they were. When they did the bidding of the darkness they made up stories to justify their actions rather than face what they had really done. It takes someone strong to feel the sting of the dark-side and remain steadfast in a will to work only for the light - to see the dagger in hand at the exact moment you feel compelled to use it and still be loving and kind, to let the weapon clatter to the floor, soundless, unnoticed. That's what being a warrior for the light requires, an inner strength, a keen eye for noble and good opportunities to bring peace, health and love - a self-control to avoid doing service for the one who harms. That was the war, the one we won, but it was hard every day, turning for the better only when we became players instead of pawns, destined to protect our king.

The battlefield lay quiet, for it was now a graveyard of the unburied. Their corpses lay among the buttercups and forget-me-nots. The sun still shone and the wind still blew, but somewhere mothers and fathers, brothers and sisters waited in vain. These men that were once boys who played in the yard with sticks and laughed at each other's silly tales were now meat for the birds.Their eyes were as immobile as their limbs. Their souls had long departed to the celestial planes to walk with the ancestors. The battle was lost, the enemy had won. Now they camped a mile away to plan the ransacking of the town itself.

The battlefield that day saw fathers fighting to their last breath and the young army of conquerors wielding swords without mercy. The wounded and dead lay thickly over the wintry ground, garish scarlet flowing over the frosted white. When the bugle sounded the mothers came too, not all, just the ones schooled in battle. Without a victory death was the better of the two options, these foes took only perfect specimens as slaves and left the rest to fertilize their new fields.

A bitter wind swept the hillside and the ground was slick with rain. The lucky few wore thick leather armour, the rest only sweaters of wool. The menfolk stood in formation, four rows was all they had, their eyes trained on the road to see how many the duke would send. They heard the boots long before they saw the mass of uniformed bodies lead by a horseman bearing a flag. Their answer had come. This is what it meant to fail to pay taxes in the district, no excuses, no mercy. Every face blanched and the messenger fled to the village with the order to evacuate. This was never a battle they could win, only a sacrifice to buy time.

The battlefield was dust and dirt, all baked under an unrelenting sun. To the soldiers from the south it felt more like a gladiator's arena, albeit without the cheering blood-thirsty crowd. For the northern men it was the hottest summer day they'd ever felt and their clothes were too thick, trapping their body heat, soaking with sweat.

The pasture was slick under-boot and made treacherous by the manure of the cows. Heavy armour was needed to stop the swords, but if the extra weight took the man to his back his battle was done. No meadow flowers were noticed that day, nor the sound of the nearby brook. It was a place for many to end their days, to sacrifice in the hope of better days for their loved ones back home.

Every mind was as much a battlefield as the sand at their feet. Before the invaders beached their vessels each soldier had time for their minds to bid farewell to far away lovers and children while trying to wipe all emotion clean away, to focus on the task at hand. Every gaze lay resolutely ahead, none able to take in the emotion of their friends as well as their own. When the cry came they launched forwards without delay, the grains shifting under their boots were their homeland and to see the foreign warriors upon it was all the motivation their hearts required.

Though the ground glistened like rain had fallen, the liquid that shone wasn't clear but red. The men who died, pawns in a game of warlords, were for the most part dead and those who were not soon would be. Their masters took stock of the outcome, considering their armies in numbers only. How many had fallen? How many remained strong and able to send to the next fight? Each warlord rounded up and executed the deserters, their minds already lost in trauma; each one pinned medals on the chests of their generals, nodding their heads in grim approval.

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How to Write Battle Scenes: The Ultimate Guide for 2024

Whether you’re writing a script, novel, or even a short story, knowing how to craft a compelling battle can make all the difference.

Here is how to write battle scenes:

Write battle scenes by starting with a captivating opener that sets emotional stakes. Choreograph action and include vivid, sensory details for immersion. Balance power dynamics for tension and “show, don’t tell” for emotional depth. Add mini arcs and vary pacing to keep readers engaged.

In this ultimate guide, you’ll learn essential tips and techniques for bringing your battle scenes to life.

My Best Tips for Writing Battle Scenes

Table of Contents

Let’s dive right in with my best tips for writing battle scenes in your story or screenplay.

The Opening Gambit

Kick off your battle scene with a compelling hook that instantly grabs your reader’s attention.

The first few lines can set the emotional tone, establish the stakes, and plunge the reader into the middle of the action.

Remember, your opening doesn’t have to be loud or overly dramatic.

Sometimes, even a subtle change in atmosphere can signal the beginning of a significant event.

Example : “The sky erupted in flames as the first catapults released their deadly payload, signaling the beginning of a battle that would decide the fate of kingdoms.”

Setting Stakes: Why Should We Care?

Once you’ve hooked your audience, establish the stakes.

Why is this battle happening? What does each side stand to gain or lose?

The audience needs to know the consequences of the conflict to invest emotionally.

Introduce key characters and what they’re fighting for to add a personal dimension to the larger-scale war.

In summary:

• Clearly define the stakes.
• Introduce key characters and their motivations.

Example : If you’re writing a medieval fantasy, you might show a king looking over a map, visibly anxious, mentioning that if they lose this battle, the kingdom will fall into the hands of a cruel conqueror.

Structuring for Impact: Highs and Lows

A good battle scene has its highs and lows, moments of intense action paired with quieter instances for emotional or strategic depth.

Consider structuring your battle scene like a rollercoaster.

Think about peaks of action and troughs for dialogue, reflection, or smaller confrontations.

• Use a mix of high-intensity and low-intensity scenes.
• Variation in pacing can emphasize emotional or strategic aspects of the battle.

Example : Consider the following high-intensity and low-intensity scenes.

High-Intensity Scene Captain Aria’s sword clashed with that of her enemy, General Zorak.

Sparks flew as steel met steel, the battle around them almost fading into insignificance during their duel.

“You won’t win, Zorak!” she yelled over the cacophony.

Low-Intensity Scene Zorak pushed her back, creating some distance between them.

For a moment, their eyes locked, and Aria remembered the betrayal that put them on opposite sides of this war.

“You used to fight for justice,” she said, lowering her weapon for a second.

The Dance of Death

Physical action needs choreography.

Being specific about who does what can provide clarity and make the scene more vivid.

However, don’t get bogged down with excessive detail.

It’s about striking a balance between action and description, giving enough information to excite the imagination without confusing the reader.

Example : “Sir Lancelot lunged forward, his sword narrowly missing Guinevere’s captor, but his second thrust found its mark, piercing the enemy’s armor.”

Paint the Scene

Visual and sensory details can make your battle scene more immersive.

Describe not just what happens, but how it feels, smells, and sounds.

This kind of sensory input can make the scene more believable and engaging, inviting the reader to experience the battle rather than just witness it.

Example : “As the soldiers advanced, the soggy ground beneath them squelched, and a thick mist rolled in, obscuring their vision and adding a layer of eerie uncertainty.”

The Balance of Power

The power dynamics between the warring sides can add layers of complexity and tension.

Whether it’s an evenly matched showdown or a desperate last stand, acknowledging this balance or imbalance can give the reader a better sense of the odds and stakes.

It can also provide opportunities for surprise twists.

Example : “Though they were outnumbered three to one, the rebels had the advantage of higher ground, making every arrow count.”

Show, Don’t Tell

Show the brutality, the fear, the courage—don’t just tell us about it.

You can use dialogue, internal monologue, or specific descriptive language to illustrate the intensity of the battle.

“Showing” provides readers with a much richer and emotionally engaging experience.

Example : “Soldiers screamed in agony as arrows found their mark, and the clash of steel against steel filled the air like a deadly symphony.”

Mini Arcs within the Battle

Complex battles often contain multiple smaller story arcs that contribute to the overall conflict.

Whether it’s a soldier seeking revenge, or a general making a crucial tactical decision, these mini-arcs can serve as emotional or thematic waypoints, giving readers more entry points for engagement.

Example : “Midway through the battle, Private Johnson spotted the enemy who had killed his brother, setting the stage for a personal showdown amidst the larger conflict.”

Pace Yourself

Pacing is crucial in battle scenes.

Too much unrelenting action can overwhelm the reader, while too little can lose their interest.

Try to incorporate moments of reflection or smaller confrontations between characters to give the reader some breathing room.

This variety in pacing can also provide opportunities for character development.

Example : “In a brief lull, Commander Alaric looked around, seeing the toll the battle had taken on his men, and steeled himself for the final push.”

Reality Check

If you aim for realism, then research is your best friend.

Understand the era, the weaponry, and the battle tactics of the time.

This will not only make your scene more believable but will also give you ideas for creative yet plausible actions.

Factual details can lend credibility to even the most dramatic and chaotic of scenes.

Example : “Using their Roman-style Testudo formation, the infantry advanced, shields up, deflecting the barrage of arrows raining down upon them.”

The Aftermath

The end of the battle is just as important as its fiercest moments.

Whether it’s counting the dead, nursing the wounded, or claiming the spoils of victory, the aftermath gives you a chance to reflect on the consequences of the battle.

It can also set the stage for what’s to come in your story.

For instance, another battle, a twist in the plot, or a deepening of character relationships.

Example : “As the sun dipped below the horizon, the surviving soldiers surveyed the field—a sea of fallen comrades and enemies alike—and knew that the war was far from over.”

Here is a great video about how to write battle scenes:

Types of Battle Scenes

Battle scenes can vary widely depending on the context, setting, and genre of your story.

Knowing which type of battle scene best suits your narrative can help you create a more engaging and believable conflict.

Below are some common types of battle scenes, each with its own unique features and considerations.

A skirmish is a small-scale battle, often unplanned and usually taking place in an informal setting.

These battles are usually short and chaotic, often arising out of tension between small groups or even individuals.

Example : In a post-apocalyptic novel, a group of survivors encounter another group fighting over limited resources. The tension quickly escalates into a skirmish, with both sides using makeshift weapons like pipes and knives.

Full-Scale War

These are grand, large-scale conflicts often involving entire nations or kingdoms.

The stakes are high, and the scope is broad, involving multiple characters, complex strategies, and various settings.

Example : In a historical fiction novel set during World War II, the narrative might cover different aspects of the war—ranging from the frontlines to espionage missions, encompassing a variety of perspectives to depict the complexity of a full-scale war.

A duel is a one-on-one fight, often bound by specific rules or codes of conduct.

Duels are intimate and focus more on individual skills, allowing for character development and psychological depth.

Example : In a fantasy novel, two knights might engage in a duel to resolve a personal vendetta, fighting according to a code that prohibits magic or outside interference.

In an ambush, one group surprises another, often exploiting elements like terrain or timing to gain an advantage.

Ambushes can create tension and excitement, as they often force characters to think quickly and adapt.

Example : In a thriller, a group of special forces soldiers might ambush a terrorist cell in a remote location, using the darkness of night as their ally.

A siege involves surrounding a fortified place with the intent of capturing it.

Sieges are prolonged and can be physically and psychologically draining for both attackers and defenders.

Example : In a medieval fantasy story, an army might lay siege to a castle, employing catapults and siege towers in an attempt to breach the walls, while those inside ration their dwindling supplies.

Supernatural Battles

These battles involve elements that are beyond human, such as magic, gods, or other fantastical elements

The rules can be quite different, and often need to be clearly established to maintain tension and believability.

Example : In a high fantasy series, wizards and mythical creatures might engage in a battle that involves casting spells, summoning elements, and exploiting weaknesses in magical defenses.

How Do You Start a War Scene?

Starting a war scene is like lighting a fuse—you want immediate impact.

Open with something dramatic to seize the reader’s or viewer’s attention. It could be a line of impactful dialogue, a vivid visual, or an intense action sequence.

The opening lines should pull the audience in, making them eager to see what happens next.

In a script, you might start with a close-up of a soldier’s face, sweat and mud mixing as he grips his weapon, followed by a sudden explosion that jolts the entire frame.

• Open with a powerful visual or line of dialogue.
• Use sensory details to make the setting and characters feel real.

How Long Should a Battle Scene Last?

There’s no hard-and-fast rule for how long a battle scene should last, but pacing is crucial.

A battle that’s too short may lack tension and excitement, while one that drags on can bore your audience.

The key is to balance speed with detail. Too much of either can tip the scales.

• Opt for a fast pace to maintain tension.
• Insert moments of detail to enrich the narrative and provide breathing room.

How Do You Write a Realistic War?

The best way to write a realistic war is a combination of research and humanity.

Do Your Research: Authenticity Matters

If you’re aiming for realism, thorough research is non-negotiable.

Familiarize yourself with the weapons, tactics, uniforms, and even the psychology of soldiers during the time or setting you’re depicting.

Accurate details lend credibility to your story and enrich the reader’s or viewer’s experience.

• Study historical battles or consult experts for insights.
• Be accurate with details like weapons, uniforms, and tactics.

Human Element: The Emotional Toll

A realistic war scene isn’t just about the physical battle but also the emotional and psychological dimensions.

Yes, war is a hellhole of bullets and explosions.

But it’s also the strain on the mind and soul, the hard decisions, and the lived experiences of the soldiers and civilians affected.

These elements can provide a gritty realism that’s emotionally impactful.

• Showcase the emotional and psychological struggles.
• Include the perspectives of both soldiers and civilians when appropriate.

Full Battle Scene Example

The sky was awash with the fiery hues of sunset as the two armies faced each other across the open field. A chilling wind swept through the ranks, carrying with it a sense of impending doom. Soldiers tightened their grips on spears and swords, their armor clinking softly, almost as if whispering prayers for survival.

Commander Alaric sat atop his steed, his eyes scanning the sea of faces before him—men and women who would follow him into the very jaws of death. “For the kingdom!” he bellowed, raising his sword high.

A roar erupted from the troops, a wave of sound that seemed to shake the heavens. Then, with a swift downward motion of his blade, the mass of soldiers surged forward, crashing into the enemy lines like a tidal wave.

The clash of steel against steel rang out, filling the air with a discordant symphony of war.

Arrows flew like deadly rain, some finding their marks, others embedding themselves into the ground as lifeless as the soldiers they failed to protect. Amidst the chaos, Alaric fought like a man possessed. His blade danced in his hands, a whirlwind of death that left no foe standing. Yet for every enemy that fell, it seemed two more took their place.

Just as it appeared the tide was turning against them, a horn sounded in the distance.

It was a deep, resonant tone that cut through the cacophony of battle. Reinforcements had arrived. With a newfound surge of energy, Alaric’s troops pushed forward, breaking through the enemy’s weakened lines.

At last, as the final remnants of sunlight vanished below the horizon, it was over.

The field was littered with the fallen, a grim tapestry of the cost of war. Yet amidst the sorrow and death, there was a glimmer of hope. They had held the line, saved the kingdom, and perhaps, secured a fragile peace for another day.

Alaric sheathed his sword, his eyes meeting those of his soldiers. No words were needed. They had survived, and that was victory enough.

Final Thoughts: How to Write Battle Scenes

Battle scenes are like dance scenes – complex, colorful, and chock full of constantly moving parts.

If you enjoyed this guide to writing battle scenes, you’ll probably love some of our other guides on writing.

Check out a few below before you go.

Thank you for reading!

Related Posts:

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• How to Describe a Brave Person in Writing (21 Tips + Examples)
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• How to Describe Crying in Writing (21 Best Tips + Examples)

• EXPLORE Random Article

How to Write Battle Scenes

Last Updated: April 28, 2023 References

This article was co-authored by wikiHow staff writer, Hunter Rising . Hunter Rising is a wikiHow Staff Writer based in Los Angeles. He has more than three years of experience writing for and working with wikiHow. Hunter holds a BFA in Entertainment Design from the University of Wisconsin - Stout and a Minor in English Writing. There are 11 references cited in this article, which can be found at the bottom of the page. This article has been viewed 11,714 times.

A memorable battle scene can add a lot of action and tension to your story, but it can feel intimidating to write since there are so many elements to keep track of. No matter what genre you’re writing, your battle should feel exciting and keep your story’s plot moving forward to keep your readers engaged. While it may take time to plan out and work on multiple revisions of the scene, you can easily include epic battles in your writing!

Outlining the Battle Sequence

• You don’t need to draw a map if you don’t want to, but it can be very helpful for you to understand the layout.
• If you’re basing your story in a real location, look online for a map so you can use it as a reference.

• Your battle should always affect the protagonist’s progress toward their long-term goals, or else it won’t feel like there were any real conflict or consequences from it.
• Make the battle feel more dramatic by giving the character personal stakes in the battle, such as rescuing a loved one or breaking free from an oppressive ruler.

• Even if you give both sides different weapons or equipment, try to keep them evenly matched to make the scene more dramatic.

Tip: Try making the enemy forces slightly stronger or larger than the protagonist since it can add more tension and drama to your writing. It will also help readers empathize and root for your main character. [4] X Research source

• For example, if your protagonist is a noble fighter, they may try to attack the enemy head-on. However, the enemy forces may try to surprise your protagonist by striking from the flanks.
• Avoid making it too easy for your protagonist to win the battle since it won’t feel as dramatic or satisfying to the reader.
• Opposing forces will rarely have the same battle plans since they are trying to defeat each other and they’ll be viewing the battlefield from different perspectives.

• Many battles only last for a few minutes or hours, so keep in mind how long the events last while you’re outlining.

• For example, if an evil king wins a battle in a city, they may try taking over the land and imposing their own laws.
• As another example, if your protagonist’s long-term goal is to gain power, they may gain the respect from their peers if they win the fight.

Writing Your First Draft

• For example, you could write, “The red sun peeked over the mountains on the east, breaking through the fog covering the plains. Finally, I was able to see the wide river to the west preventing any surprise attacks. As the fog lifted, I could barely make out the silhouettes of infantry quickly approaching.”

• It’s okay to switch between characters during the scene, but consider how each one views the battle differently and what stakes they’re fighting for. For example, infantry in the front lines will have a more difficult experience in the battle than a general who’s watching it from a distance.

• For example, instead of writing, “From his scabbard, he pulled out his longsword before defending himself against the knight,” you could say, “He drew his sword and blocked the knight’s strike.”
• Long sentences can make the action seem slow so the battle won’t seem as dramatic or hectic.

Tip: Look for more actionable versions of verbs for your writing. For example, rather than using “run,” you could instead write, “bolt,” “charge,” or “dart.”

• For example, you may write, “The rain mixed with the blood on the battlefield, filling his nose with the scent of earth and iron. He licked the salty sweat from his lips and continued marching forward. He could barely hear his boots squish through the mud over the shouting and screaming of the infantrymen around him.”
• Avoid overly descriptive paragraphs that don’t contain any action since it will make your writing feel like it’s dragging on.

Revising the Scene

• Try working on a different scene while taking your break. That way, you’re still writing and getting work done.

• Avoid focusing on spelling or grammar errors during your first revision since they’re minor compared to how well you comprehend the writing.
• Print out your scene if you’re able to since it can be easier to write directly on the paper while you’re editing.

• You may also reach out to writing teachers or professors you have if you’re in school for additional feedback.

• It may take multiple revisions to make the scene concise and easy to follow.

Expert Q&A

• Use real-life battles and military strategy to help you get ideas of how to structure the fight in your writing. [16] X Research source Thanks Helpful 0 Not Helpful 0
• Try to avoid editing or revising as you write your first draft since you won’t get as much work done. Thanks Helpful 0 Not Helpful 0
• Avoid directly plagiarizing other writers because you can get into legal trouble. [17] X Research source Thanks Helpful 0 Not Helpful 0
• Be careful not to over-describe the fight scenes or use confusing language since it could make the battle seem like it’s slow. [18] X Research source Thanks Helpful 0 Not Helpful 0

You Might Also Like

• ↑ https://mythicscribes.com/writing-techniques/how-to-write-battle-scenes/
• ↑ https://www.helpingwritersbecomeauthors.com/writing-epic-battle-scenes/
• ↑ https://pcwrede.com/planning-battle-scenes/
• ↑ https://www.freelancewriting.com/creative-writing/how-to-write-great-battle-scenes/
• ↑ https://library.defiance.edu/writingprocess/revisingetc
• ↑ http://www.michaelkennethsmith.com/the-writers-dig-with-novel-writing-advice-how-to-write-battle-scenes/
• ↑ https://www.nytimes.com/2019/02/14/books/dan-mallory-woman-window-denzil.html
• ↑ https://writersedit.com/fiction-writing/5-quick-tips-writing-thrilling-fight-scenes/

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Write that Scene

May your writing spirit live on forever

How to Write a Battle Scene

• Describe the landscape before the scene starts.

» A. Only show the events that are important.

Example 1:   The desert looked like it spread for thousands of miles, without signs of life of any form. Only vultures were flying high in the sky in order to find food. Hopefully I wouldn’t be their meal. There were no trees, water or peace anywhere in the heated place; it felt like being inside an oven, except 100 degrees worse. Below, the ground was cracked as if it would open up and eat my army and me alive. Undoubtedly, this place was hell, though there was no turning back. Our enemy would soon arrive and we would have to fight till death.

» B. Fiction writers do not write battle scenes like in a history book. They write what the protagonist is going through when engaged in a battle.

I.       That means you have to see, hear, smell and feel like the protagonist. From hiding under his/her bunk as rockets drop around his/her position, to shooting his weapon at an enemy he/she can’t actually see, to personal hand to hand combat with someone who is trying to kill him.

Example 2:   

 They came like a thief in the night. Their stainless white coats were flashing us, nearly blinding my army. Too bad we didn’t have shades.

“Attack!” I shouted the second the enemy arrived halfway. All 1,000 of my men went charging forward with their weapons. I had a sword and went for the leader. I swung hard at his body, he did the same to me. Both our swords were powerful— no one had a hand up. If one of us were going to win we’d have to do things differently. So, without further thought, I dropped my sword and whipped out a small knife. Running toward him at full speed ahead, I tricked the enemy by sliding on the desert ground and aiming for his groin. I sliced the knife over his meat, making gushes of blood spill out. I grinned at the sight of it. I felt powerful, like a hero. Did this mean I had won, that the enemy was dead? His warriors noticed what I had done and started coming toward me with their measly weapons. Their swords were nothing compared to their leader’s.

» C. Further engage all the senses of the character.

I.        This way you can show the chaos of a major battle. The tremendous sound of warriors fighting, with their screams of challenge and pain and of weapons engaging. Gunshots damage hearing and can leave those too close temporarily deaf or with ringing ears.

II.      The sight of enemy combatants coming at your character from all sides and the frantic actions to ensure survival. Smoke from fires that can blind, then part to reveal those who are fighting and those who are dying.

III.     The smell of that smoke, and of sweat, blood, and body odor. Blood has a distinctive smell.

IV.      The taste of dust in the character’s mouth and of the raging thirst he/she will soon be feeling.

V.      If you are using swords, the feel of the character’s blade as it slices into enemy flesh, the splash of blood, and then quickly turning away to face the next fighter.

VI.      Oh, and what does that CRUNCH! feel and sound like when both armies come at last to grips with each other. What does the sound of punctured, sliced and hewn flesh and armor sound like?

Example 3:    As my eyes darted in all directions to capture a glimpse of the new foes I had encountered, I witnessed it, the heavy rock heading straight for my head with its crippled and uneven appearance I knew I would drift out of consciousness by its blunt attack.

I didn’t know how much time past when I finally opened my eyes. As I stood to my feet I saw my army still fighting the enemy. Before me lay the leader, still and bruised on the groin. He must have bled to death. Taking a step forward wasn’t so easy. One of the enemy warriors had cut off one of my feet. Now I had to drag myself across the scene. I didn’t know who was winning at the time. I didn’t even know how many men I’ve lost or if they’ve stuck with the plan. Maybe they thought the rock killed me? Maybe? But one thing was for sure; I was going to keep fighting, even if it meant I’d lose my life.

» A. What do the faces, armor, flags, banners, swords, spears, horses, ranks of infantry or masses of wild barbarians look like?

I.      Tell them the color of the banners, the way the light shines on plate mail, tell them what the soldiers are thinking and feeling and saying, are they all brave? Do some run? The same goes for the commanders. The soldiers only want to live; the commanders only want to win.

II.      Is your battle dirty and gritty? Are the soldiers clean or dirty or sweaty?

III.    Describe the action of swinging of the swords, puncturing daggers, smashing axes, gouging spears, and impact of arrows and slings and catapult and ballistae.  

Example 4:   

 High above our bright red banner waved in the wind, taunting our enemy. Barely any soldiers rode a horse; the others had been killed or trampled over along with their rider. What seemed like hundreds of narrow spears shot through the air, ultimately landing in the hearts of men. Quite literally. And as I watched my men fall, I felt rage over come me. Blood mixed with dirt, gritty, filthy dirt. Vultures would have a feast with the bodies lain on the desert floor. However, I intend not to be part of that meal. Sweat fell from my eye from the realization that I could be wrong and I no longer saw the enemy around me.

My sword danced, and I cut a path of blood through the battlefield, slicing through weak, brittle armor. That’s when I felt something whoosh above my head, then heard the sound of a gun echo around me, my heart temporarily stopped for a second as the suffocating silence mocked me; my ears were still ringing from the blast. Where was the shooter?  I thought this battle was swords only…. I glanced around in every direction… more guns shot around. I fell in one motion to the ground, and started to look for the gunman.

  That’s when I heard it, heavy feet marching across the ground, someone had spotted me; my time had finally come.

» B. Describe individual actions and group actions. How do they impact the overall scene?

• Readers want to feel the character’s angst and fear and anxiety while they’re in the midst of battle. It draws the reader in and builds the thrill and drama up within that scene.

» A. Try switching between characters then leave off with a cliffhanger with one character and pick it up with the next character.

“Luther,” Leonard said, stepping on my hand and making me scream. “I have been waiting for this day for over fifteen years. Now, it is your turn to die in the same manner my father did.”

“What is this revenge you speak of?” I said, though my voice was leaving me. I had drawn a blank. Luther had always been there for me; we grew up together. Why did he want me dead? The panic had set in, I no longer had the strength to bare any of this. Not anymore. Maybe today was indeed my day to die. Maybe. Lowering my head, I said one finally thing:

“Leonard, I’m sorry for killing your father. I didn’t know.”

• How does the battle ending flow? Be sure to get some facts straight.

» A. Don’t neglect the pre-battle scenes or the plot. The tension, the waiting, the fear and exhilaration. And do not neglect the post battle let down: soldiers happy to be alive but angry and hurt, and feeling guilty for being alive when their friends or brothers have died?

“I know….” Leonard said, pinning the sword into the sand. He fell to his knees and hugged me. “Luther, you’re my brother.”

I glanced up quickly and listened.

“Father plan on killing you because you were born out of wedlock. It is because of your name that he believed you were cursed.”

“My name? Luther?”

“No…” Leonard shook his head. “You are the son of Marybelle Mclaina. You, Luther are the true prince of Mascadon. Father knew it, but he didn’t want his reign to end.”

“So,” I said, standing on my feet. My brother helped me. “All this time we were related and I didn’t know.” Leonard nodded. “Then what is the war for?”

“Revenge for our mother. She had been slain by our father years ago. The only way you can rule the country in peace is if we kill all the Mandonians.”

“There has to be another way,” I shouted in a panic.

“There isn’t!!” Leonard yelled, but it wasn’t so that I could hear him over the noise of soldiers fighting, it was because he had been shot with his own rifle. Behind me stood a enemy soldier with a smile on his face, pointing the gun at my forehead.

“Prepare to die.” And with that, he pulled the trigger. Though I was still alive; the gun was empty. Thinking quickly, I pulled the sword out of the sand, charged for the enemy and punctured his stomach. He became dead as soon as I withdrew my sword. As he lay motionless on the desert floor, I threw the sword on him and said:

“Enough is enough. No more dying. No more…..”

My body was shaking, the adrenaline coursed through my veins— I knew what I had to do. Return to the castle of Mascadon and sit on my throne. Just like the prophecy said, once a true heir takes their place in the kingdom there will be peace once again. No wonder when my father ruled there wasn’t any. All there was was war and lots of it.

» B. Work in a little science to back-up what you be writing about to make it somewhat real as well as somewhat believable.

!You might have to scroll down the textbox with your mouse!

The desert looked like it spread for thousands of miles, without signs of life of any form. Only vultures were flying high in the sky in order to find food. Hopefully I wouldn’t be their meal. There were no trees, water or peace anywhere in the heated place; it felt like being inside an oven, except 100 degrees worse. Below, the ground was cracked as if it would open up and eat my army and me alive. Undoubtedly, this place was hell, though there was no turning back. Our enemy would soon arrive and we would have to fight till death.

        They came like a thief in the night. Their stainless white coats were flashing us, nearly blinding my army. Too bad we didn’t have shades.

“Attack!” I shouted the second the enemy arrived halfway. All 1,000 of my men went charging forward with their weapons. I had a sword and went for the leader. I swung hard at his body, he did the same to me. Both our swords were powerful— no one had a hand up. If one of us were going to win we’d have to do things differently. So, without further thought, I dropped my sword and whipped out a small knife. Running toward him at full speed ahead, I tricked the enemy by sliding on the desert ground and aiming for his groin. I sliced the knife over his meat, making gushes of blood spill out. I grinned at the sight of it. I felt powerful, like a hero. Did this mean I had won, that the enemy was dead? His warriors noticed what I had done and started coming toward me with their measly weapons. Their swords were nothing compared to their leader’s.     

     As my eyes darted in all directions to capture a glimpse of the new foes I had encountered, I witnessed it, the heavy rock heading straight for my head with its crippled and uneven appearance I knew I would drift out of consciousness by its blunt attack.

I didn’t know how much time past when I finally opened my eyes. As I stood to my feet I saw my army still fighting the enemy. Before me lay the leader, still and bruised on the groin. He must have bled to death. Taking a step forward wasn’t so easy. One of the enemy warriors had cut off one of my feet. Now I had to drag myself across the scene. I didn’t know who was winning at the time. I didn’t even know how many men I’ve lost or if they’ve stuck with the plan. Maybe they thought the rock killed me? Maybe? But one thing was for sure; I was going to keep fighting, even if it meant I’d lose my life. High above our bright red banner waved in the wind, taunting our enemy. Barely any soldiers rode a horse; the others had been killed or trampled over along with their rider. What seemed like hundreds of narrow spears shot through the air, ultimately landing in the hearts of men. Quite literally.And as I watched my men fall, I felt rage over come me.  Blood mixed with dirt, gritty, filthy dirt. Vultures would have a feast with the bodies lain on the desert floor. However, I intend not to be part of that meal. Sweat fell from my eye from the realization that I could be wrong and I no longer saw the enemy around me.

      My sword danced, and I cut a path of blood through the battlefield, slicing through weak, brittle armour. That’s when I felt something whoosh above my head, then heard the sound of a gun echo around me, my heart temporarily stopped for a second as the suffocating silence mocked me; my ears were still ringing from the blast. Where was the shooter?  I thought this battle was swords only…. I glanced around in every direction… more guns shot around. I fell in one motion to the ground, and started to look for the gunman.

That’s when I heard it, heavy feet marching across the ground, someone had spotted me; my time had finally come.

        If I had the energy to get up and run, I would. But sadly, I didn’t. Each step shot through my eyes. Hopefully this man would have mercy on my soul. As I looked up, I saw Leonard, one of my soldiers. Giving a sigh of relief, I reached my hand out for him to grab it and help me— though that didn’t happen.  

       “Luther,” Leonard said, stepping on my hand and making me scream. “I have been waiting for this day for over fifteen years. Now, it is your turn to die in the same manner my father did.”

 “I know….” Leonard said, pinning the sword into the sand. He fell to his knees and hugged me. “Luther, you’re my brother.”

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Battlefield Description

The Moment Before the Battle

Dusk is approaching but the heat does not retreat. The stagnant air still hangs loosely under the lambent sun. Weak rays of sunlight ignite the clouds, and burn across the sky, turning it into a sea of flames. A vast expanse of emptiness stretches underneath the alit clouds. The land is hot and dry, no seeds are germinating; no plants are growing; no animals are living. The sunrays have penetrated deeply into the ground, leaving huge cracks, splitting the land into millions of pieces. Nothing is in sight, apart from two fronts drawn between the Spartans and Persians.

On one side, valiant Spartan soldiers stand uniformly. They are highly disciplined, but their growing impatience is becoming more and more apparent. Through their eyes, fierce anger and uncontrollable hatred is building. They seek revenge from the opponents whom stole their family’s lives; insulted their religion; pillaged their country’s wealth. The stallions are becoming restless, stamping their hooves loudly on the hard ground, eager to tear a gap in the enemy lines. Every man and animal is garbed in shiny armor, which, even in the dim sun, glitters. The morale of the army is building. The soldiers and steeds are hungry for blood.

This is a preview of the whole essay

At the very front of the troops, erects a man and his steed. Clad in gold lustrous armor, his battle horse neighs loudly at the sight of the enemies. It had lost one of its pupils during one of its ferocious battle, but the other is glaring and burning. Its thick muscular legs matches well with its rider. And like his malicious steed, the man is coated also in thick armor. Underneath the armor, his body is scarred with wounds acquired from countless battles and skirmishes. His eyes - like his soldiers - are full of hatred and anger, eager to slaughter the enemies. The piercing stare seems to penetrate the opponent lines, and none of the enemies dare to meet his gaze.

The atmosphere on the other side is entirely different. The armors are still polished, and the swords are still sharp. However, fatigue and plague has swept across the entire army. Everyone is tired and exhausted. The wounds are coming back and hurting more than ever. They seem eager, but it is merely a mask. Behind the mask is nothing but fear. They fear the enemies; they fear death; they fear this fight. They are fighting an impossible battle, and it has ended before it has begun.

The general’s sword hisses as he draws it out of its sheath. Him, the knights, the cavalry, are all thinking as one—cut; kill; crush. They will hack through the enemy lines and mow down every single body standing in between them and victory. He signals and a prisoner of war is brought forth. The general calmly brings his sword up and bellows his ritual. The deep strong voice quakes the earth, and the enemies shiver uncontrollably in fear. Suddenly, he slices downwards with force and accuracy at the neck of the prisoner, blood spurting out as he soaks his sword in the enemy’s blood.

The soldiers behind him erupt in cheers of approval and the horses neigh loudly. The ritual is done. The enemy will pay with blood. Every friend and family they have lost by the cruel invaders will be avenged with no holding back. Minutes later, the tumultuous uproar dies down, and only silence remains. It is time for battle.

The general shrieks his war cry that pierces the eerie silence, and the cavalry charges towards the enemies.

Document Details

• Author Type Student
• Word Count 590
• Page Count 3
• Subject English
• Type of work Coursework

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7 Tips For Writing Realistic War Stories (UPDATED 2024)

by Writer's Relief Staff | Inspiration And Encouragement For Writers , Nonfiction Books , Other Helpful Information , The Writing Life | 15 comments

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Updated April 2023

Both fiction and memoir writing have endeavored to make sense of (or even see the senselessness of) violent conflict. But writing about war  can be tricky: Some readers might be sensitive about graphic depictions of war and violence; others may have a hard time understanding what’s happening if you don’t go into detail. Here’s how to write battle scenes that are accurate and effective.

Important Tips For Writing About War

Consider whether certain violent elements need to be included. Graphic, explicit scenes can become offensive when they’re overdone or unnecessary. Of course, you may be going for “offensive” in order to make a point about your subject, but violence that’s heavy on detail needs to have a point. The key is to be aware of your choices and why you’re making them.

Use a panoramic lens. Capture the vastness of a battle by showing us a wide view of the action. Allow your narrator a moment to look around at what’s going on so that your reader can also see what’s happening. However, remember that “epic” doesn’t necessarily mean emotionally engaging. If not handled properly, big battles can feel impersonal and lead to “action fatigue.”

Focus on the details. Whether you’re writing about the trenches of World War I or the Time-Space Wars of the Zygine Galaxy, pay attention to the little details of everyday life. Sometimes, the familiar smell of coffee and a campfire can be more emotionally powerful than the less familiar smell of a lit cannon fuse.

If your violence is comic, be cautious of subtext. Some people may laugh; others might be offended. If you need to make a choice about your character’s actions that happens to align with stereotypes of violence, make sure you do so with caution.

Understand your characters . Whether you’re writing about a perpetrator of violence or a victim, dig deep within your own personal capacity for empathy to tease out elements that will make all of your characters human, relatable, and real—even the villains. You might not respect your antagonist’s decisions, but by understanding them, you’ll bring depth and emotion to your work.

Get it right. If you’re writing historical fiction or even memoir, check (and recheck!) your facts. Confirm that your details are accurate. By spending the extra time and doing the research , you’ll have a story that resonates with authenticity and powerful details—especially if you’re writing military fiction .

Avoid clichés. While every genre has its tropes, be aware of choices that lead to scenes that are overly familiar. Falling back on clichés is sometimes the easy way out. If you find yourself writing a familiar battle scene (one soldier dragging another to safety, or one person dying in another’s arms), be sure to mix up the action with your own unique perspective.

When In Doubt, Read Military Memoirs And Fiction

If you’re not sure your battles have a realistic edge, read other books in the genre. Reading is one of the best ways to improve your writing, regardless of your topic.

When you’ve finished reading military memoirs and fiction, why not try to get published alongside them? The research experts at Writer’s Relief will help you pinpoint the best markets and boost your odds of getting an acceptance. Learn more about our services and submit your work to our Review Board today!

Whether you want to take the traditional publishing route or prefer to self-publish , we can help. Give us a call, and we will point you in the right direction!

15 Comments

In response to your question, “What do you think one of the things many battle/war scenes get wrong is?” I would like to say it is the disconnection/connections between two common enemies. Many solders do not even know the real reason they are fighting. Many American solders have gone to battle under the false premise of spreading Democracy. Our enemy fight for what they believe to be the opposing cause. Yet, when the war is believed to be over, a new bicultural atmosphere has almost always been established. That is because, as humans, we all have more in common than not.

To Mr. JL Gibson: I loved your comment. I don’t imagine that many of us think of what the other guy is fighting for. I have no plans to write a novel about war, but I still believe that this article and your comment could be used for any other type of story. We all have our battles to fight whether it be for love, wealth, a job promotion, or even our own simple way of life. Thank you for the insight.

I’m writing a war story and this has been helpful.

I’m also writing my first war book too. My book is called Ghost Squad, the war I’m researching is very hard trying to put all pieces of information together so that the war itself is real, but my characters, operation groups, and seans are made up of this book. I’m worried if my information of this war would have false information in my novel. I’m still writing and researching, but so far my book is looking pretty good. If you guys have any tips for me that would be helpful.

This is some really good information about writing good war stories. My sister wants to be an author and she loves historical fiction. I liked your advice about getting it right and doing research about the time period. It does seem like a good idea to try reading some memoirs of actual soldiers.

I’m going to write a battilistic war book. It’s not an American war. Another countries war. A central american one. This has been helpful.

I’m writing a fictional war story, meant to focus upon the ascension of a Battalion Commander, to the ranking of General. One issue I’m having is the rankings themselves. While I can hide behind the excuse that this is a fictional war, with a fictional military that could have fictional ranking orders, I still would like to know what the actual officer ranking order is like. Google isn’t very helpful, could somebody please point me to an explicit explanation of military officer ranking ? I would greatly appreciate it, thank you! I eagerly await your reply.

Vincent, the ranks for officers are easy to find. They are: 2nd Lieutenant, 1st Lieutenant, Captain, Major, Lieutenant Colonel, Colonel, Brigadier General, Major General, Lieutenant General, and General.

Thank you , I am a struggling writer who will indeed benefit from this

Thank you for the help! I am writing a book that has many military scenes. I appreciate this a bunch!

Read books written by veterans

Definitely read books by veterans. And if you are writing a book about the military, it would be extremely helpful to have a veteran as a beta reader. Lee Childs doesn’t write military, but his main character, Jack Reacher, is an ex soldier – however he has so many military fact incorrect it sometimes drives me crazy. One of his main problems is that the author is British, and the character is American. In the British Army, I guess, the enlisted shine the officer’s boots and do their laundry; this is absolutely not what happens in the US Army. Also, his premise that the military police are better trained in weapons and hand to hand so they can subdue elite Rangers and green berets when necessary is crazy.

The government actually has many good primary resources in this area. I recently took over a blog written by a librarian that highlights government sources to help authors with realism in their fiction. I am still in the process of transferring, editing, and updating the older entries (which has been fascinating), but it has several military history posts:

https://fictionwritersguidetogovernmentinformation.wordpress.com/

Hope this is helpful!

Hi. I´m terrible when it comes to battle strategy. I just have my characters with the planned development, dynamics, relationships and often – fitting deaths. I have the moral questions. I have the magical system. I somehow just make the war fit my needs… Which is extremely frustrating! I have to think of stuff to fill plot holes and all the strategies don’t add up! It’s like a patchwork – a beautiful piece of art (an emotional moment, a character death, a release of a magical power) is hanging on some weak shit.

Please send help. I always get stuck on the tactics. How to master it? Or how to write smart and compelling fantasy stories without it? Even if it’s not fantasy, I have the feeling that without all these scheming and mind games my stories sound boring.

Look at what you did in the first paragraph. You have already arrived at most of the story, since story is about character and relationships. The action that arises from the characters, i.e., what each character does, moves along the plot, defines character, and produces story theme and meaning. Then, think of your story within the context of a particular moment in the war. For example, “Platoon” selected a section of a company to go on patrol in the Vietnam jungle, night and day, to tell the story of young American foot soldiers and particularly, the growth of one particular named Taylor. How does the war fit into the story? The war, or a particular aspect of the war necessary to the story is selected and used as a container to hold the entire story about Taylor.

Take a look at another war story, “The Deer Hunter”. This is the story about Russian-American steelworker friends who go off to Vietnam as foot soldiers. Each one is altered. Therefore, the writer must have planned particular moments in the war to highlight the exigencies of each character as such character encounters life-challenging and possibly, life-changing conflicts that determine what we must notice about the character.

Please don’t allow the loud and epic nature of war to scare you into giving up. Writing about war is no different than writing about a city, or school, or people on a cruise liner. The fact remains that all of those are contexts or backdrops to your story, which should always be about the human condition, i.e., our thwarted desires that lead us to the truth and beauty of realization and/or learning, if we (the characters) accept the challenging lessons, or losing, if we reject, as the author intends to depict.

Finally, a war is always about one side against the other, with a line drawn in the sand. Such could be visible or invisible. Find your war, select a context and people that context with who would be necessary for the particular story. My war story challenge tonight is to tell a story about particular soldiers on the frontline of WWI, but not across the entire several hundred miles of trenches. I selected one small area that produces the particular challenges of that area, which I feel excited about depicting., and how that place set up significant pressure on the characters to think and behave in certain ways that I believe to be necessary for telling the reader/viewer about our mysterious human condition — perhaps, even deepening the mystery.

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CrystalDreamer59 Active Member

How to describe a war.

Discussion in ' Science Fiction ' started by CrystalDreamer59 , Jul 16, 2012 .

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); So as I meantioned in a previous post I have this idea for a story about a utopian planet and a dystopian planet that are at war with each other. The story basically begins on a normal day on the utopian planet when suddenly the capital city of the utopian planet is attacked by the dystopian planet. After that I'm not that sure what should happen. How do I go about describing the attack and what should I have the utopian planet do next after being attacked.  

Cogito Former Mod, Retired Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); It's your story. You tell us how they react.  

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); I imagine the ordinary people in the capital city of the utopian planet would be panicking as space shuttles from the dystopian planet begin begin bombing the capital city while the warriors of the planet work to calm the ordinary people down and create a magical barrier to protect the city (It's a fantasy world so people have magical powers). That's just how I imagine the first attack. It's a start I think.  

Andrae Smith Bestselling Author|Editor|Writing Coach Contributor

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); On this one I agree word for word with Master Cogito... He is very wise. It is your story, that is what you have to decide. it is your society, your characters your war. I ould imagine the Utopians would decide whats best for them and try to avoid war until absolutely necessary... but its your society, thats a part you have to work out and tell us.  

peachalulu Member Reviewer Contributor

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); That would all depend on the hardware ( weapons )involved , are they technically advanced or rather backward? Have the people had a war before and are they prepared? Or does this come as a frightening never-happened-before experience. Do they have the weapons or intelligence to combat the strike? Which view do you want to take. An overall view of bombs turning a city to smoke and ash with nameless people shrieking or do you want to show the terror from a select handful of characters? Do you want an air strike or a land invasion? Is this a sneak attack without warning or something the world had been expecting?  

Thumpalumpacus Alive in the Superunknown

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); CrystalDreamer59 said: ↑ So as I meantioned in a previous post I have this idea for a story about a utopian planet and a dystopian planet that are at war with each other. The story basically begins on a normal day on the utopian planet when suddenly the capital city of the utopian planet is attacked by the dystopian planet. After that I'm not that sure what should happen. How do I go about describing the attack and what should I have the utopian planet do next after being attacked. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); I never thought of having the battle in space as the dystopian planet is less technologically advanced then the utopian world and has just began space exploration. As for the reason the dystopian world attacks the utopian world. They attack the utopian world because they think their culture is best and want to spread their culture. Would this be a good enough reason for attack.  

DeepBlue10055 New Member

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); It would be a fine reason, but be sure to justify it. Although I think a culture that has just begun space exploration would not be prepared to make a space-borne attack. Would we be able to land troops on Mars, even if we had a strong desire to conquer some fictional inhabitants or harvest a precious resource? Almost certainly not. At least not for another 50-100 years, anyway.  

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); Perhaps I should of clearified that the dystopian planet discovered space exporation about 50 years prior to the events of the story and that the distance between the planets is rather close just slightly further than the distance between the earth and the moon. Would this make things more realistic.  

kingzilla Member

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); Utopians would probably be in panic, as I would assume they barely have a military. A lot would surrender because they don't truly know how to fight. But, this is your book. I have to agree with Cogito and say you write it how you want to write it. The only thing I would say is keep the cultural difference between the two planets intact. That will make it interesting.  

inkdweller New Member

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); It's important I think to contrast the normal with the horror in this attack. Emphasize less the peaceful bliss, becuase this is unrelatable and unbelievable. Even in a perfect life we have our dramas and our concerns, petty though they may really be. Emphasize more the ordinary relate-able every day actions that make it peaceful and blissful. As for the actual attack, think about what would really make you gasp if an enemy attacked your planet, your country, your home. Seeing the statue of liberty, a symbol of hope and freedom, have her head thrown off by some alien monster in the movie "Cloverfield" certainly set a sinking feeling of dread in me when I watched it. When an enemy attacks a "symbol" of sorts this is easily recognized and painful for a larger audience. Watch and enemy destroy the Eiffel Tower, Great Wall of China, Empire State Building and you watch them take away something you had in your mind as eternal. Suddenly what was such a certain symbol of "hope" or "power" or whatever it is, crumbles at your feet, and the world as you know it has just been flipped irreversibly. There's no turning back now, doom is imminent. This sort of attack is less direct than destroying lives, but in this it affects a larger audience, targeting them mentally. Religion is another symbol that unifies people and can be targeted. This has happened many times throughout history, and some are dreadfully recent. Survivors are certainly instilled with feelings of anger and anguish afterwards. Dig into some research on this sort of thing, it may sicken, but all the more convincing to evoke emotion into your readers when you have that emotion yourself.  

Morkonan New Member

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); CrystalDreamer59 said: ↑ ...After that I'm not that sure what should happen. How do I go about describing the attack and what should I have the utopian planet do next after being attacked. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); @inkdweller: On the utopian planet since their a monarchy a symbol of national pride would be the royal palace. I have thought very much about the dystopian world attacking the royal palace because they want to get rid of the monarchy so they can turn the planet into their own colony. @Morkonan: I will search my library for books on war, both fiction and non fiction. Hopefully this will improve my writing. However I have a book checked out right now and I want to finish that first before I check out any more books.  

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); CrystalDreamer59 said: ↑ ...@Morkonan: I will search my library for books on war, both fiction and non fiction. Hopefully this will improve my writing. However I have a book checked out right now and I want to finish that first before I check out any more books. Click to expand...

Link the Writer Flipping Out For A Good Story. Contributor

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); Don't forget Jeff Shaara's books. He covers the Mexican-American War, the American Civil War, WWI, and WWII from the perspective of a few key people on both sides. They are all very well written.  

D-Doc Active Member

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); This may not be a feasible option, but you can always try to join the military and experience war for yourself. I'm not saying that all of your war scenes will be poor without direct experience, but it would certainly help. Go to war and write about what you see: the smells, the atmosphere, the graphic details, the slang of the soldiers, the emotions the grab you by the shoulders and shake you until you're forced to lie down and cry. After you've experienced that, you can add or omit details and alter your experiences in war to suit your fiction. Maybe I'm going overboard here, but I've always thought that the true feeling of being in a war is something that one can't articulate genuinely unless one has experienced it himself.  

ChickenFreak Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_71cf33951637b72c5767e3f8f6c35966'); }); CrystalDreamer59 said: ↑ As for the reason the dystopian world attacks the utopian world. They attack the utopian world because they think their culture is best and want to spread their culture. Would this be a good enough reason for attack. Click to expand...

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Writing Tips Oasis - A website dedicated to helping writers to write and publish books.

How to Describe a Soldier in Writing

By Isobel Coughlan

Are you writing a war novel ? In this post, we’re going to help you by explaining how to describe a soldier in writing via 10 great adjectives.

Someone that’s very passionate, fearless , or aggressive.

“The group battled through the jungle together, but the fierce soldier took the lead.”

“Only a fierce soldier can take on this challenge. Are any of you ready to step up?

How it Adds Description

“Fierce” is a powerful adjective as it describes someone who is passionate to the point of aggression. This can show your soldier intimidates other characters, and it can also mean they’re difficult to be around. “Fierce” will also show your soldier’s commitment to their job or their cause.

Someone very nervous or anxious.

“The tense soldier backed away, and his hand ghosted over his gun.”

“Before the war, he didn’t have a care in the world, but now he was a tense soldier with the weight of the world on his shoulders.”

Fighting and completing missions as a soldier is a stressful job. “Tense” shows the pressure and anxiety your soldier feels. This adjective can also point to an awkward body posture, as you can have “tense” muscles when you’re stressed. It can also demonstrate to your reader the nervousness of your solider.

3. Agitated

Someone who is upset or worried and shows it through their behavior.

“The agitated soldier couldn’t stop fidgeting with his coat zipper. His hands trembled at the thought of the mission.”

“She glanced at the agitated soldier, and her heart sank. His worry and stress were obvious.”

Nervousness and stress can manifest through physical actions, and “agitated” shows your soldier can’t stand still due to this. If used by another character in an inner monologue, “agitated” shows that your soldier’s worries are being noticed by others. You can use this to show other characters feeling sorry or pity for the soldier.

Someone who does things that are dangerous or that will shock others.

“You must drop out of a plane, swim 5 miles, fight through thick jungle, and scale a 10-foot wall. That’s why only the most daring soldiers finish this course.”

“She dreamed of a daring soldier to rescue her from her prison cell.”

“Daring” shows your soldier is willing to go the extra mile and perform dangerous duties to get their job done. This word works well for hero characters, as “daring” shows they have less fear in comparison to the average person.

5. Methodical

Someone who does things carefully with meticulous order.

“The methodical soldier pressed his pants, laid them out on his bed, and obediently waited for the inspection.”

“They had no signal or ways of communication. But the methodical soldier had studied the map and knew how to work a compass.”

Soldiers are known for having meticulous organizational skills, and this is a staple trait for any character who works for the army. “Methodical” shows your soldier has logical thought patterns, and you can use this to show how they navigate difficult challenges. If you have a particularly unorganized character, their behavior can contradict a “methodical” soldier’s. These differences might cause a rift between them, making for interesting fictional relationships.

6. Frightened

Someone who is afraid or anxious .

“The frightened soldier continued marching, despite his inner desire to run away.”

“We don’t have time for frightened soldiers. Everyone needs to put their game face on!”

If you want to show a soldier’s fear for future plot points or of certain characters, “frightened” provides a glimpse of your soldier’s feelings. “Frightened” can also highlight that your soldier is inexperienced or scared of the unknown. This can further build suspense for upcoming parts of your plot.

7. Enchanting

Someone very charming or attractive .

“What an enchanting soldier. I’ll get his number by the time the dance ends. Just you watch me!”

“He was tough, but he was also an enchanting soldier. Both the troops and the ladies loved him.”

Alongside being brave and organized, soldiers are sometimes known to be flirtatious and charming. “Enchanting” can show how other characters are drawn to your soldier due to his personality and good looks.

Someone that’s good, tells the truth, and doesn’t break the law.

“He was an honest soldier who followed the captain’s orders, no matter the toll.”

“To be an honest soldier was the goal, but the troops were breaking under the pressure of boot camp.”

The word “honest” shows how your fictional soldier takes their training and missions seriously. This shows they’re a good person and one other people in the story can trust. If a soldier is “honest,” they may have trouble taking part in gruesome or violent missions.

9. Accomplished

Someone very good at their profession or hobby.

“She dreamed of becoming an accomplished soldier, but she knew she’d have to start working harder at school.”

“The accomplished soldier donned hundreds of medals, making his uniform glisten in the sun.”

The adjective “accomplished” shows how your soldier is very talented at their job, and this can imply they’re one of the best in the novel. This might mean other characters look to them for advice or help during tough times, and they could make a good hero.

Somebody who is moody and quiet.

“She could feel the sullen soldier staring at her from across the room. His grumpy gaze made her feel self-conscious.”

“Ever since he returned from duty, he was a sullen soldier. He’d lost his lust for life and trademark smile.”

If your soldier has experienced traumatizing events while working, they might be described as “sullen” after they return. This adjective shows they’re quiet and miserable, and these behavioral traits often make other characters anxious around them. You can also use “sullen” to show the effects of active duty or previous battles in your fictional world.

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War creative writing/descriptive writing

Subject: English

Age range: 11-14

Resource type: Lesson (complete)

Last updated

18 November 2020

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A lesson which plans a descriptive writing/creative writing piece inspired by war (specifically the film Greyhound and the Battle of the Atlantic). It include clips/links for context as well as a clip from the film Greyhound to use as inspiration. This is part of a unit called ‘clashes and conflict’ which includes war poetry (WW1 and others) as well as non-fiction texts. Pupils in this lesson are required to plan and write a description as a soldier/military/navy sailor from their perspective.

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Y5/6 Blitz Setting Description

As part of our topic on World War 2, we have been learning about the Blitz.  We have been looking at images, videos and reading first hand accounts of the air raids that happened during that time.  We generated descriptive and figurative language phrases individually and shared and developed them in pairs and as a class.  From this, we wrote detailed setting descriptions containing adverbial phrases and figurative language.  Take a look at some of our finished articles.

Y56 Setting descriptions