if i recall correctly you all have talked before about how being a little faster or stronger isn’t nearly as important as the better choice of armor or weapons and having competency with them, but from what i know of HEMA, in general the weaponry and so the armor of europe generally trended toward more of a style of finesse in fighting (which involves a large amount of training with your weapon of course), would that be accurate to say?
No, assuming strength, dexterity, finesse, or any other trait involves missing the most important one of all: efficiency. In order to write good fight scenes, this is one you need to internalize. There are two terms to familiarize yourself with:
The Economy of Violence.
Conservation of Movement.
If you are not efficient with the energy you have, you will die. No matter how much endurance you have and how much you train, your energy pool will always be limited. The entire goal of martial combat is to expend as little energy as possible while protecting yourself as much as you possibly can. Finesse, strength, dexterity, any other attribute comes in second to this goal, and you do not need a long period of training to learn to be efficient. Small, minute movements rather than large ones conserve energy; weapons make it easier to kill your enemies, and the more efficient the weapon, the easier it is to learn in a short period of time. The weapons Europe gravited toward were weapons that required little time to learn and were effective with marginal training, because you didn’t need to waste time getting someone up to snuff. The easier a weapon is, the more individuals gravitate towards learning how to use the weapon, the more widespread it becomes, and the quicker it is adapted as a cultural mainstay. See: the handgun.
In the modern era, we can train a combat ready soldier in three months. They won’t be the best, they won’t be perfect, but they’ll be effective and, more importantly, efficient in their fighting style.
The Economy of Violence is the cost of violence, the toil it takes on the body, the time it takes to kill your enemy, and what you must pay physically, mentally, and emotionally in order to win. Violence has both costs and consequences, internalizing this concept is necessary as a writer to bring realism to your fiction. This is an economy you must create within your own writing, and keep at the forefront of your mind. Unlike the real world, you’re creating the rules and, while that sounds great, the rules are what sustain Suspension of Disbelief. Violating those rules will break the disbelief, and dispel the illusion. Not so terrible compared to the real world where misunderstanding the cost and consequence of violence will get you injured, killed, shamed, and shunned.
Fictional characters are often wasteful to the point of becoming unrealistic because they don’t need to face physical, mental, emotional, and societal consequences of their actions if the writer chooses to exclude them. They can fight forever if the writer wants. They can do whatever you want them to. Of course, these stories lack tension, audiences cry about their believability, and there’s not much point to reading them. Still, you can if you want.
Efficiency is a lesson which carries beyond violence. Embracing the Economy of Violence and learning to be efficient in your own writing will help you grow into a better writer. Your scenes will flow better, your narrative will stay on point, your characters will feel more like real people, your sentences will be uncluttered, and your writing will have purpose. You’ll understand what you’re doing, where you’re going, and what toll you’ll need to pay in order to get where you want to be. Your characters will start making choices dependent less on what the narrative needs and more on their own survival. They’ll start choosing violent actions that are more than set pieces, but based in their emotions and their smarts. Their narrative structure will support them with natural fallout.
Understand this, the make or break is in how well you control your resources. The tension is in the cost and consequence, in the time it takes to achieve objectives. Waste not, want not, after all.
If you study the evolution of violence and martial combat styles worldwide, even without the ancillary details, the focus is always not just on what works but what takes the least time. Effectiveness is the order of the day. After all, why use three strokes to achieve the same goal when you can just use one. When looking to improve, the focus rests on streamlining and raising the effectiveness of the tool at hand. The tools are discarded when better or more effective/efficient tools come along.
This is why your fight scenes need internal justification from your characters. They shouldn’t be taking out the inhabitants of whole castles on extraction missions just because they can. This path isn’t better because it wastes time, because it involves putting in more work than you need and involves taking more risks than necessary. Outside of a character justification like hubris, there’s just no point. The more capable a character is, the more efficient they’re going to be and more focused on economizing their violence. They’ll maximize their input if it achieves maximum output in the trade off. They’ll waste less time than other characters, be more capable of assessing a situation, and they’ll be ending fights in fewer blows. Everything will be contracted and concise, because it’s ultimately less wasteful and saves energy in the long run. That energy saved can be applied to the next opponent, or escape, or a half a dozen other scenarios. The goal is to be as quick as possible, and how you get there is ultimately up to you.
This is why applying physical attributes like strength, dexterity, and finesse ultimately shortchange the conversation. You can make any of those work, and can gain them with any body type, but what you can’t work with is someone who isn’t efficient, who wastes time, who makes big visible motions that don’t amount to anything. Someone who can’t conserve their energy, and who wastes it. Even when they don’t seem to be efficient, all the surviving martial arts are, in their own unique ways. Fortifications, as an example, are designed to get your enemy to spend more energy reaching you and setting up natural traps where invaders can be safely mopped up by the defenders. It’s all about making your job easier, and, keep in mind, your enemy wants the exact same thing.
I’ll grant you, finesse sounds cooler than conservation, economy, or efficiency. However, to cleave to that will miss the ultimate point which helps you write better fight scenes. More than any other aspect, you need the Economy of Violence to set up rules for your violence within the narrative. Those rules fuel suspension of disbelief, and help keep your audience invested in the narrative. They are the part of violence that is “real”.