First Person is the most interior of the different writing perspectives, which means you’re almost entirely inside out and can only rely on your character’s experiences. One aspect that you can do in First Person, which you can’t in Third is put the entire focus on the sensations the character experiences, their emotions, their fears, their feelings as they’re trying to sort through what is happening and what they’re going to do. You can make it extremely unique, personal, and immediate. Try focusing on intimacy in the sequence. Establish what exactly is going to happen in the fight, the setting, the characters, the surroundings, then put your narrative blinders on and see through your POV character’s eyes. Limit yourself only to that.
Here’s an example:
Ronald walked toward me, his head lifted. I watched as his chest puffed up, and he cast a glance over his shoulder to where his friends waited at the bar. He grinned and so did they. All of them grinning at me.
I took an automatic step backwards, bumping into the chair. I stumbled, but my hand found the table edge. Heart hammering in my ears, I raised my chin defiantly. I made a show of bumbling about, fingers scraping the table’s stick surface until I found the beer I’d ordered. Cal, the bartender hated me, so it arrived still sealed. Just over eighteen meant, I could totally drink around here. Still, Cal was old fashioned. When the law said eighteen, he still felt girls should drink only at twenty-one. Boys? Boys he let drink at sixteen. Fifteen if they were big. Bastard. Still, Cal hated guy on girl violence. Felt it was dishonorable, or something. If it came down to it, maybe I could make his old fashioned values work for me.
Slowly, tucking my bottle into the shadow of my left leg, I turned back to face the boys.
Ronald arrived in a few short steps, his body looming over me as he blocked out the light. At six foot four, he was way bigger than my five foot seven. I liked to think myself pretty big for a girl, but Ronald? Ronald blew all my confidence right out of the water.
“Hey, Ron,” I said. Out of the corner of my eye, I thought I saw Cal straighten up off where he slumped on the bar.
“Lizbet,” Ronald spat. His fingers clenched into a meaty fist. “I want my money.”
“Well, now,” I grinned and tossed my head, “there’s a problem.”
He grabbed the chair, setting it in front of him. He leaned down on it, and the chair groaned beneath his weight. “You lost it.”
“I didn’t. I spent it.”
Ronald snorted. “You got cheek.”
“I try.” I glanced back to Cal, saw his hand sneaking under the bar for where he kept the twelve gauge. Just need Ron to take a swing. Then, I could make a run for it. I let my gaze slide, casually, back to Ronald’s buddies. They were getting up too. Or, worst case, I wouldn’t be fighting alone. My eyes went up to the ceiling, to the hundred black dots embedded in the wood. Or, at least, I could hope I wouldn’t get shot.
Ronald’s head dropped and he glared into my eyes. “I want what’s mine.”
“Well, I don’t have it.” My fingers clenched around the bottle’s neck. “Take it up with Cal.”
His jaw clenched, molars grinding to together. Cheek twitching, tensed all the way up to his ear.
Our noses came close. Super duper close, the closest we’d ever been. Best shot I’ll ever have, I thought. With nowhere to run, it probably be a good idea if I hit him first. Bottle rolled over in my hand. I whipped it up, swinging it right into the side of Ronald’s head.
Active verbs are your friend.
“I ducked behind a table.” “My foot found the table and I kicked it over, dropping behind it in time to hear bullets impact the wall behind me.”
Describe body language.
Describe the actions that lead to other actions. “I raised my hand.” “My arms tightening, I rolled my fist back, and slammed it right into Gerald’s face.”
Try to picture it in your head rather than focusing just on fists, go with feet, with the upper body, lower body, and the environment. Please, use the environment.
Use the environment.
Your set pieces are your friends and key to making your action sequences feel unique. In first person, it’s tight corner view. We’re experiencing what the character feels about their environment. How is it helping or hindering them? What do they do about it?
It’s hard to have a fist fight in a bar when you’re worried about running into a table, tripping over another patron, or getting caught in the back with a chair.
Don’t be afraid to get silly.
You may go, “I don’t want to be embarrassed or my characters to be.” Well, tough. Violence is messy, muddy, dirty, and interspersed with the seriousness we also get the ridiculous which is part of human nature. Terror is offset by humor. You may end up with your protagonist fleeing down the hall or hiding under a bed, beating themselves up about their life choices while they run for their lives. So long as you don’t forget that they’re running for their lives, it’s fine.
Screw ups happen, they have consequences. No one is ever going to get it 100% perfect the whole time.
Never forget you’re on the clock.
One of the rules we put forth for writers new to fight scenes is to try to limit your sequences to eight moves or less. Fighting is like sprinting. It’s high energy output and it’ll leave you exhausted at the end of it. A lot of fights make it feel easy to go on forever, but most are fast and over quickly. Throw in more stumbling, rocking, and describe what it’s like getting hit.
You’ve only got a certain amount of time before these people can’t fight anymore. Limit yourself. Make the most of it. The more self-imposed limits you have then the more creative you’re going to get within them.
Define your options
Your characters’ personalities slamming together are usually the defining factor on how a fight is going to go down, so take a good look at who they are as people. Violence is primarily about problem solving. It is not always about the most successful means of solving a problem, but rather how a person has chosen to solve it. Is this person direct? Do they like to have fun and play with their defeated foes? Are they prone to “RUN AWAY!!!!!”? Who are they? How do they perceive violence and it’s uses?
In the example above, we see Lizbet trying to plan how she can get the bartender on her side in the fight against Ronald, even though she is very clearly the one at fault. Think about it, is your character the type who involves other people or who fights alone? How do they feel about the people/bystanders around them? What if those bystanders decided to join and not with them?
All fights are an exercise in character development, but First Person fights are personal. Not necessarily in the events themselves, but for the character whose eyes we see through.