Pacing. There’s tons of advice out there about pacing, including pacing for fight scenes. However, I thought it would be important to talk about pacing in the context of how to write violence (including violence beyond just physical fight sequences) because it’s all important to selling your fight scene.
In this article, we won’t be talking about pacing as an overall focus on the whole story. Instead, this will be specifically fight scene oriented.
As a literary term, pacing is essentially the speed and rhythm with which your plot unfolds. Developing that sense of speed, rhythm, and, most importantly, timing is crucial to making an individual fight scene work. For combat, rhythm and timing are crucial. Too much description will get in the way, too much exposition slows down the scene, and too much dialog will reduce the sense of immediacy that a sequence requires to be effective. Ultimately, communicating the actions of violence is about delivering sensation. Tangible, tactile sensation.
Word choice, sentence length, and punctuation are the means of showing and experiencing those sensations. More importantly, a well paced fight scene doubles up beyond the physical. The speed and rhythm of the sequence can tell a reader a great deal about your character’s inner emotional state, how they handle violence and tense situations. Pacing tells the reader how quickly the scene is moving, how immediate it’s becoming, the fact that things are—to put it bluntly—spinning out of control, and that gives us no time to stop and breathe, until finally, at long last, we slam into a wall. Head first!
Okay, that was a joke. What is important to remember about pacing is that there is no one way to do it, in fact, different characters will pace their scenes differently. So, it’s up to you to figure out each of your character’s rhythms if you write from their perspective. Some may like to blend sentences together like I did in the last few sentences of the upper paragraph. Some may need to stop.
They have to think.
They need breaks in paragraphs.
Every few sentences.
Some may like to punctuate the end of every sentence. It gives them a sense. A feeling. They are in control. They know what they are doing. They want the reader to know. They are thinking. No. Don’t stop them.
Long sentences that consistently get shorter and shorter as they blend together can lend a sense of immediacy. Sentences that start short and are clearly punctuated can slow a scene down but can also serve to ratchet up the tension, much like a roller coaster rising towards the pinnacle before rocketing downward. Alternately, it can show a character who is methodical, thinking through their situation, and in control.
No matter what you choose to do with your scene, remember, violent confrontations are high stress environments. They are periods of extreme emotion coupled with the body’s instinctual reactions that may hurt or benefit the character in play. It’s important to ratchet up that tension, the feeling in the story that things are moving faster, more quickly. You can use many different kinds of pacing as a scene progresses to express and support the actions that are occurring in the story.
I tend to pace my action sequences around strong emotion (or the lack thereof). The idea is that because violence is so directly linked to emotion, everything in my work links back to what I am trying to express in the scene. Who a character is and how they behave when in a violent situation is an important part of who they are and how they handle things. This is obviously not the only way you can do it and I encourage you all to play around with different ideas to find what works best for you and for your story.
So, think about it. Instead of thinking about the right way, think about what you’re trying to present. Think about what your characters are feeling, which can be frustrating when you’re already focusing on what they’re doing. Pacing can be an easy way to communicate those emotions and show the effects without having to exposit. Remember, what makes violence effective is the human component (or alien, or vampire component, or ork component).
Remember, these are just suggestions. You can do what you want, experiment, and most importantly find the path that works best for you.
Extra Credit Writing Exercise:
Pick a strong emotion, any emotion, and write a scene about it. It doesn’t have to be a fight scene. Instead of describing the emotion, talking about the emotion, or even using any words to describe the physical reaction to the emotion, attempt to express and communicate it using only sentence structure and punctuation.