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How To Write An Epic Battle Scene

• by Hannah Collins
• January 18, 2017

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Whether it’s a muddy siege on a Medieval castle, rugged cowboys firing pistols from horseback, or a laser-beam shoot-’em-up in another galaxy, a great battle scene is a staple of action stories. High stakes, high body count, and – if it is in space – really, really high up.

We’ve covered the fundamentals of writing a good fight scene before , so let’s expand those ideas into the ingredients of an epic battle scene.

One battle scene is great, twelve is too many

Less isn’t always more. I, for one, prefer ‘more’ cake, for instance. But when it comes to battle scenes, this age-old phrase rings true. Why? Because they’ll start to seem like the worst thing an action scene can be: pointless and, by extension, dull. It may be tempting to fill your story with wall-to-wall, adrenaline-pumping battles in the spirit of ‘giving the people what they want’, but this level of drama is hard to maintain.

You also shouldn’t underestimate the power of breathing room in between periods of action. The best romance novels harness this power to its fullest – tantalizing readers with a slow build up of tension punctuated by short flurries of excitement, leading eventually to one or two big, um, ‘ pay-offs ’. This technique is applicable to novels with all kinds of action; it’s just that in a battle scene, the pay-off is more along the lines of slicing off someone’s head.

Define the goals and consequences

We’ve established that you should have plenty of breathing room between big battles, but what should you use that breathing room for? It may seem obvious, but a battle scene needs to have a point. Establishing your character’s goals will help you define why your battle scene is happening in the first place. What is your character’s motivation to fight? What is the end result they need from the battle? Are they going to win or lose? What does the outcome of the battle mean to them? What does the outcome mean for the story?

Determine short, medium and long-term goals for your character. If we use The Hobbit as an example, a short-term goal for Bilbo is answering Gollum’s riddles correctly or distracting Smaug long enough to steal the Arkenstone. A medium-term goal is for men, dwarves and elves to unite and defeat the orcs and wargs in the Battle of Five Armies on the Lonely Mountain. The long-term goal for Bilbo is… Well, just to get back home ASAP and put his hairy feet up. Each of these goals are character-building for Bilbo, as he truly – though begrudgingly – goes above and beyond his role as ‘thief’ in Thorin’s company, and as a result, changes the course of history in Middle Earth. Each of these conflicts also advances the narrative. They serve a purpose beyond mere spectacle.

Make the battle a personal struggle

As always, establishing empathy for your character will prompt your reader to invest in whatever perils you put them through. This is why – with the exception of sequels – starting your book in the middle of a battle is seriously risky. Without your reader knowing who any of the characters are or what the stakes are, there’s no way to make them really care about what’s happening.

The easiest way to heighten the stakes of a battle is to make them personal to both the protagonist and antagonist. Combining internal and external conflict grounds the fighting in something relatable. Huge explosions and thousand-strong armies are exciting, but they aren’t enough to fully engage us. Warring families, grudge matches, vengeance missions, and separated lovers, on the other hand, imbue a battle scene with emotional resonance.

The Battle of Hogwarts in J.K Rowling’s Harry Potter and the Deathly Hallows is a fittingly epic climax to the saga. Even though the reader knows this is a classic clash of ‘good’ vs ‘evil’, the emotional center of the drama rests on a long-awaited grudge match between two established enemies.

“Protego!” roared Harry, and the Shield Charm expanded in the middle of the hall, and Voldemort stared around for the source as Harry pulled off the Invisibility Cloak at last. The yell of shock, the cheers, the screams on every side of “Harry!” “HE’S ALIVE!” were stifled at once. The crowd was afraid, and silence fell abruptly and completely as Voldemort and Harry looked at each other, and began, at the same moment, to circle each other. “I don’t want anyone else to try to help,” Harry said loudly, and in the total silence his voice carried like a trumpet call. “It’s got to be like this. It’s got to be me.” – J. K. Rowling,  Harry Potter and the Deathly Hallows

Use perspective to your advantage

Writing an epic battle scene can be a tricky task for one simple reason: it’s a chiefly visual  event. Of course, as an author, this doesn’t need to hinder you. Rather, it should make you even more creative when you sit down to write your battle. Sure, the sight of blood splattering across a camera lens and the clashing sound of steel blades is a potent experience, but narrator-less battles can also be repetitive, confusing, and exhausting to watch. The ‘ Bayhem ’ of the Transformers movies is a good (or should I say ‘bad’) example of this.

Shifting perspective is a key tool, here. In the following action scene from John le Carré’s The Spy Who Came in from the Cold , Le Carré uses the third-person point of view to show us not only what’s happening around Leamus, but his own viewpoint on it.

Leamus was blinded, he turned his head away, wrenching wildly at Liz’s arm. Now she was swinging free; he thought she had slipped and he called frantically, still drawing her upwards. He could see nothing – only a mad confusion of color dancing in his eyes. Then came the hysterical wail of sirens, orders frantically shouted. Half kneeling astride the wall he grasped both her arms in his, and began dragging her to him inch by inch, himself on the verge of falling. – John le Carré, The Spy Who Came in from the Cold

We are able to clearly visualize each action as it happens through Le Carré’s economical sentences, and understand the emotional weight of them through Leamus’ reactions – aided by Le Carré’s focus on sensory description. Totally immersive, even without a single robot vs. alien smash-fest.

Keep track of your characters

If your character has to get from A to B via a war zone, you need to know how. After all, it’s probably not going to be a straightforward journey for them, and if it is, you probably haven’t thrown enough hurdles at them. Tracking your character’s path through the battle will stop you (and them) from getting lost or missing out key details, which is especially essential if you’re going to be jumping between different characters’ perspectives. How should you track them? Draw an actual map of the battle. It doesn’t have to look pretty, just functional.

This should also help you keep track of where landmarks are in relation to your characters at every point in the battle. Landmarks can be used as anchors for your reader as you move your character around the scene. If there’s, say, a castle to the north-west of where your character starts, where will that castle be when they’re at the half-way point, or at the end? How many yards or miles away is it? You may not end up including all of these details, but clear planning will help with clear description. You might want to convey a sense of chaos to your reader, but you don’t want to lose them in it.

The perfect battle scene

The major mistake that most authors make when writing a battle scene is to treat the battle itself as the focus. In written works, battles are about results, and these are far easier to communicate through individual characters.

Don’t try to communicate the chaos of warfare head on, but have it happen to your characters. Blow up their escape route, drop a building on them, and bombard them with trouble. If you want to show the battle on a wider scale, split them up, or spread them throughout the battle scene before it starts.

Spectacle is drawn from consequence – if a city the reader has never visited is overrun, they’ll struggle to care, but if they’ve been there in peacetime and know what’s being destroyed, or understand the city’s tactical value to the protagonists, then they know exactly what its loss means. The key to a great battle is in quantifying the events within it; the reader needs to know what’s at stake, what’s being lost, and what each specific event means for the overall outcome .

Why is the arrival of the cavalry always such a great moment? Because it completely alters the stakes and outcome in a way the reader understands (usually bringing the ‘good guys’ back from the brink). If you want to guarantee an epic battle scene, start with the goals of the protagonists and extrapolate moments that put those goals under threat. You’ll have a tense, exhilarating battle scene before you know it.

Do you have a favorite battle scene that’s inspired your writing? Let me know in the comments! Or, for more advice about writing combat in your story, check out Here’s How To Write A Damn Good Fight Scene ,  The 5 Immutable Laws Of Writing A Good Action Scene , and  How (And When) To Kill A Character .

• Action , Alternate history , Antagonist , Case study , Fantasy , Fiction , Plot , Point of view , Protagonist , Science fiction , Story settings , World building , Young adult

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Hannah Collins

6 thoughts on “how to write an epic battle scene”.

Thank you, Hanna, wonderfully concise and understandable. Love that you used LeCarre to illustrate; one of my favourite scenes. You explained why, beautifully.

Thank you very much for the kind words! Yes, any opportunity to reference LeCarre has to be taken, IMO.

Thanks, Hannah

Hanna, this was good. I particularly liked (and took notes) about sketching the battle site/city/planet/dungeon. The point you made of “consequence” is spot on. Your example author, Tolkien wrote some epic battle scenes; Battle of Pelennor Fields comes straight to mind. He did just as you recommend, narrowed the viewpoint to only a few main characters and let their experiences reveal the action. One thing I’d add, if your battle comes before the Grand Kablooie, then it must have its own significant plot consequences. Main characters have to die. A battle for the sake of adding drama or action to an otherwise dull sequence will only make it worse.

Thanks for the comment and the kind feedback. Yes, Tolkien really was a master of his craft. I don’t think Peter Jackson’s adaptations would have been as strong as there were without the source material being so good.

I agree – without reason and consequence, a battle scene is all empty spectacle. A battle scene preempting the climax would – as you said – have to contain something as significant as a character death or bring closure to a subplot in order to avoid that trap.

Thank you Hanna, this was well made and everything I had hoped for. There are really good points to take away from this. Especially the thoughts on personal struggles, consequences for the reader and keeping track of your characters.

But I have some questions for my own story. My story starts with a battle scene, even though this is risky. It will be fairly short and not an entire intricate battle. Even though the reader does not know the character, or the stakes, I figured this a way to show what the character has gone through before he returns to the place where most of the action takes place. And it shows there will be battles and blood.

What do you make of this? Is this a viable “start with action”? Or should I keep some things in mind?

Hi Francis,

Thanks for the comment – I’m glad you found the article useful.

Starting a battle is a risky thing to do, as you said, but by no means impossible to pull off. I think keeping it fairly short – as you mentioned you would – is a good idea, just so you don’t risk losing the reader’s interest. If I were you, I would consider focussing that battle around your main protagonist(s) and use it as a device for your reader to get to know them. Personally, I don’t usually mind if I’m thrown into an action scene (or just any scene) and don’t immediately know what’s going on and what the stakes are, because there’s a kind of pleasure in discovering that as the scene continues. But what I do think is essential is connecting with the characters as quickly as possible. You want the reader to want to keep following them, even if they’re not sure of the destination yet.

Try and inject your protagonist’s personality into all of their actions and dialogue, and keep in mind how they’d be feeling during the battle – excited? Nervous? Scared? Angry? Once the battle is over, you can move into a ‘quieter’ section to reflect on what’s just taken place, which is when some key exposition will probably be needed to contextualise everything – including the all-important stakes.

I hope that helps.

For further advice on starting a story, you might find these articles useful too: //www.standoutbooks.com/how-to-write-first-chapter/ //www.standoutbooks.com/four-story-openings-put-people-avoid/ //www.standoutbooks.com/should-you-always-start-with-the-action/

Good luck with the writing!

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Creative Writing - War.

Creative Writing - War

We all heard the disquieting crunch, off in the far distance. For a few seconds, we remained still, sinking deeper into the mud, anticipating another sound to calm our nerves. Instead, a fraudulent silence followed. General Loft's reaction was delayed; his hand shot up immediately as he remembered his position. Hurriedly, he waved us down. For a second he starred hard into the dense green jungle, trying to pierce through it with his eyes. Ours were focused on his right hand, awaiting further instructions. His eyes widened, with fear and urgency he turned to face us. His mouth opened, but all we could hear was a neat and tidy screech, travelling through the sharp leaves. Blood exploded out of Loft's neck as the bullet made impact. His fall to the ground was slow; it seemed to suck out all the sound around us. As the general's body splattered into the swamp, the monstrous crackle of machine gun fire roared around us. Chests began bursting around me, blood and dirt spitting everywhere. A few men tried to run, but they were consumed by a grenade's unleashed inferno. The medic seemed to be dodging bullets for a while, until a mass of them, entered his right cheek. There were shouts of 'run', 'take cover', each with a sense of unease and terror. The bullets were not moving through the air, they were simply atmospheric. I decided it would be hopeless to try and escape, it was equally foolish to attempt to fight. I slid down onto my back, and closed my eyes. As the thunderous noise raged on, I prayed to God to spare my life.

I had joined the British Army in late 1941, without much enthusiasm. My father encouraged me to sign up after our home in Coventry, was flattened during the Blitz in 1940. He had fought in the First World War, but was sent back from the Western Front after a shell landed in his trench, blowing his leg off and killing his First Sergeant;

This is a preview of the whole essay

 'At least one Atherton should be apart of a Great British victory' he would say. Two years my senior, my brother Michael was not seen by my father to be 'that' Atherton. He complained he was too much like my mother, who was German born. When the bombing raids began, the local community disowned my family because of this. In the eyes of my father, by helping my nation defeat the enemy, it would put things right. So I put my dreams of becoming a doctor aside, and decided to join the war effort. My mother was too frightened to come to the door, so the only goodbye I received were a few obtuse words, from my father as I walked away;

'Give the Geris a good bullocking, for your old man'. Much to my father's dismay, I would not be joining my fellow countrymen in Europe, but instead joining the war in the Far East. I was placed in 'Quick Arrow', a ground troop regiment of the British army. Our group had earned its name because of the speed and accuracy we had shown on training operations. On the 21 st  December, after three months of training in Southampton, we were sent to a large British base in Singapore. The war had begun for me, against the Japanese Empire.

 One day prior to our ambush in the jungle, we had been marching along the Bepong River, in the south of Malaya. Quick Arrow had been assigned there to resist Japanese forces, attempting a ground offences against the large base in Singapore, via Malaya. The allies were confident that if the Japanese were to attack the base, it would be by sea, not by land. Therefore, only a few other British Regiments were located in Malaya. We had been marching along the very same river for the last month. Back and forth, with no sign of the enemy. By now, even the most frightened of men wanted to fight. Troops would fire a few rounds into the air, to let out their frustration. Many suffered severe foot cramp and blisters. Our faces became dominated with mosquito bites. We had even come to the point, that we were sick and tired of the beautiful surroundings. We passed the rice farming community, as we did every day. We looked at them with baffled faces that day. They offered us their usual greetings, nodding and smiling at us. But their gestures were more anxious then usual. They seemed to have increased in number too. The eyes of four Malayan men, wearing sarongs, followed us as we walked. Staring at us with suspicious expressions. We thought nothing of it and carried on with our walk. After all, there were bound to be a few Malayans that were unhappy with our presence.

We arrived back at our base later than usual that night. Our 'base' was simply a few huts that we had occupied in a local village. That particular night was cool. Silent too. Two local children sat beside me at the fire. I showed them the music box my mother gave me. A fairy would rotated on a yellow base, as the music plucked out. The children's laughs showed me how special the toy was. They scampered off as General Loft came out of his quarter's to address us;

'I just received a call from the Singapore. We'll be moving into the jungle tomorrow, so get some sleep and I'll see you boys in the morning'. There wasn't a guarantee of coming into combat with the enemy, but at least it was a change of scenery. I couldn't wait to go into the jungle.

I had been lying in the muddy ditch for two hours. The shock and fear to what had just happened had kept me there.

 My eyes rolled around, the pure smell of the jungle had been contaminated by the smell of death. A leather boot stomped directly in front of my eyes. It belonged to a short man. He pulled me up roughly and starred directly into my eyes. Another man stood next to him, two others in searching for useful artillery. All were wearing Malayan sarongs. They looked looking at me in disgust. I remember thinking to myself, 'Oh my God, these Nips are going to kill me!' I was thrown onto a truck, carrying four other British troops who had been captured. It was on its way to a Japanese base. The jungle provided an excellent division between us; a marvellous camouflage for them. I wasn't naïve in thinking that these Japs pitied me. They hadn't killed me, because they desired to execute all of us, one by one at their headquarters. As the truck staggered along the bumpy road, the Japanese officer guarding us spoke.

'You coward, you no fight'. Our heads remained faced down, we didn't know whom he was addressing, and we didn't want to know. He swiftly got up from his crouched position, ran over to me and struck my shoulder with the side of his hand;

 'You no fight, you like baby'. His words were fierce as he continued to mock me. After spitting on my shoes, he returned to his position on the truck, and with a dry throat he laughed as he watched over us. His laughter was dry, it echoed throughout the jungle. I gazed up at him, and then busted out into tears. They had blindfolded us for the last few miles of the journey. With my hands tied firmly behind my back, I was flung against a tough wall. They removed my blindfold, but left my hands as they were. The room was dark, but the walls appeared to be metallic. It was a cell. This base had been here for sometime. A crack in the wall, which allowed a small amount of light in. I was able to count the days because I this. On the third day I was fed. A plate of lentils and rice was dropped four feet away from me, much of it spilling on the floor. My hands were not untied.

 The first few months in captivity I spent sobbing and shouting. I hurled myself against the door on occasions. Nobody came to shut me up, only to take me to the toilet. Then, left me in silence, alone;

 'You bastard Nips, come and fight me.' I would curse like this for a while, with no response. This reduced me to tears. I cried myself to sleep most nights, pleading for someone to come, until I fell asleep. Then, they would come;

'You Brits, you all fucking babies' they screamed as they beat me. I always had trouble falling asleep those first few months. The unbearable moans of other prisoners rang throughout the night. cogd gdr segdgdw orgd gdk ingd fogd gd.

'Mummy, I want my Mummy!' One morning, I crawled over to the crack in the wall and looked out for the first time. I could see four men on the ground, dead. Their bodies were rotting; the circling flies said they had been dead for some time. They were placed outside my cell for a reason. If the Japs were going to kill me, they would have done it by now. I realised I wouldn't be executed; I would just be in this cell, for a very long time.

 After the first few months, I got over my troubles. The beating still occurred, but not as often. I still had to crawl for my food. But I was used to it; after all, I had forgotten how to walk. It must have been after few years, that I experience my most pleasant moment as a prisoner. It was a sunny day; the light beamed through the crack and painted my face gold. I watched the dust particles dance on the yellow ray, it was bliss. I smiled. Weber oppressed dazzle's rationalisation hypothesis.

I remained a prisoner of the Japanese army for the next four years. American soldiers freed me, and 34 other prisoners in 1946. The Japanese took the base the British Base at Singapore in February 1941. They took 80,000 prisoners of war. They had succeeded, through a ground offensive.

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Contemporary Writing on War and Conflict

• World War One: Projects to Mark the Centenary
• September 2014 - December 2018

This project examines the contemporary war experience as reflected by writers, poets, journalists and bloggers, and interrogate how we write about war and conflict today in contrast to the writing that was written on WW1.

Thought pieces from leading contemporary UK writers are a starting point for international public discussions. Looking at questions such as: What is the role of the writer in responding to conflict? What feels like an appropriate amount of time before creating an artistic response to war? Who do we trust to write about war? What we accept as war literature today, and how this is influenced by its context and changing global situations. How do we capture the human experience of war?

Caroline Wyatt on reportage

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Helen Dunmore   on fiction,

Owen Sheers  on poetry

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Ben Hammersley is an author, futurist and technologist specialising in the effects of the internet and the ubiquitous digital network on the world’s political, cultural and social spheres. He enjoys an international career as a trends and digital guru, explaining complex technological and sociological topics to lay audiences, and as a high-level advisor on these matters to governments and business. Ben Hammersley is a Fellow at The Brookings Institute in Washington DC, a fellow at the Robert Schuman School of Advanced Study at the European University Institute in Florence, Italy, and Innovator-in-Residence at the Centre for Creative and Social Technologies, Goldsmiths, University of London. He is contributing editor of WIRED Magazine and writes regularly for the international media including The Financial Times .

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Coordinates of elektrostal in degrees and decimal minutes, utm coordinates of elektrostal, geographic coordinate systems.

WGS 84 coordinate reference system is the latest revision of the World Geodetic System, which is used in mapping and navigation, including GPS satellite navigation system (the Global Positioning System).

Geographic coordinates (latitude and longitude) define a position on the Earth’s surface. Coordinates are angular units. The canonical form of latitude and longitude representation uses degrees (°), minutes (′), and seconds (″). GPS systems widely use coordinates in degrees and decimal minutes, or in decimal degrees.

Latitude varies from −90° to 90°. The latitude of the Equator is 0°; the latitude of the South Pole is −90°; the latitude of the North Pole is 90°. Positive latitude values correspond to the geographic locations north of the Equator (abbrev. N). Negative latitude values correspond to the geographic locations south of the Equator (abbrev. S).

Longitude is counted from the prime meridian ( IERS Reference Meridian for WGS 84) and varies from −180° to 180°. Positive longitude values correspond to the geographic locations east of the prime meridian (abbrev. E). Negative longitude values correspond to the geographic locations west of the prime meridian (abbrev. W).

UTM or Universal Transverse Mercator coordinate system divides the Earth’s surface into 60 longitudinal zones. The coordinates of a location within each zone are defined as a planar coordinate pair related to the intersection of the equator and the zone’s central meridian, and measured in meters.

Elevation above sea level is a measure of a geographic location’s height. We are using the global digital elevation model GTOPO30 .

Elektrostal , Moscow Oblast, Russia

Time in Elektrostal , Moscow Oblast, Russia now

• Tokyo 01:08AM
• Beijing 12:08AM
• Kyiv 07:08PM
• Paris 06:08PM
• London 05:08PM
• New York 12:08PM
• Los Angeles 09:08AM

Time zone info for Elektrostal

• The time in Elektrostal is 8 hours ahead of the time in New York when New York is on standard time, and 7 hours ahead of the time in New York when New York is on daylight saving time.
• Elektrostal does not change between summer time and winter time.
• The IANA time zone identifier for Elektrostal is Europe/Moscow.

Time difference from Elektrostal

Sunrise, sunset, day length and solar time for elektrostal.

• Sunrise: 05:43AM
• Sunset: 07:14PM
• Day length: 13h 31m
• Solar noon: 12:29PM
• The current local time in Elektrostal is 29 minutes ahead of apparent solar time.

Elektrostal on the map

• Location: Moscow Oblast, Russia
• Latitude: 55.79. Longitude: 38.46
• Population: 144,000

Best restaurants in Elektrostal

• #1 Tolsty medved - Steakhouses food
• #2 Ermitazh - European and japanese food
• #3 Pechka - European and french food

Find best places to eat in Elektrostal

• Best kebabs in Elektrostal restaurants
• Best business lunch restaurants in Elektrostal
• Best pubs & bars in Elektrostal

The 50 largest cities in Russia

Radiators fail once more: Moscow suburbs residents appeal to Putin

R esidents across the Moscow suburbs are besieged by a heating problem, for which they plead direct intervention from President Vladimir Putin. These individuals have yet to experience any semblance of home heating since winter started due to a dwindling supply of heating oil. The issue, one largely avoided by local authority communication, has left residents desperate to the point of directly appealing to the president.

While plots have been uncovered to disrupt Ukraine's infrastructure for a second consecutive winter, thus depriving civilians of heating, it seems Russians are now mired in their crisis. Irony drips from the fact that those under Putin's leadership are looking to cause turmoil in Ukraine, yet at home, they face a similar predicament.

Many dwellings within the Moscow agglomeration are presently without heat. The capital's residents are desperate, directly appealing to President Putin due to a perceived lack of alternate avenues for assistance. The absence of suitable heating functionality since winter commenced pushes them towards desperation with no relief in sight.

This seems improbable, but in Russia, it appears that anything can happen.

It remains uncertain if Vladimir Putin is actively addressing the heating crisis. Some experts suggest that Russia's heating oil reserves are depleting, which negatively affects residents' quality of life. Plagued by cold radiators and plummeting winter temperatures, these citizens have directly addressed their pleas to their head of state.

This heating crisis is happening in Elektrostal, a town approximately 71 miles from Moscow.

Ironically, Russia has constantly aimed to destroy the Ukrainian infrastructure since war broke out, deliberately trying to leave Ukrainians without heating during the harsh winters, aiming to break their strong will. It's an irony they now struggle with a domestic heating crisis, particularly near Moscow, their largest and most pivotal city.

Desperate individuals are reaching out to Vladimir Putin. They question his knowledge of the heating infrastructure conditions in the Moscow suburbs and the dire situations residents face there. Sundown brings no relief from the harsh Russian winter and without heating, their houses turn cold. With elections nearing, more and more residents find themselves reaching out directly to their president.

"Since winter's start, we've been without heating. This has been a yearly occurrence for the past three years. Despite paying for heating, we don't have enough. We implore you, help us!" - these are the desperate pleas from the heavily dressed populace dealing with the Russian winter conditions.

Experts attribute the heating oil shortage to international sanctions and surging demands for diesel fuel, pivotal to military operations. Russia now grapples with a dearth of raw materials essential for boiler and heating plant operation. As supplies dwindle, houses grow cold with little hope of any immediate corrective intervention.

It would be adequate if the war ceased, residents were prioritized, and attention accorded to their welfare.

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