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pipefoxesonthemoon · 4 years ago

Note

Counter argument.

Have no plan. Go into a fight scene with blood and thunder. Watch any few minutes of any fight, including professional MMA stuff, and you’ll see how quickly they devolve into violent chances and opportunity.

No plan survives contact with the enemy, as Helmut Von Moltka was so fond of saying.

Yes things like purpose, tension and structure are important, but spending every paragraph describing ever punch and throw is not only exhausting but pointless.

You only need to focus on the important moments, everything else can be described as a blur of sudden activity where it’s better to focus on the pain and emotion of the fight than the actual punches being thrown.

Owl-Sensei... Tips on writing fight scenes?

Oh boy this ask is a bit general so im going to separate this whole mess of advice into chunks so hopefully i can cover whatever specifications you wanted

the three main topics ended up being these:

characters and fighting ability

agonizing writing process

prepare your fighting planners

get your style on

Also i might say obvious shit but i know sometimes its the obvious shit ppl miss so,,, yes

im sorry if anythings incomprehensible and that i only speak in word vomit, i really tried to be concise but it didnt end up happening. also i overcomplicate things and for that i am sorry too fniwofnwo

Characters and Fighting Ability

So im the absolute least qualified for this mess, but as a rule of thumb, try and research certain fighting styles. However a lot of characters in shows seem to wing it with whatever works from what I can tell?? So dont bend over backwards to try and give each character a specific “official” fighting style like karate, taekwondo, etc.. (unless thats part of their canonical characterization.)

Still, try and stick to loosely based styles they prefer. Do they use brute strength? Do they rely on stealth? Quick and deadly? Slow but consistent? Messy? Resourceful? Do they prefer to use a certain arm, a certain leg? Are they flexible? Are they fast, are they slow? How are their reflexes? Do they even engage in hand-to-hand combat, or do they utilize other abilities? Weapons? Do they have past injuries that affect their fighting abilities? What’s their pain tolerance like? How do they react under pressure? How is their stamina?

If someone isn’t skilled, they’ll probably utilize the same actions over and over again. (ie just relying on punching someone until they win or lose.) use this characters’ measure of skill and/or knowledge of fighting to your advantage to show how experienced they are. If someone is more experienced, they’ll probably have a greater array of fighting styles/abilities/skills under their belt.

For me, I try and write down a little character page of what actions they prefer and what they’re not good at, or where the character excels. Also what kind of people they’d be weak against/strong with. It’s also good to note how this changes over time.

Ask yourselves these kinds of questions and try to remain as consistent as possible. If a character suddenly loses the ability to do something they did perfectly in another scene just to add tension, you lose the suspension of disbelief. It makes the characterization seem weak. (the exception is if there is a very viable reason, and that reason is addressed. For example: the character was injured and was in the hospital, and they lost most of their strength capacity or dexterity. Or: the character isn’t the character you think they are—rather, it’s someone fake who’s posing as them, and that fact is only revealed later, etc., etc.)

I say the most important things to keep in mind is this:

Understand loosely a character’s fighting style

Show development or growth

Remain consistent

Have creative freedom

The last point is just a personal preference, but… have fun? Its a story, make things that arent realistic just for the cool factor!! Go hog wild!! I personally dont want to read eight pages about people who just rely on punches and kicks. Write action scenes that arent realistic, but instead stray more toward creative fluidity!! Add some psychological/emotional digs!! Add flamethrowers!! HELL ADD A FLAMING CHAIN DRAGON??? IDC???? WHO TF CARES????

Agonizing Writing Processes

One of the most important things that you should understand is that writing fight scenes are hard. Its not one of those things you can usually whip out on the first go. (note: if you have a much more abstract writing style, and you don’t explicitly describe fight scenes but rather key phrases and moments, this might not apply as nicely.) Because of this difficulty, i like to break it up into sections:

Bare Bones: basically, just slap down everything you can. It doesnt matter if its good or fluid, just write something down. Dont worry about how it looks or feels, seriously. Just get the foundation down first. No one but you is going to read it, so who cares how bad it might be?? I cannot stress how important it is that you just write freely—fight scenes are messy too!! So write as if you’re writing a messy interaction. This is the equivalent of getting a box for your gift.

Break #1!: Take an hour or two, write something else, don’t look at what you’ve written so far

Thicc Muscle: this is where you add more of the detail. Fluff up your writing!! Add more lines of dialogue, actions, etc. Put more vivid detail. Add character interactions. What scenes did you miss? Where could you add different elements?? What fights can you add to?? (if a fight scene is very simple and short-lived, what seems lacking? Have you gotten in your character’s head enough??). This is the stuff you put in your box for your gift.

Break #2!: You’re going to get sick of me saying this but take breaks!!! Please. I promise it helps. It helps you look at your scenes with a fresh eye, but it also helps you from burning out. Taking breaks allows you to do each main step to the fullest of your ability!! Long breaks after these first two steps is incredibly important.

Skin Covering: this is the step where you start to refine. Rewrite those sequences of actions that don’t make sense or are repetitive. Get rid of that scene that doesn’t add anything. Cut the unnecessary fluff. Add something else you forgot to include. Make those character interactions less unnatural. Wrap everything up with a nice wrapping paper for your gift. Congrats! Now you have a solid fighting sequence.

Break #3!: this one doesn’t have to be as long as the others, but just take a moment. Have a snack. Indulge yourself. Walk around your house/room. Whatever you need to do a quick reset.

Dermal Marks: now that you have a solid base, it’s time for the final changes!!. The most important part of this section is to make your scenes fluid—fight scenes rely on fluidity to be well-read. Make sure each scene/action flows into the next. Change repetitive words. Manipulate sentence structure. Move lines around. Do small edits. Read the fight scene aloud—what seems awkward? Refine, adapt! Add those “special lines” that leave your readers going “wow!” what do you want to emphasize? this is where you change a solid fight scene into a very polished one. you’re putting the bow on your gift. Congrats!! Youre now done!! Give yourself a sticker or indulge in something you like that you save for special occasions. You did something really hard!!

do as many drafts as you need to do before youre happy with it. its only you whos going to see the failed attempts, so just do whatever you need to do to get it right!!

The writing process for fight scenes is frustrating, i know. I have yet to find an author who doesnt struggle in some way with writing them. Instead of half-doing it or quitting, maybe break it into manageable chunks. if you know ahead of time youre writing a very long or complex fight scene, give yourself the time to work on it. Dont rush yourself or cram it all into a few hours, you’ll only frustrate yourself!!

Even if youre writing a much simpler fight scene the same can be applied!! You wont have to take as long of breaks and its not nearly as time-consuming. Still, it’s much easier to work in layers. Dont stress yourself on making it perfect the first time: add a note or comment to yourself to come back to it later!

Prepare Your Fighting Planners

FYI: this is mostly my opinion so take this with a grain of salt. Also i might have missed something, so feel free to add more where i left gaps.

Understanding Purpose

when it comes to planning out a fight scene, you first want to have an understanding of what you want to address in it. What is the fight’s purpose? How do the elements in it relate to the rest of the story?

Fighting scenes can reveal the best and worst of characters. It can show the personality of someone in the heat of the moment, often times when the stakes are at their highest. They are the scenes that can peel back the layers of characters to their most basic forms/intentions/motivations. They can be the magnifying glass, the hand that pulls back the veil of human complexities. Bc of this they should be treated with such respect. They should serve a purpose. So ask yourself: what purpose does this fight scene mean to your story?

It’s best, in my opinion, to start with the most basic reasons behind it. For example:

a character who will have an important role in the story is introduced (usually the antagonist)

a character undergoes emotional/physical development

a relationship between two or more characters undergoes negative/positive development

a conflict is resolved

the plot is furthered/developed

worldbuilding is introduced

characterization is solidified

(i should be clear that a fight scene doesn’t have to be the Most Important Thing In the World or a Perfectly Written Scene, and you shouldn’t have to put that pressure on yourself. Have fun. But it CAN do a lot if you want it to, and it should at least mean something.)

For example: BNHA. Sports Festival. Midoriya vs. Todoroki. The main purpose of this fight is the second example: “character undergoes emotional/physical development.” there may be other reasons but that is the most obvious and basics of reasons.

Another example: BNHA. Heroes vs. Villains Exercise. Midoriya vs. Bakugo. Main purpose? “A relationship between two or more characters undergoes negative/positive development.”

Another example: Again, BNHA, bc that’s my audience. Stain vs. Midoriya, Todoroki, & Iida. Main purpose? “a character undergoes emotional/physical development” (Iida mostly) AND “a character who will have an important role in the story is introduced” (Stain). Stain might not be directly involved later in the story, but his role causes the villains to gravitate toward the League. Hence a fight can fulfill more than one purpose.

If you have a fight that doesn’t do any of these things, i don’t think it’s important enough to go into detail. It certainly shouldn’t be the main emphasis of a scene if it doesn’t. It doesn’t mean you can’t write a fight scene if it doesn’t do these things, I just wouldn’t suggest it be its own thing. For example, two characters discuss their woes over their crushes while sparring. It’s still a strong-ish concept, and it adds characterization without making it the main focal point.

Once you have the main purpose in mind, then you can get more specific. Now ask yourself two questions:

What elements do I need to add in this fight that will be important later in the story, if any?

What elements do I need to add in this fight to make it a powerful scene?

The first question is very much an elaboration on the previous purposes I talked about in the need to have a fight. They can be super simple or few in number, so don’t feel like you have to stress over putting important stuff in a fight! The second question will most likely be your main focus point if you’re doing a very long and complex fighting story arc.

Tbh just slap whatever you think about that can answer this question. Ill use two fighting scenes i wrote for example:

Brief fighting scene—OFA Holders (ghosts) vs. AFO (big bad):

What elements do I need to add in this fight that will be important later in the story, if any?

Hinting toward several of the holders’ abilities

Make it clear that AFO can see/interact with the OFA Holders

Show that the Holders can find Izuku (MC) when he’s in danger

Holders and AFO clearly have a history

What elements do I need to add in this fight to make it a powerful scene?

Sixth Holder does a cool kick

Second Holder throws AFO into a tree bc Cool Shit

AFO easily ignores harm and oh no hes fucking scary as shit and hes Very Big Threat

[trigger warnings for certain parts under this scene]

Long fighting scene—Midoriya (MC) & Kirishima vs. Midnight (teacher)

What elements do I need to add in this fight that will be important later in the story, if any?

That Power(™) of Mido’s evolves

Oh no he knows of that horrible event that is about to happen to him and his class

Oh no now he knows that if he knocks himself out he can access his power

Midoriya and Kirishima undergo emotional development to take initiative and be brave

Kirishima establishes himself as a very good candidate for That One Power

Mido & Kayama’s relationship develops

Nedzu crosses Mido’s boundaries

What elements do I need to add in this fight to make it a powerful scene?

Kayama utilizes psychological warfare bc the teachers arent pulling punches anymore

She creates “gas bombs” with her quirk that explode into concentrated forms of her sleeping gas

The fighting “arena” kirishima and Mido go thru for the exam is trapped with electrified wiring/netting that feeds into feelings of claustrophobia and limit the two’s maneuverability

Midnight’s suit is also electrified to limit the use of midoriya’s abilities

Both kirishima and midoriya’s abilities are practically useless

The use of the route through the sewers to exemplify tension where the manholes are destroyed behind them

The trap at the end of the exam

mido and kiri uses the environment around them in order to have a fighting chance

The 30-minute time limit to complete the exam

Mido’s emotional compromisation due to his (found-family) relationship with midnight

All of these factors written aren’t exactly in order of how they happened or even by how much they’re emphasized. When youre planning ideas or elements for your fight scene, feel free to do just that. Just jot down everything you have in mind or anything you want to include. It doesnt even matter if you think whether or not you can put them in the scene organically. Just shove them all in a list, and then worry about organization.

One of the best ways for me to do this is to just write down an order of events i think would work well in a more in-depth manner, and then try and sound it out. What sounds right? As youre writing it out youll get a feeling for where things should go. Rearrange it as you go. Make messy notes. This works well enough for simpler fighting scenes—however!!! If youre going to do something much more complex, its important that you have a better understanding of tension and fighting scene structure. Which i will now talk about. With pictures.

Understanding Tension and Structure

I don’t want to bore you too much with fighting scene structure but i think this is one of the most important ways to understand how to build a strong fighting scene (usually if it’s a long or complex one). there’s a TL;DR at the end of this section if you don’t want to go through this monster of text

So. where to start.

Fight scenes are only as good as how much tension they convey.

Oh boy. You guys are going to hear me say ‘tension’ so much it is going to lose all meaning in a hot minute, and for that i apologize.

Anyway, if your reader is not invested in seeing:

your character(s) winning a fight

your character(s) making it out alive

your character(s) resolving a conflict (ex. w/ each other)

—then your fighting scene is boring. It doesn’t matter how many cool tricks up your sleeve you pull, overall, your readers probably won’t care about it. Reading a fight scene no longer becomes an edge-of-your-seat experience, but rather it becomes a chore or something to slog through.

I say this because tension is what makes a fight scene readable. It is why we, as readers, want to keep reading. It is why we want to make sure that everything ends up the way we want it to.

If there is a lack of tension, there is also a lack of interest. It becomes the equivalent of your two younger siblings/cousins/etc. fighting over who gets control over the remote. The only thing you give a shit about is when it will end. That is why understanding how to structure tension is how you should structure your fighting scenes.

To start, the most stereotypical and general fighting scene is the one that increases tension as the fight continues. I envision that it looks something like this (friendly reminder that this is just how i try to see it to help me when im writing. i could be wrong, im not a writing major):

It looks complicated but I promise it’s not. The basic structure of a fight scene increases tension as the fight continues.

The red portions (where the tension increases) are where the different/new elements are added. (remember those elements that you could have answered in the questions above?? Its those elements!!! it can be anything: a character is injured or out of commission, a time limit is introduced, a villain/antagonist introduces a new ability of theirs, etc.)

The white portions are what I like to call “cooldown” periods, where the tension either remains flat or actually dips down. (This is usually done on purpose to emphasize when the tension increases again, or to help people process the increasing tension. Cooldowns are the perfect in-betweens of big moments to get into your character’s heads, get a feel for what they’re thinking, and to write dialogue b/t characters.) For example, let’s return to the Sports Festival Fight between Todoroki and Midoriya:

Already when the fight starts there is tension. Midoriya and Todoroki had conflicts before this in previous battle events, and we are shown Todoroki’s insistence on not using the fire side of his quirk. We are also shown that Midoriya will do anything to convince Todoroki to use it. Already conflict has started by the time we “start”. (I will be going over this fight scene very generally, so I missed points for conciseness.)

The first “new element” that raises the tension further is Midoriya’s ability to destroy Todoroki’s mini-glaciers, his first time doing so in the festival. Thus he has a fighting chance, though as an audience we wonder for how long

Then we have our first cooldown—Midoriya keeps breaking his fingers by shooting a controlled shockwave that’s able to break the mini ice glaciers. Nothing new is added, and the tension remains consistent.

The second new element is Todoroki’s note that Midoriya has 10 chances to use his quirk before all 10 fingers are broken. Tension is raised because audience’s attention is brought to the main character’s limiting factor and we question how he’ll overcome it

Cooldown; tension consistent, arguing yay

The third new element is Midoriya subverting expectations in a way that we as an audience have never seen before. Midoriya uses his quirk on his already-broken fingers and re-breaks them, a signal that he won’t be giving up. tension bc of this new technique we haven’t seen before.

Cooldown; bois yelling at one another

The fourth stretch of elements: Todoroki is convinced to use his fire. Tension is raised greatly one final time. At the peak of tension, Todoroki and Midoriya face off one last time.

Okay, so I’ve talked about the structure of fighting scenes, blah blah blah, whatever, it’s common sense Owl, it’s boring, it doesn’t matter.

Wrong! It does matter. It matters a whole lot.

The stereotypical fighting scene uses incremental points of added tension. It looks and acts like a staircase—you start at the bottom and end at the top, where the consistent elevation of tension finally gives you a result at the end. It’s satisfying. This is often where a character ends up dying in sacrifice that has meaning bc it’s at the point of the highest tension. This is when a character wins or loses their battle. This is where conflict is resolved. This is where the character yells out all their feelings to another character as they punch them. This is payoff.

Where writers usually fall is the lack of this consistent elevation. Rather than building up to it, they immediately use one of their strongest elements to jump into an incredible height of tension somewhere in the beginning or middle.

This can work in a fight scene. This is when a surprise enemy jumps into battle. This is where a character suddenly loses their abilities or one of their senses for no apparent reason.

The issue is when authors have no place to go. When you immediately jump into the highest point of tension in your fight scene without other plans that will keep up the tension, what happens? Well, your tension goes down. The initial spike of tension will lessen throughout the rest of the battle. Thus it can feel boring, flat, and dry. And thats a huge no-no because tension is what is keeping your readers on the edge of your seat. Thats whats keeping their attention.

To refer back to the Todoroki vs. Midoriya example: imagine if Midoriya convinced Todoroki to use his fire before he re-broke his fingers, theoretically. Regardless of whether or not you’d believe this to happen with these characters in mind, this is a storytelling issue because the entire fight’s purpose was to convince Todoroki to use his fire. That is the height of the tension. If you moved that in the middle of the fight, and then had Midoriya re-breaking his fingers, you’d get a stagnation/decline of tension, as seen here:

And suddenly midoriya re-breaking his fingers, a new and important development that has ramifications regarding his long-term physical health, would be overshadowed and seem unimportant compared to Todoroki’s change in character, which would have happened just prior. so again: try and make it an escalation of tension, not a deescalation. what that might entail is unique to every story and fight scene.

This is not to say that you have to start off subtle. I mean, in the example i used midoriya was literally breaking mini-glaciers with a condensed shockwave from his fingers, that’s not subtle. But!! Make sure!! You have room to increase tension! consistently!! unless you are deliberately trying to stagnate tension.

So how do you plan for this?? Simple. Remember these questions from before???

What elements do I need to add in this fight that will be important later in the story, if any?

What elements do I need to add in this fight to make it a powerful scene?

If you have a few ideas, jot them down and then organize it. Then write it out in a bit more detail. What concepts/elements in what order would best show an increase in tension? (feel free to change this as youre writing—you may find that things dont work as neatly or as well as you thought.) if there’s a long stretch of time where nothing new happens, what elements can you include—a new character intro/death, a new fighting style, someone reveals a secret plan they had up their sleeve—to add new tension?

Remember, what works realistically in a fight is not always what works in a storytelling manner. Bend the rules of what could happen.

Now then, time to annoy the fuck out of you because NO IM NOT DONE TALKING ABOUT FIGHTING SCENE STRUCTURE IM SORRY ILL TRY TO BE QUICK.

So anyway: the “staircase method” is a very good model to use for an individual fight. It helps me visualize what i should be doing, yes I made it up, i told you to take it with a grain of salt. But again, its for the stereotypical fight that often appears in media, so lets talk about exceptions.

The most obvious one is the unfulfilled promise. This is the letdown, the subversion of expectations, the battle that was clearly meant to be disappointing. For example: a character gives up in the middle of a fight. ie. Bakugo vs. Todoroki. Todoroki, internally conflicted from his changed worldview from Midoriya’s match, practically throws his match with bakugo. For good reason, perhaps, but this is an example of the author not fulfilling their promise. The whole sports festival was building up to a grand fight against bakugo with either (presumably) midoriya or todoroki. and in the end, bakguo won—as he said he would—without fulfilling that unspoken promise of an intense battle. It was a subversion of the common trope involving tournaments. It was a disappointment. Not against todoroki or bakugo, but for them, and for the built-up tension that was suddenly cut off midway through its ascension. There was no payoff. This is not a badly written scene. It’s a good one, but it’s purposeful. This scene is meant to be bittersweet. It is the successful manipulation of tension, rather than the clumsy use of it.

Another exception! An extremely obvious one. This is the trope of “giving up” and then finding hope again. When a character gives up near the end of the fight, often times the tension plummets before skyrocketing back up again, rather than building up slowly. Ie: Midoriya vs. Muscular! Yes i keep using bnha bc ive been working on this for like seven hours im too tired to search from different series!

Also, you might write an increase in tension of a fight scene at different levels. it could be delayed at onset, or exponential, or whatever else. it doesnt have to be “linear” like the staircase example.

Comedic effect!!! If youre using something for comedic effect youll often throw tension out the window. If a scene suddenly drops in tension bc the character fell flat on their face bc he tripped on his shoelace, but only after beating the shit out of 12 people, who cares?? Its for the laughs, youre not trying to make it cool. The rules dont apply anymore.

Final exception! If a battle is incredibly prolonged to the point of being dragged on, a period of lengthened “stagnation” or a drop of tension might be written. Usually, flashbacks that compliment the fight in question will be used. Often it provides the reader with a cooldown and something else to draw their attention from the same-old-same-old.

I can’t remember more off the top of my head! But i am going to be completely honest that’s super difficult to pull off and tbh, no one’s going to mind it if you stick with the basic “staircase” method. Hell no one will probably notice that youre doing that!!! Just make it easier on yourself!!!

This is all a very overcomplicated reason to explain why you dont end a huge pivotal fight bc the mc threw a single weakass punch to the main antagonists face

especially not when three minutes before he threw the antagonist through eight buildings and the guy escaped mostly unharmed

please do N O T

i dont care if you have a reasonable explanation for it just DONT that is how you ruin all tension and how the ending falls flat

TL;DR for this section:

organize elements in a way that best builds tension throughout a fight scene

pace & introduce elements frequently throughout a fight to continue to increase tension

Get Your Style On

Alright. Writing styles. Here we go, maybe I won’t be so incoherent as the last section

Fight scenes are the types of scenes, imo, that should exaggerate a lot of writing style choices.

However, a point of fight scenes is that they need to be readable. When you’re writing very complex action sequences, the last thing you need to do is write super detailed lines and make it confusing or difficult to read. Additionally, action is, well, quick. When you put a lot of detail into each and every action, you often lose the feeling of swiftness that comes with it. Unless it is a very simplified storytelling of a battle (where flowery language could make the scene stronger), i highly suggest against making things more complex than they need to be.

So, again, it’s good to try and keep it as simple as possible. Fighting scenes can be difficult to visualize. So pity the 3am reader who is reading your work and try and make it as easy for them as possible. However, this doesn’t mean that you can’t have fun or be unique with your writing style when it comes to action scenes. In fact, you should still try to make your writing as dynamic as possible!

This is where the often underused manipulation of writing structure comes in. Also go crazy with punctuation as long as its not distracting.

Long sentences = less emphasis on each action; actions seem slower

Short sentences = more emphasis on each action; actions seem swifter

So, for example, my friend and I wrote the same scene but slightly different:

example 1

She grunts and wrinkles her nose as she grabs his arm in a tight grip and spins around, flipping him over her shoulder in one smooth motion and down onto his back on the mat. The impact forces his breath to leave his lungs through a harsh exhale.

She wastes no time in climbing on top of his stomach and pinning him down, hands on his throat and grins in a way she could only have picked up from Steph or Jason, shit-eating and pleased.

example 2

She grunts. Her nose wrinkles. Her hands tighten around his arm. Smoothly, she spins—heaves him over her shoulder—his feet aren’t touching the ground.

His back hits the mat.

A moment. The breath is knocked out of his lungs, woosh, in a harsh exhale that has him disoriented. A touch on his throat, then two hands, and she’s climbed her way onto his stomach and has him pinned.

She grins, and it’s almost uncanny to Steph’s and Jason’s, whoever she picked it up from first. It’s wide—pleased, even. It’s shit-eating.

It’s the exact same scene and, for the most part, the exact same lines. But tinkering with sentence structure and paragraph structure is what makes writing action scenes fun and can entirely change the way you read a scene.

Again, you’re expressing fluidity throughout action scenes because it is a fluid array of motions. Fluid but messy. Meaning that your style can also, in some way, show that fluidity and messiness.

If your character’s thoughts are disjointed or disoriented as they fight, express that through your style too! Write sentences that cut off, that are rambly, that dont make sense, that swiftly move from subject to subject within the same sentence:

example 3

She grunts and wrinkles her nose and grabs his arm her hands are tight tight tight and she’s spinning and he’s spinning and he’s flying over her shoulder and then he’s down, down, a sharp pain through his back.

The mat is hard. His breath escapes him and he can’t breathe and she’s pinned him down. Her lips are pulled back and her teeth are showing and it reminds him of Steph and Jason, and Steph, too.

Instead of bogging down your writing with repetitive descriptions of how your characters feel or what they’re doing (which often characters do not have the time to think about in the moment they are fighting), show it through how you write the action scenes. You never have to be explicit about it—you can demonstrate it well enough just by changing the way you structure it.

Also!!! Action scenes!! Are hard to read!!! So this is your time to shine, authors who overuse skipping to a new paragraph every few sentences!

Because when you do this you create more emphasis on certain actions!

And also it’s easier on the eyes!

Because paragraphs like those in this long mess of an advice post makes it all

#im not writing this to undermine owl #this is just my way of writing fights #each writer has their own methods #its important to experiment and find what suits you best

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