by Ruth
In the manuscript I’m working on (Bride of China Sea, to be released later this year), I have to write a few fighting scenes. Writing action-packed sequences presents a set of unique challenges for authors. The challenge becomes even more intricate when setting the combat in a bygone era with martial artists wielding traditional weapons. As someone who has no personal experience with martial arts or historical combat, I sought help from my critique group.
One suggestion stood out. “Read a Louis L’Amour fight scene for an example of how to describe a fight. I have used it for my fight scenes. Find a scene that you like. Change the names and descriptions of the characters. Change the order of events and, if applicable, the weapons used. The result is your scene.”
Louis L’Amour, the renowned Western novelist, had a gift for vividly depicting rugged, visceral fight scenes. His narratives often revolve around quick, brutal exchanges among cowboys, gunmen, and outlaws, showcasing swift punches, kicks, and the usage of melee weapons. These scenes are compelling because of their clarity, tempo, and the way each action propels the plot forward.
This advice presented a challenge. Could it be considered plagiarism? Even if it is not, how would I transition the Western-style brawling to the elegant and precise movements of martial artists in 19th-century China?
One fundamental difference lies in the setting. Louis L’Amour’s fights often take place in the harsh landscapes of the American West—dusty streets, saloons, and remote ranches. In contrast, the battlegrounds for my martial artists involved courtyards, dense bamboo forests, and marketplaces. A fight in a bamboo grove offers different opportunities and challenges than one in a saloon.
Martial arts embody discipline and refined techniques such as Tai Chi or Shaolin Kung Fu that differ significantly from the raw brawls of the Old West. Unlike the broad motions often seen in Western bar fights, these styles emphasize precise and calculated strikes. My challenge lies in portraying these styles authentically and understanding their philosophical underpinnings.
Weaponry plays a vital role in fight scenes. The 19th-century martial arts landscape is richly diverse. Traditional weapons like the Jian (straight sword), Dao (single-edged sword), and even more exotic ones like shuriken are often in usage with their symbolic meanings.
Fight scenes should also reflect the characters’ emotions. Is it a matter of honor? Revenge? Survival? Imbuing the scene with these emotional undertones will make the combat more compelling and meaningful.
As I continue to work on Bride of China Sea, the fighting scenes become more than mere plot devices. They evolve into integral components that reflect the characters’ journeys, their cultural backgrounds, and the rich tapestry of history. I hope that by paying attention to these details, my readers will feel every strike, block, and parry as if they were there themselves, standing in the courtyard, surrounded by the whispering bamboo and the echoes of centuries-old traditions.
