Happy to see the July/August 2019 issue of Writer’s Digest magazine in my mailbox this past weekend. I’ve heard no further news about WD parent company F+W Media’s financial woes or the bankruptcy announced back in March, so I’ll keep my fingers crossed that management will find a way to reorganize and pay all creditors while keeping this vital writers’ resource going. I think 2020 is Writer’s Digest’s 100th anniversary, so it’d be tragic for the publication to vanish now.
July/August is billed as “The Villains Issue” and like many theme issues, it’s stretching things a bit to make some articles’ fit the theme. But that’s okay, since I found nearly everything in this issue interesting or useful. But my favorite was “Packing The Punch” by Carla Hoch, author of Fight Write: How To Write Believable Fight Scenes from WD Books.
Many writers insist that sex scenes are the most difficult to write, and they may be right. Finding a comfort zone between steamy and merely icky can be challenging, particularly since every writer knows that readers will identify the roles and activities with the writer and the writer’s own ‘proclivities’. Maybe you don’t care, but you might if you’re a grammar school teacher or town council member writing lurid kink-filled scenes in your downtime.
But I’ll suggest that fight scenes – like any action scenes – can be every bit as difficult to craft as the squirmiest sex scene, if not more so. Both types of scenes have multiple participants (well, usually), there’s a lot of movement and action that must be choreographed, and then accurately attributed so the reader won’t be hopelessly lost. Who’s punching who? Who pulled the trigger, and who got hit? A sense of place has to be defined, pain has to be described and so much more, but unlike a sex scene, this has to be accomplished with an economy of words. Perhaps it’s fine to indulge in flowery prose and a languid pace for lovemaking. Fight scenes demand a finger-snapping staccato rhythm, moving fast but with pinpoint accuracy to keep the reader speeding through the words while still comprehending precisely what’s what. That’s a mighty tall order for pro’s and budding talents alike. As Carla Hoch says, “Sometimes, there’s nothing better than a good long sentence, pulsating with verbs and sutured with commas to grab your reader by the collar and drag them to the scene, because you will give them no other choice and there’s no leaving until you throw in the towel.”
Some suggest that a writer should try to hear an imaginary musical soundtrack behind their words in order to guide their pace. (You know, that might even work well with reading?) Sex scenes? If all soft-focused slow-mo stuff, the soundtrack might be a romantic Debussy piece or a soft pop ballad. More rambunctious romps might demand club tunes with a relentless pulsing beat you can feel right in your belly (or lower). Depends on what kind of frolicking the fun-lovers are up to. What kind of soundtrack sets the pace for a fight scene? Well, it’s unlikely to be a waltz. A thrash metal song, maybe. Some bust-loose jazz jam or an AOR guitar-god head banger. Hell, it could be a pompous Wagnerian thing if the fight involved axes and chain mail. In my work, it’s most likely bare knuckles on skin, slugs flying from a .45 automatic, or when the Stiletto Gumshoe’s caught unarmed, there’s still a spike heel rammed down doubly hard on a thug’s wingtips.
Thanks to Writer’s Digest magazine once again for helpful how-to’s like Carla Hoch’s terrific piece. I’ll be watching my mailbox with my fingers crossed that the issues keep coming.
(No credits available for the found art illustrations above, but the photos are by Bert Hardy above and Richard Avedon below.)