
You’re building a mystery, you’ve finally cornered the big bad, and then… a fight breaks out. It’s the natural conclusion, climax, or just necessary scene to push the story forward. And that’s where my fingers freeze on the keyboard. Because the last thing I want to do is write combat. Why? Why is it that the combat the hardest thing to write? Well, the simple answer is that it’s hard.
“Write what you know.” That’s the maxim given to every writer who’s having trouble trying to get past the blank page that has been tormenting them from the start. I’ve been in exactly two fights in my life. The first time, I just sat on the guy until they stopped bugging me and the second, I threw him into a locker. So I can’t say that I know combat.

Conversation? Sure, it can be just as uncomfortable as fighting, but at least I’ve done it before. I have conversations every day. So once you know who your characters, you can pretend how they would say things, what sentence follows another, and the final objective that you’re trying to reach. The more often you write conversational scenes, the easier they are, especially if they’re with the same characters that you’ve already developed.
Fighting? It’s not as easy to predict what someone will do, how they will react, how tough they are in taking a shot and how tough your character is in receiving it. Plus, since I haven’t been in that many fights, what I say happens may come across as simply bad. Two months of martial arts training is not enough for me to say “Oh, yeah, that would be so effective.”

Now… there is a way to cheat yourself out of the fight scene. Both of which were used successfully by one of my favorite authors, Colleen McCullough (of blessed memory). When she was writing her Masters of Rome series, which involves a lot of battles, she would just skip to the end. There would be the buildup, the initial rush, and… then the characters would be left with the aftermath of what they did.
Colleen also used to show you things in the distance as well. This is especially useful for large scale combats, where her main characters were simply the generals, so they rarely get in deep with the mud and blood. Or if the battle is coming towards you, simplify or blur the action (which is realistic), and get it done as fast as possible so you get to the aftermath.

But as I said, that’s cheating. So I’ve learned a couple tricks to get me through the combat that I’ve been avoiding typing on my word processor. First is easy; combat is personal. If you’re only showing the battle from one person’s perspective, you can fill in the emotions, the pain… hey, I know all about that! Then it becomes less about the moves and the actions and more about your experience in the crucial moment.
The second is what I’m currently doing in my Potter-verse adjacent story, No Such Squib. When magic is involved, no one can say “That couldn’t possibly work,” because… you know, magic. The only person who can definitely say that the magic works or not is the person who defined the rules of that magic, i.e., me. Here’s the best part, “magic is a force multiplier.” One wizard can fight off one-on-one, or against multiple witches, depending on how tough they are. And once again, who can say the relative toughness of the individual wizard? Me.
If you gotta write what you know, you might as well make it as easy as you can for yourself, because writing is tough enough as is. However, I think my results speak for themselves, but I’ll let you be the judge of that. A month ago I finished No Such Wizard, my most recent novel. Lots of magic, fighting, talking, and fighting with magic. If you’re a dedicated Kindle user like I am, it’s only $0.99. Check it out. If you’re a cheapskate like me, I still want you to read it, but you can check it out on An Archive of Our Own (AO3) with simpler formatting, but the words are all the same. Let me know what you think!



