I’m writing a character that is learning a variety of martial arts from a teammate. Should I avoid going into detail when describing the fights due to her inexperience as she is relatively new to this fighting style

No. If you do cull the detail down it wouldn’t be because of
your character’s inexperience.

In writing, the amount of detail included in the material is
a balance. You use details to sell the setting to the audience; to establish a
sense of verisimilitude. You also use details to convey important information
to the audience without saying it overtly. Sometimes this is because you’re
foreshadowing or because you’re establishing a theme.

In first and third person limited, culling details because a
character doesn’t have the requisite experience or knowledge is a valid
justification. That said, it’s something you should be very careful about
using. Withholding information from the audience can be seen as screwing around
with them. You had your scene, your characters went in, had their
conversations, but your narrator missed something really important without
understanding what they were seeing, and didn’t
relate that to the audience at all
. That last part is what can get you in
trouble.

It’s fine to put a character in a scene and include details
they don’t understand. There is nothing wrong with your audience being a step
or two ahead of your characters. The reader has a detached view of things, and
can evaluate what’s happening with a frame of reference the characters do not
share.

The simple advice is: If a detail is important to the story,
the atmosphere, or to your character (even if it’s a red herring), include it.  If a detail does none of these things, cut it.
And, yes, those are very subjective criteria, this requires judgment calls from
you.

Before someone asks, there are ways to get around this. For
example: multiple characters recounting the same scene give you a lot more
latitude to outright omit critical information a character doesn’t understand
or notice. Characters recounting past events in dialog have a lot more latitude
to be outright deceptive. Again, don’t be afraid of letting your audience get a
step or two ahead of the characters.

With that in mind, training scenes tend to do two things.
You can write a step-by-step walkthrough of a skill involved.  Someone is being instructed, it may as well
be your audience in addition to your character. This isn’t necessary, but it
can help the audience’s suspension of disbelief.

Most writers use their training scenes to supplement their world
building. It goes back to what I just said, if you’re going to actually teach
someone, might include the audience. This is (arguably) one way to naturally deliver large doses of
important exposition.

So, this all loops back to a simple question: What is the
scene there to do? Once you know that, you’ll know what to focus on.

Also, all of these considerations are things you want to
look at when you’re rewriting the scene. Not, necessarily stuff you need to
think about when you’re writing your rough draft. When you’re doing your
roughs, write the scene, then clean it up or cut it on rewrite.

-Starke

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