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war - quotes and descriptions to inspire creative writing

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Killing innocents kills innocence and all that remains is guilt; war is not a 'catch all' excuse.
In war let us keep a warm heart and a cool head, remembering always the humanity of the 'othered' or else lose our own.
"In war," said the commander, "it is foolish to put effort into gaining ground you'll never keep. All it does it does is put at risk what you have. If we can't maintain a gain in good health and order, defend it properly, we alter our path."
Let our art of war be a love song. Let us tell the oppressed peoples of totalitarian regimes that we love them and their cultures. Let us show that we defend not attack, support not suppress and bring freedom squared.
The pope made the invaded country consecrated ground. The entire nation became the same thing as a church. One cannot murder in a church, and so we waited to see if the war would be over.
We actually do expect the literary inquisition because it happens in periods of war and instability. We expect the rounding up and "shooting" (literal or figurative - depending on where you are) of literary intellectuals because we have the power to make the world anew. The question I would like to pose though, is why? We can make a heaven on Earth. We can bring dignity and a powerful sense of sacredness to every person in the world, we can bring a good future for all mankind. We can bring the love-nexus. We can show that we care for every nation. We can make war a thing of the past. We can solve the problems that are creating poverty, misery and sickness... So, dear leaders of the money-nexus, we should be welcomed as friends who can solve your problems, provide answers and bring societal calm and cooperation. We are the solution, not the problem. We are the cure, not the disease. We have the ability to bring lasting order through positive neurological healing of populations. So... I get it... there are millions and billions of people to care for... that's a huge responsibility... so, let us help. Let us help. Because we will work all our days for that end, for every human, for all of creation. We were born for this. Not for power, yet for service and support. The pen is more powerful but we have the same objective... peace ... thriving cultures... a sustainable world... a future for everyone that has a great standard of living. That said, dear young writers, dear young intellectuals, please stand back and let the grown ups get on with this. By all means comment, make your opinions heard, it is the leaders are who are always targeted. This is the war of your parents generation. We have the life experience. We have the duty to protect the young. You own the future; let we old ones own the now. For in this battle is the truth of Generation X. Your truth will come later. You will continue the fixing of Earth long after we have passed on. Be safe, we love you. xxx
Here at the W.I.N. we show the correct techniques for release of populations from harmful elements of culture and control. Freedom is best! They must break the harmful loops and route the new comprehension via the creative empathy elements of the brain. Thus, the brain is built better and their own problem solving ability is enhanced, thus society moves toward peace! The opposite is what many politicians and conspiracy theorists have done for generations, they seek to either make harmful loops with fear, or break them but route the new comprehension via emotional indifference, anger, greed and such. While this gets fast "results" it causes long term damage to the neurology of the population - thus it tilts the axis of history to social decay, war and devolution. Yikes!! So, come be our students, dear wordsmith of talent. We are the best there is.
The drive toward variation meets the drive toward conformity for group safety in opposite directions. The relative power of these forces in the neurology of each organism and the society will determine the strength of each. Variation is favoured by safety and has the power to drive creativity and discovery. Conformity is favoured by adversity in all forms, a recipe of negative factors combined. It is, however, worthy of note, that these forces are not equal. The history of humanity is a bloody tale of genocide. Thus only the survivors are our collective ancestors. Thus the drive toward conformity is a preparation for war and is amped in power by comparison. Thus in times of fear the proper leaders must have an upper brain (PFC) capable of dominating their primitive drive and converting that amped power into solution finding over war strategy. It is a simple switch, yet all leaders must possess the ability for such.
In the love-nexus there is no war, because we evolved passed it. Until you are willing to see the role the money-nexus plays in suffering, you can't get to where we are, to the kind of society we have. We wish you well, Earth, we do. But you have all the information you need. You have all the technology you need. Do you want to save yourselves and your planet or not? It's up to you. We're going home now, back to our world.
There are better and worse versions of loss. We are aiming for the better version because then we have the strongest base possible for rebuilding. That is our victory, it is the only one on the table, and it is a painful, sad and desperately awful form of success. Society can fall a hundred stories, seventy, thirty... whatever happens, however much we win, it will be measured in how much more we could have lost than we did. I'm sorry the news is that bleak. But, there you go.
All lifeforms compete when needed resources are in short supply, the money nexus creates both artificial scarcity and concentrates need in already deprived areas. Thus both conventional war and social wars (decay) are direct results of the money-nexus system.
"It is odd, is it not?" said Lucy, "that they are so keen to socialise the funding of war and not health."
Negative actions create negative chaos, and negative chaos is destructive. Positive actions create positive chaos, and positive chaos is constructive. And when we look at the history of war and peace we see these simple truths at the heart of the matter.
For one nation to control another for their own selfish purpose, through war or intellectual domination, is a form of barbarism; the divine gifts which we have been given are there for the purposes of loving and supporting each other. Thus with love as our "supreme first principle" we will find the roads to peace and global freedom.
To promote peace, to prevent war, to bring societal health, we must reverse the artificial shortages of essential resources around the world. Food suppression must end, the technological advances that can bring an age of abundance must be developed for the benefit of the entire species in the spirit of cooperation and love.
Grandpa sighed and rocked back in his chair, his eyes showing the sorrow of the years. Emily, love, all you ever need to know about most wars is to follow the money and power interests. The stuff about religion and race is a smokescreen. The side who want the wars only use that to subdue a population, it's a variation of mind-control. Once your emotions are engaged and you're afraid, you will keep going back for more of the same, making a cage for your mind. If the public discourse is about anything other than money or power it's bullshit, sorry, pardon my french. Let's look at Afghanistan, it's all about money and power and the side who start all this they had no ability to love, and that is the mark of the devil's pawns. The war boosted sales of weapons, the population of Afghanistan became psychologically devastated and vulnerable - the exact condition the evil side wants humans in, in this state they can be made to grow drugs and be fodder for the drug trade. They are easy to exploit for human trafficking in all the various forms that takes. And they are easy to radicalise and thus extend the cycle of money and power going into the hands of the evil side. So all anyone really needs to do to solve this is to follow the money, follow the power dynamics and it'll all be over. Anyone with a good heart would have put all that money into food, education, music, dance... into reestablishing the healthy Afghan culture. War, power, money - they were all manifestations of the same thing, all of them devoid of the only thing we know keeps mankind safe - the ability to love.
Artificial resource restriction is a weapon of war, a way to cause stress in a population and enough tension to bring conflict. Restriction of any need or ability to lead a happy life will lead to war... even the most healthy of cultures will become toxic if basic needs are refused. When we see control of food, restriction of production and flow, that is a tool of war and we must be clear in our hearts and heads that it is such. To put any population into "survival mode" in their brains is to inhibit proper brain development, stopping creative thought and the development of spider neurones - (the neurone that is needed in all socially complex species). Thus the answer to war and peace once again is in the monetary system.
What is war, but the slaughter of our finest at the devil's command? How can we evolve when our best are taken? So let's stop being fooled into blind hate and rancour and reach out with the only arms God gave us in full love, in the name of, and with the bravery of, our fallen heroes of all sides.
It is when we love our enemy that they become our friends, and this is the death of war itself. When we see their children and feel the yearning to put food in their bellies and hear their laughter ring, infusing with the laugher of our own children, we make a lasting bond, a pact with love itself. This is when truth comes, and the silence is all the words we will ever need, for this is the intelligence of the heart, the language of the universe.
"Lucy, if you want sheep in a pen you need barking dogs outside. In our world, war and terrorism are the barking dogs, the pen is capitalism. And no, don't speak of communism, there is no communism as Marx envisaged, only totalitarianism and oligarchy. So, the question I ask is, who benefits from all this?"
"The roots of war are in how we communicate, from there the path is set. We fail to comprehend that language is just a crude tool to communicate a concept. Often the reply to any question is not a reply but the ruminations of the brain of the other, dealing with what was said. Most of the time our dialogues are simply different ways to express the same ideas. If we communicate like two closed fists, we are doomed to repeat history. If we open our hearts and minds our ideas can come together to create peace and harmony, like open hands coming together to overlap, the fingers weaving together. Perhaps we can't agree on climate change, but we can agree on the need to protect the ecosystems we all depend on, and doesn't that give the desired result for all? Perhaps we can't agree on abortion, but we could work together to make a society where every child has enough food and good shelter - making abortion an illogical choice unless the life of the mother is at stake. If we think that debate equals argument and success is standing your ground, we'll never turn this ship around before we hit the iceberg, and then what? Will we fight over the arrangement of the chairs as we sink beneath the icy brine?"
It was well known from the monsters of history that people didn't react to death tolls if they were too high to comprehend. One death can mobilize a community, even a nation. Many deaths, hundreds or thousands, can make a lasting impression to be used for good or bad intentions. Millions of deaths were the ticket, make it bloody enough and people will keep on eating their cornflakes and pouring their coffee. We just aren't wired to cope with that kind of devastation and so we don't, like a safety shutdown. So the path for the warlords was simple, make sure the death tolls are as high as possible. For those freaks that are able to react - shut them down with fear of the "enemy." Wicked fun. Worked every time. The only antidote was to shine a light on one dead child at a time, just one. Let the world see each God's child killed in the name of war, in the name of money and greed.
When the war came it was Goliath against David, only this time Goliath had all the toys. It was no old fashioned battle with the young men of the enemy coming to fight the fathers of our homeland, the ones who would die for their families. The smart bombs were only as smart as the person guiding them and no amount of collateral damage was too much. If generations were wiped out as they took their "surgical strike" then so be it, even of their target wasn't even home at the time. As warfare becomes more modern those who chose to kill remain isolated from the horror, and the trigger pullers are heavily trained to follow orders; yes sir, yes marm. Only the lowest ranks see the blood, the dead children and their parents, bodies lined up like fallen dominos. They have the ruined lives and the PTSD. The higher ranks live out their fantasies of power like some hollywood blockbuster "shock and awe." But I can tell you that here on the ground we live out your worst nightmares daily.
Central banks fund all sides of every war. They never lose.

Authored by Unknown , here .

Peace cannot be achieved in a system where there are people who make profits on war.
It is no coincidence that the century of total war coincided with the century of central banking.

Authored by Ron Paul , here .

The engineering of the war is something I'd like to take credit for, it wasn't easy. In this day and age it would be so easy for the populations to communicate directly, understand each other's points of view and heaven forbid, become "friends." They had to hate one another, human nature helped of course. They all wanted to be "right" and "superior." Religion was such a wonderful vehicle for all that, a way of using the best parts of their natures to boost the worst parts instead of suppressing them. I'm telling you it was genius. I guess that makes me a genius. What? Am I ashamed? Not at all. We're still on top aren't we? Life is cruel. Get over it.
War was always problematic. People just didn't want to fight. In their hearts they're all namby-pamby traders who want to take junior out to the ball park on the weekend. Even with the finest psychologists it was near impossible, those "Your country needs you" posters just wouldn't cut it anymore. We employed ivy league graduates to tell us what it would take to raise the population against our "enemy." We didn't like the answer. But what was the alternative? We needed war for our economy, to maintain our global position, but you can't rally a population around that flag. They needed to be "educated" on why the enemy is bad and fear that they or their families will personally suffer if action isn't taken. It takes years of course, but so long as the lie is big enough no-one suspects a thing - apart from the crazies. But then they also believe in UFO's and dress up for Star Trek conventions, so in a way, the louder they shout the better. It just solidifies the "normal" opinions.
The war ended when people refused to fight. The religious leaders and academics stood as one and said to turned off our media streams. They asked if every weekend we cold spend at least ten minutes meeting someone new from somewhere else on the globe - mostly on Skype - just meet them, exchange recipes and learn their children's names before we choose to drop another bomb. How can you kill people you know? Most of us aren't psychopaths. It took time of course, nothing is instant, some of it happened over YouTube. But the most powerful connections were live conversations between families. After the pleasantries we talked of the details of our every day lives, how we work to put food on our tables and survive. It was crazy, you know, but they were right. I can't kill my friend.
War came over the horizon like a slow moving tank. We became anxious, scared. Violence once confined to the television was playing out on our streets. The drama of hollywood was written in blood on the sidewalk. We choked on the liberal progress we had made to be multi-cultural, to accept different faiths and cultures like it was acrid air. No longer could we see muslims as human, only enemies, threats. Then we did what every generation has done since the dawn of time, when push came to shove we were easy to manipulate into war. Propaganda is so easy to see from the lens of the future, we think it's blatant and those folks long ago were wicked and stupid. But it turns out we haven't evolved at all. Our culture put up some resistance for a time, perhaps if we had caved to the will of the government sooner they might have stopped some of the carnage on our own soil. But we had to “learn.” So in came the brown-skinned men to slaughter our children until we bayed for the bombs...
We had enough food for the most part, housing and healthcare. We had resources and good infrastructure. So why did our young go to war? Why did their parents demand that an army be sent? They say that back then the bombardment of bad news was delivered many times a day in “news stories.” The “enemy” had to threaten our own homes, well-being and culture. They were repeatedly dehumanized and debased in our eyes, shown to be barbarous and cruel. We lost respect for them, and deep down felt glad when they died; glad because the threat to the ones we held dear had been lessened. Who benefited from this war? Not us tax-payers and not the “enemy.” We lost good people, so did they; but they lost far more. They were like David with the sling-shot and we took them back to the stone-age. I've heard people say that with pride, but I've done my own research and I know how many of their civilians died, children included.
With each bullet fired I felt nothing; my brain just shut down. I prayed the kids were alright with their mother, my love. Had I stopped for a moment to consider the awfulness of war I can't say I would have made it home at all. Every death was a man I could have loved as a brother in another time or place. The bombs we dropped killed folks I would have laid down my life for had I been given the chance to know them. But that is war. You fight and win or you die. On wintry nights when my wife sleeps, I creep out to the porch and let the bitter wind bite at my skin. It's real. It keeps me grounded when I think the memories will drown me from the inside. On bad nights I hear the screaming, see the blood, smell the gun powder. One time I saw a toddler at the end of my bed dressed in an enemy uniform. We aren't meant to kill each other, we're supposed to protect, to love. What kind of sociopaths get us into wars anyway? Kids aren't collateral damage, each one is as precious as the ones I lo
In war they say “To the victor go the spoils,” but that phrase has been out of date for so long. In war to the ammunitions and bomb makers go part of the spoils, the rest is handed out in contracts to rebuild what was blown up. Yet more is made from the harvesting of resources. It is a simple business model: the country is selected, fanaticism is sown, encouraged and trained with money that comes convoluted roots from our own elite. Then the young go of their own free will to commit the terrorism that will end their own lives, their state, their culture. They die to protest the wrongs committed to them, but ultimately only play into the enemy's hands. If I could go back in time I'd tell them that the only way to win is to show your humanity, your goodness, your love to the world. I would say the enemy dehumanizes you in order to rally their armies of ordinary citizens. I would say don't talk to the generals or the governments, but ordinary citizens with no vested interest in war.
Gordon raised his silver brows. "You are so naive. In a world with such weapons as we have there can be 'no all-out-wars.' It would be suicide for us all. Instead we win by undermining the economics of the other countries - war by another name. Once undermined, the citizens are stressed and easy prey to fundamentalism. They are "on the ropes" with their national mental health: drinking, taking drugs, or starving. Soon they are at war with one another, citizen X will kill citizen Y over a small difference of religion or perhaps a loaf of bread. Who will be our competitors then? No-one! They'll be lining up at the boarders just to be our road sweepers. So don't look at me like that you idiot, war always causes death, only this time we just supply the weapons, every shade of dogma and hold back on the things they need for basic living. Now get out; I have a war to win."
The war was fought by turning the strengths of opposing societies into the tools of their destruction. For the west their greatest strength was their liberalism, their will for all to feel welcome and included in society. All it needed was a shove into politically correct anarchy with the needs of the many being subverted to the needs of a few. For the middle east their greatest strength was their devotion to God and their enemies found it all to simple to set religious factions against one another. Why kill your enemy when it is far simpler to have them kill one another? For the poor countries it was simple to corrupt their leadership with money and power, selling the populous into slavery. But finest strategy of them all was global finance, everyone wanted money and its supply was controlled by the real masters, the ones who thought nothing a few million deaths here and there...
We solved war when we saw the simple flaws in our thinking. We thought religious tension was the cause and war, the spending on weapons, was a symptom, or result, of that tension. In reality, the war, the spending on weapons, the desire for power and money was the cause... and religious tension was the symptom. A doctor can never cure a patient if he is trying to fix a symptom, the patient will only become well after the cause is discovered. To find peace, to cure war, you must first properly diagnose the cause - money and power. So, soldiers of peace, ignore everything else except the trail of money and the power dynamics, because then solutions will become obvious. These solutions will require new and creative thoughts and ways of being loving and kind, for the only way out of a tangled mess is a new thread, be brave enough to follow it into a new and better world.

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How to Describe a Soldier in Writing

By Isobel Coughlan

how to describe a soldier in writing

Are you writing a war novel ? In this post, we’re going to help you by explaining how to describe a soldier in writing via 10 great adjectives.

Someone that’s very passionate, fearless , or aggressive.

“The group battled through the jungle together, but the fierce soldier took the lead.”

“Only a fierce soldier can take on this challenge. Are any of you ready to step up?

How it Adds Description

“Fierce” is a powerful adjective as it describes someone who is passionate to the point of aggression. This can show your soldier intimidates other characters, and it can also mean they’re difficult to be around. “Fierce” will also show your soldier’s commitment to their job or their cause.

Someone very nervous or anxious.

“The tense soldier backed away, and his hand ghosted over his gun.”

“Before the war, he didn’t have a care in the world, but now he was a tense soldier with the weight of the world on his shoulders.”

Fighting and completing missions as a soldier is a stressful job. “Tense” shows the pressure and anxiety your soldier feels. This adjective can also point to an awkward body posture, as you can have “tense” muscles when you’re stressed. It can also demonstrate to your reader the nervousness of your solider.

3. Agitated

Someone who is upset or worried and shows it through their behavior.

“The agitated soldier couldn’t stop fidgeting with his coat zipper. His hands trembled at the thought of the mission.”

“She glanced at the agitated soldier, and her heart sank. His worry and stress were obvious.”

Nervousness and stress can manifest through physical actions, and “agitated” shows your soldier can’t stand still due to this. If used by another character in an inner monologue, “agitated” shows that your soldier’s worries are being noticed by others. You can use this to show other characters feeling sorry or pity for the soldier.

Someone who does things that are dangerous or that will shock others.

“You must drop out of a plane, swim 5 miles, fight through thick jungle, and scale a 10-foot wall. That’s why only the most daring soldiers finish this course.”

“She dreamed of a daring soldier to rescue her from her prison cell.”

“Daring” shows your soldier is willing to go the extra mile and perform dangerous duties to get their job done. This word works well for hero characters, as “daring” shows they have less fear in comparison to the average person.

5. Methodical

Someone who does things carefully with meticulous order.

“The methodical soldier pressed his pants, laid them out on his bed, and obediently waited for the inspection.”

“They had no signal or ways of communication. But the methodical soldier had studied the map and knew how to work a compass.”

Soldiers are known for having meticulous organizational skills, and this is a staple trait for any character who works for the army. “Methodical” shows your soldier has logical thought patterns, and you can use this to show how they navigate difficult challenges. If you have a particularly unorganized character, their behavior can contradict a “methodical” soldier’s. These differences might cause a rift between them, making for interesting fictional relationships.

6. Frightened

Someone who is afraid or anxious .

“The frightened soldier continued marching, despite his inner desire to run away.”

“We don’t have time for frightened soldiers. Everyone needs to put their game face on!”

If you want to show a soldier’s fear for future plot points or of certain characters, “frightened” provides a glimpse of your soldier’s feelings. “Frightened” can also highlight that your soldier is inexperienced or scared of the unknown. This can further build suspense for upcoming parts of your plot.

7. Enchanting

Someone very charming or attractive .

“What an enchanting soldier. I’ll get his number by the time the dance ends. Just you watch me!”

“He was tough, but he was also an enchanting soldier. Both the troops and the ladies loved him.”

Alongside being brave and organized, soldiers are sometimes known to be flirtatious and charming. “Enchanting” can show how other characters are drawn to your soldier due to his personality and good looks.

Someone that’s good, tells the truth, and doesn’t break the law.

“He was an honest soldier who followed the captain’s orders, no matter the toll.”

“To be an honest soldier was the goal, but the troops were breaking under the pressure of boot camp.”

The word “honest” shows how your fictional soldier takes their training and missions seriously. This shows they’re a good person and one other people in the story can trust. If a soldier is “honest,” they may have trouble taking part in gruesome or violent missions.

9. Accomplished

Someone very good at their profession or hobby.

“She dreamed of becoming an accomplished soldier, but she knew she’d have to start working harder at school.”

“The accomplished soldier donned hundreds of medals, making his uniform glisten in the sun.”

The adjective “accomplished” shows how your soldier is very talented at their job, and this can imply they’re one of the best in the novel. This might mean other characters look to them for advice or help during tough times, and they could make a good hero.

Somebody who is moody and quiet.

“She could feel the sullen soldier staring at her from across the room. His grumpy gaze made her feel self-conscious.”

“Ever since he returned from duty, he was a sullen soldier. He’d lost his lust for life and trademark smile.”

If your soldier has experienced traumatizing events while working, they might be described as “sullen” after they return. This adjective shows they’re quiet and miserable, and these behavioral traits often make other characters anxious around them. You can also use “sullen” to show the effects of active duty or previous battles in your fictional world.

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How to explain a war scene?

In my novel, I have a part where there is a war scene, and I need to explain it precisely from the king's point of view. How can I explain the war graphics vividly?

J A Tagala's user avatar

4 Answers 4

For starters, avoid getting into details.

This is true generally, and even more so during battle. People are moving quickly! It is no time for details.

I've read a battle-scene where the author described specific attacks, and the impression I had was that the fighting was happening in slow motion. With classical music in the background. Really slow music.

The best battle-scene I remember reading included almost no descriptions of the actual battle, but of colors, emotions and cries. Needless to say, this scene left a powerful impression, and I actually felt like I was there.

Of course, since you're writing this from the king's perspective - and the king is normally in the back lines - you'll have to get into overall detail of what's happening on the field. After all, the king needs to know what's going on!

See also: Good action scenes

Community's user avatar

  • Thank you. It's very helpful. In the scene, the king itself is on the battle ground and is fighting along with his men for he has a small army, and the opponent is very strong. He will see his men dying. I will use your suggestion and use less descriptions about it. But the feeling I need to portray here is that they are happy and proud to die for the prosperous kingdom and generous king. And I will explain the blow on the king extendly to bring out the actual affect of the war. I would appreciate any suggestions on it. –  J A Tagala Commented Dec 29, 2011 at 16:05
  • @JATagala, you can have one of the men sacrifice himself to save the king. This would show their devotion to the cause, especially if the dying soldier had plans for the future or a family. Exactly what do you mean when you write "the blow on the king"? Do you mean the way he is affected by seeing his men die? –  Yehuda Shapira Commented Dec 29, 2011 at 20:19
  • With "the blow on the king" I mean, the king will die too along with his men on the battle field. When they would head for the war, they all will be aware that there is no return. Before the war, the king will ask his men, "Once we go out on the battle field, there will be no return, so stay only those who want to die along with me." All his men will stay back. –  J A Tagala Commented Dec 30, 2011 at 5:28

I'm just an amateur writer, but a seasoned soldier. If I were to write a combat or battle scene, I think I would probably try to describe the calamity of battle.

Confusion sets in very quickly when you lose the initiative in a fight. At that point, there is a good deal of sensory overload. Training kicks in and fighting become an instinctive struggle for pure survival. Extremely seasoned warriors can delay this outcome for longer than a 'greener' force.

So, if you have a well-trained military, with several campaign ribbons on its battle-standard, you might consider a very lucid and methodical description of the general mechanics of the fight. Leave details to the imagination, except where they serve the plot.

If your force is inexperienced, I would use the opportunity to capture as many non-combat related details as possible during the fight, to heighten the reader's feeling of confusion in the fog of war.

Gregory Padilla's user avatar

How do you explain anything vividly? Observe with all your senses, and add emotions and thoughts. Do the research.

I will express hope that you have not personally been in a war scene, so you would have to find some other way of observing, or use your imagination. You could watch combat footage or news reports of war, you could interview veterans, you could read war memoirs, or you could read other fictional books with war scenes.

Then don't just describe the parry-thrust-advance of swordwork, but how it feels to swing the sword — how it hits his opponent, the shock that comes back up the king's arm (or doesn't), the smell of perforated bowels, the smears of blood and brains, the terrible screaming of dying men. Maybe find some Society for Creative Anachronisms chapter and talk to the folks there about how sword-fighting works. (Substitute whatever weaponry or tech is appropriate for your setting, of course.)

Lauren-Clear-Monica-Ipsum's user avatar

Gritty details go a long way, so I would recommend not dwelling on them too much. I feel like it would be more realistic for someone in a battle to be focused on fighting and staying alive, rather than witnessing all the atrocities happening around him.

There's an old adage along the lines of "after the first shot is fired, all battle plans go out the window." If your king is in charge of this battle, at least in some capacity, it would be good to focus on how easily everything breaks down into chaos, both in a specific battle, and in troop positioning/tactics. For example:

  • breaking formation
  • becoming obstinate
  • partially succeed
  • succeed with undesired results
  • are not accurately communicated
  • fail but with undesired results
  • malfunctions
  • is inappropriately apportioned (like wool uniforms being used in Africa)
  • are severed
  • get waylaid
  • night fighting
  • "pretending" to run, only to achieve advantageous ground
  • guerrilla warfare
  • pre-radio, commanders had to shout orders or have instruments announce them
  • missives / carrier pigeons not arriving

Some books that hit these realistic difficulties of war as well as the gritty violence are Black Hawk Down and Red Badge of Courage . Even if they aren't your specific time period, the concepts can be easily adopted.

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Writing Nestling

Writing Nestling

How To Describe Battle Scenes In Writing

How To Describe Battle Scenes In Writing (10 Best Ways)

Battle scenes are the heart-pounding, pulse-quickening crescendos of many stories. They are the moments that grip readers, plunge them into the chaos of conflict, and leave them breathless with anticipation.

Crafting a compelling battle scene is a remarkable art, one that demands an intricate interplay of various elements – from vivid imagery and character development to pacing and emotional resonance.

Describing battle scenes in writing is not just about detailing the clash of steel and the chaos of war; it’s about immersing readers in the heart of the conflict, making them feel the fear, the courage, and the desperation that characters experience.

In this guide, we will embark on a journey through the steps, techniques, and nuances of describing battle scenes , equipping writers with the tools to create captivating, unforgettable clashes on the page.

Whether you’re an aspiring wordsmith seeking to craft your first battle scene or an experienced writer looking to refine your skills, this guide will help you master the art of weaving warfare into the tapestry of your narratives.

Table of Contents

How To Describe Battle Scenes In Writing

To describe battle scenes in writing, focus on vivid and sensory details to immerse your readers in the action. Use strong verbs, specific imagery, and engage multiple senses to create a gripping and realistic portrayal. Also, consider the following tips:

Show, don’t tell

Use action verbs and descriptive language to make the battle come alive.

Engage the senses

Describe sounds, smells, sights, and physical sensations to create a multi-dimensional experience.

Character perspective

Show the battle through the eyes of your characters, describing their emotions, thoughts, and reactions.

Vary the pacing to reflect the ebb and flow of the battle, mixing intense moments with quieter ones.

Strategic focus

Explain the tactics, strategies, and formations used by the combatants to add depth and realism.

Characters’ stakes

Make sure your readers understand why the battle matters to the characters involved.

Foreshadowing and tension

Build suspense before the battle and maintain it throughout to keep readers engaged.

Use realistic and purposeful dialogue to reveal character motivations and move the plot forward.

Familiarize yourself with historical battles or military tactics to create a more authentic and believable scene.

Revise and polish your battle scenes to ensure clarity, coherence, and impact.

Remember that the key is to balance action with emotion and engage the reader’s imagination.

How To Describe Battle Scenes In Writing

Setting the Stage

In the world of storytelling, the battleground is not just a backdrop; it’s the symphony hall where emotions crescendo, the canvas upon which heroes and villains duel for destiny, and the crucible where the essence of your story is distilled.

Setting the stage for a battle scene isn’t just about choosing a location; it’s about invoking the very soul of your world, turning the ordinary into the extraordinary, and weaving an atmosphere so vivid that your readers can smell the sweat, hear the distant battle cries, and feel the very earth tremble beneath their feet.

It’s the alchemical blend of detail and imagination, where the mundane is transformed into the mystical, and the ordinary becomes epic.

The importance of world-building

World-building is the secret alchemy of storytelling, where the essence of a narrative transcends the confines of mere words and takes on a life of its own.

It is the backbone upon which the entire story rests, the invisible hand that shapes cultures, landscapes, and histories, breathing life into characters and conflicts.

Whether your tale unfolds in a magical realm, a distant future, or the familiar streets of a real-world city, world-building is the architect of immersion.

It invites readers into an intricately crafted universe, where they can wander through vibrant bazaars, navigate treacherous political landscapes, and witness the ebb and flow of life.

It’s the magic that allows readers to suspend disbelief, to believe in the fantastical, and to lose themselves in a realm so captivating that they forget it exists only between the covers of a book.

World-building is the passport to alternate realities, a testament to a writer’s dedication, and the cornerstone of memorable storytelling.

Character Development

Character development is the forge where literary heroes and heroines are not born, but transformed. It’s a sacred alchemy where words breathe life into mere ink and paper, turning two-dimensional sketches into vibrant souls that dance across the page.

Characters aren’t merely names and descriptions; they are the pulse of a narrative, the beating heart that readers come to love, loathe, or cheer for.

Their arcs are the rollercoaster of emotions that we willingly embark upon, where they grapple with flaws, chase aspirations, and confront the intricate mazes of their own souls.

Character development is the art of crafting individuals who leap off the page, take residence in our hearts, and linger in our thoughts long after the final chapter.

It’s the spellbinding magic of storytelling, where characters transcend the boundaries of fiction to become cherished companions on our literary journey.

Establishing unique character perspectives

Establishing unique character perspectives is like giving each person in your story their own pair of enchanted glasses through which they see the world.

These perspectives act as prisms, refracting reality into a kaleidoscope of emotions, biases, and experiences. Each character’s vantage point unveils a different facet of the narrative, providing depth and dimension to the overall story.

It’s not just about who they are, but also where they’ve been, what they desire, and the lens through which they interpret the events around them.

These distinctive viewpoints create a rich tapestry of understanding, painting a more complex and authentic portrait of the story’s world and its inhabitants.

Through these individual perspectives, readers are gifted with a multifaceted narrative that mirrors the complexities of our own world, making the characters and their journeys all the more engaging and relatable.

Pacing and Tension

Pacing and tension in storytelling are like the dance of a thousand fireflies on a moonless night, a delicate balance between frenetic chaos and electrifying stillness.

It’s the art of orchestrating heartbeats, where words on the page become the conductor’s baton, controlling the rhythm of emotions.

Pacing dictates when to sprint and when to tiptoe, guiding readers through an intricate maze of suspense and anticipation.

With each heartbeat of the narrative, tension is woven into the very fabric of the story, and readers are held in its mesmerizing grip, yearning to turn the page.

Like a symphony that rises and falls, pacing and tension are the pulse that keeps the story alive, compelling readers to ride the tumultuous waves of plot with bated breath and wide-eyed wonder.

Balancing action with reflection

Balancing action with reflection in storytelling is akin to a well-choreographed dance between the heart-pounding crescendos of battle and the hushed interludes of introspection.

It’s the art of providing readers with moments of respite amidst the storm, allowing them to catch their breath, ponder the character’s inner thoughts, and deepen their emotional connection to the narrative.

Action propels the plot forward, but reflection immerses readers in the character’s psyche, fostering empathy and understanding.

It’s in these quiet interludes that the true essence of a character is revealed, their vulnerabilities exposed, and their growth illuminated.

Balancing these elements creates a harmonious narrative rhythm, where readers are not just spectators of events but intimate companions in the character’s journey, making the action all the more impactful and the introspection all the more profound.

It’s the ebb and flow of storytelling that weaves a tapestry of depth and resonance, transforming a tale into an unforgettable experience.

Vivid Imagery

Vivid imagery is the sorcerer’s wand in the realm of storytelling, conjuring entire universes from the ink and parchment of our imagination.

It’s the key that unlocks the hidden chambers of a reader’s mind, painting landscapes with words, and breathing life into characters, emotions, and atmospheres.

With vivid imagery, you can make readers taste the salt in the sea air, feel the weight of an ancient sword, and hear the whispered secrets of the night.

It transforms mere storytelling into a multisensory experience, a waking dream in which the boundaries of reality and fiction blur.

Every word becomes a brushstroke, every sentence a masterpiece, and every reader an enchanted traveler in your literary world.

Vivid imagery is the beacon that guides the mind’s eye through the labyrinth of your creation, leaving a trail of wonder and awe in its wake.

How To Describe Battle Scenes In Writing

The power of figurative language

The power of figurative language in writing is like a symphony of words that transcends the mundane and propels storytelling into the realm of the extraordinary.

Metaphors, similes, personification, and other figurative tools are the secret incantations that breathe life into the written word, transforming the ordinary into the extraordinary.

They are the brushstrokes of emotion and the architects of imagery, enabling writers to convey complex ideas and emotions in a way that engages the reader’s senses and emotions.

Figurative language isn’t just about describing; it’s about invoking, evoking, and enveloping the reader in a world of heightened sensations and deeper understanding.

Like a tapestry woven from dreams, it adds layers of meaning, richness, and depth to the narrative, making it resonate in the hearts and minds of readers long after the final page is turned.

Dynamic Action

Dynamic action in storytelling is the adrenaline surge that transforms words into a heart-thumping, cinematic spectacle.

It’s the narrative rollercoaster, where readers are strapped in for a breathtaking ride of conflict, danger, and high-stakes drama.

Dynamic action isn’t just about the physical spectacle of sword fights or car chases; it’s about the emotional crescendo, the rapid pulse of decision-making, and the magnetic pull of consequence.

It’s where characters reveal their true mettle, their instincts sharpened, and their fates hanging in the balance. Dynamic action doesn’t just invite readers to witness the chaos; it immerses them in the very midst of it, making their hearts race, their breath quicken, and their eyes widen in awe.

It’s the narrative adrenaline shot that leaves an indelible mark, reminding readers that in the world of storytelling, action isn’t just a scene—it’s an unforgettable experience.

Choreographing battle sequences

Choreographing battle sequences in writing is akin to composing a symphony of chaos, where every stroke of the pen becomes a strategic movement on the battlefield.

It’s the delicate art of harmonizing the clash of steel, the thunder of war cries, and the ebb and flow of conflict into a mesmerizing ballet of action.

Each duel, each maneuver, and each rally carries its own narrative weight, revealing the intricacies of character, strategy, and the shifting tides of fate.

Like a master choreographer, a writer must envision the battlefield as a stage, mapping out the dance of warriors, the crescendo of combat, and the dramatic crescendos of triumph or defeat.

Choreographing battle sequences is about not just painting a vivid picture but guiding readers through the adrenaline-pumping rhythm of the fight, where every thrust and parry propels the narrative forward, keeping readers on the edge of their seats.

It’s where the pen becomes a sword, and the writer, a martial artist of the imagination, creating scenes that leave a lasting mark in the reader’s mind.

Emotional Resonance

Emotional resonance in storytelling is the invisible thread that binds the reader’s heart to the narrative, creating a visceral connection that transcends the boundaries of the page.

It’s the heartbeat of empathy and the catalyst for tears, laughter, and soul-stirring contemplation.

Like a master musician, a writer orchestrates the emotional symphony of their characters, infusing their joys, sorrows, and inner struggles with such authenticity that readers can’t help but feel their pulse quicken in solidarity.

It’s the storyteller’s alchemy that transforms words into shared experiences, where the reader’s own hopes, fears, and dreams become entwined with the characters’.

Emotional resonance isn’t just about evoking feelings; it’s about forging a bond, leaving an indelible mark on the reader’s soul, and ultimately, ensuring that the story becomes a cherished part of their own narrative.

Conveying fear, courage, and desperation

Conveying fear, courage, and desperation in storytelling is akin to capturing the essence of the human spirit in its most vulnerable and triumphant moments.

It’s the art of delving into the deepest recesses of the characters’ souls, where fear is the jagged edge of the unknown, courage is the blaze that defies it, and desperation is the crucible that tempers them both.

Through nuanced descriptions, raw emotions, and heart-wrenching dilemmas, a writer can make these fundamental human experiences palpable to the reader.

It’s not just about describing emotions; it’s about making them resonate, creating a symphony of empathy that reverberates in the reader’s own heart.

Conveying these complex feelings is the alchemy that transforms characters into living, breathing individuals, and their struggles into a reflection of our own.

In this emotional crucible, readers can witness the full spectrum of humanity, from trembling vulnerability to resolute bravery, and, in doing so, find a mirror to their own fears and triumphs.

How To Describe Battle Scenes In Writing

Point of View

Point of view in storytelling is the kaleidoscope through which we experience the world of a narrative. It’s the lens that determines not just what we see, but how we see it, and it’s the artistic choice that allows a story to take on countless shapes and colors.

It’s the whisper in a character’s ear, the bird’s eye view of an omnipotent narrator, or the confessional intimacy of a first-person perspective.

Point of view isn’t just a technical decision; it’s a doorway to the heart of the characters and the soul of the narrative.

It can shape our sympathies, challenge our assumptions, and immerse us in the most private chambers of a character’s mind.

Point of view is the storyteller’s ultimate tool, the architect of connection and the magician of revelation, where the chosen viewpoint isn’t just a window into the story; it’s the very essence of how we engage, empathize, and become part of the tale.

The advantages of multiple viewpoints

The advantages of employing multiple viewpoints in storytelling are akin to unfurling a rich tapestry, each thread representing a unique perspective.

This narrative technique allows readers to traverse the diverse landscapes of the human experience, witnessing the same events through different eyes.

It not only broadens the scope of the story but also offers a deeper understanding of characters , their motivations, and the intricacies of the plot.

It’s a literary kaleidoscope where readers can empathize with heroes and villains alike, fostering a nuanced sense of empathy and a profound connection to the narrative’s multifaceted world. Multiple viewpoints provide a multidimensional richness that keeps readers engaged, challenges preconceptions, and offers a more holistic, emotionally resonant exploration of the story’s themes, making it a captivating journey of discovery.

Reader Engagement

Reader engagement is the sacred pact between storyteller and audience, a dance where imagination meets ink, and the narrative transcends the realm of words.

It’s the spellbinding connection that transforms the pages of a book into a portal to distant realms or into the hidden chambers of the human soul.

Reader engagement isn’t just about turning pages; it’s about making hearts race, minds ponder, and souls yearn for more.

Like a symphony conductor, a writer orchestrates the emotions, the pacing, and the revelations to keep the reader tethered to the story’s beating heart .

It’s where storytelling becomes an unspoken dialogue, an unbreakable spell, and a shared voyage where reader and writer journey hand in hand, their destinies intertwined by the power of words.

In the realm of reader engagement, each page turned is a whispered promise that the tale will leave an indelible mark on the reader’s life.

The role of reader empathy

The role of reader empathy in storytelling is the catalyst that forges an unbreakable bond between the written word and the human heart.

It’s the mirror in which readers see reflections of themselves, their struggles, and their dreams, creating a bridge of understanding that transcends the boundaries of reality.

Reader empathy isn’t just a literary device; it’s the alchemical formula that transforms characters from ink and paper into living, breathing companions on a shared journey.

Through well-crafted narratives, readers can walk in the shoes of protagonists, feel their joys, their sorrows, and their growth.

It’s the empathy that compels us to cheer for heroes, mourn for their losses, and understand the motives of even the most enigmatic antagonists.

In the world of storytelling, reader empathy is the storyteller’s compass, guiding the narrative to resonate in the hearts and minds of those who seek not just entertainment, but also the profound human connection that stories have the power to create.

Realism vs. Fantasy

Realism vs. fantasy in literature is a thrilling duel of opposites, a literary tug-of-war where the boundaries of the ordinary and the extraordinary collide.

Realism anchors us in the familiar, allowing us to explore the human condition in a world that mirrors our own.

It’s the gritty authenticity of everyday life that resonates deeply, capturing the nuances of our experiences. On the other hand, fantasy catapults us into realms uncharted, where the impossible becomes plausible, and the extraordinary is woven into the fabric of existence.

It’s the domain of mythical creatures, magic, and the boundless tapestry of the imagination. The interplay of these realms is where the magic happens, where writers conjure the impossible into the possible and where readers are whisked away to explore the limitless horizons of human creativity.

It’s a delicate balance, an ever-evolving dance, and a literary playground where the storyteller’s imagination knows no bounds.

How To Describe Battle Scenes In Writing

Striking a balance in speculative fiction

Striking a balance in speculative fiction is akin to navigating the fine line between the known and the fantastical, where the extraordinary is interwoven with the familiar.

It’s the art of creating immersive worlds that capture the imagination while maintaining a grounding in relatability.

Too much fantasy may alienate readers, but too much realism might stifle the genre’s essence. Skillful speculative fiction finds equilibrium, ensuring that even amidst alien landscapes or supernatural phenomena, characters’ emotions and experiences remain recognizable and authentic.

This balance invites readers to suspend disbelief, delving into the speculative with a sense of wonder and a connection to the human condition.

It’s a literary tightrope act that invites us to explore the limitless possibilities of alternate realities while never losing sight of the universal truths that make us human.

Editing and Revision

Editing and revision are the unsung heroes of storytelling, the chisel and polish that transform a rough-hewn manuscript into a literary masterpiece.

It’s where the wordsmith, who was once the architect, becomes the sculptor, meticulously refining every sentence, every phrase, and every punctuation mark.

Editing is the keen-eyed detective, ferreting out plot holes and inconsistencies, while revision is the symphony conductor, orchestrating the narrative’s rhythm and flow.

In this dance of refinement, a story is distilled, its essence brought to the fore, and its flaws expertly concealed.

Editing and revision are where storytelling transcends craft and approaches artistry, where the wordsmith’s passion meets precision, and the tale evolves into a timeless journey of literary wonder.

Polishing descriptions and language

Polishing descriptions and language is akin to the fine art of crafting a literary gem. It’s the meticulous process of sculpting raw language into a masterpiece, where every word becomes a brushstroke and every sentence a stroke of genius.

Descriptions must evoke sensory experiences that transport the reader into the story’s vibrant tapestry, where sights, sounds, and emotions are brought to life with a vividness that lingers in the imagination.

Language should flow like a melodic river, captivating readers with its rhythm and resonance. Every word must carry its weight, and every phrase should be a revelation, enhancing the narrative’s depth and impact.

In this process, storytelling transcends mere communication and enters the realm of artistry, where the mastery of language becomes a medium through which emotions, images, and ideas are conveyed with a profound and lasting impact.

Frequently asked questions about How To Describe Battle Scenes In Writing

What is the significance of describing battle scenes in writing.

Describing battle scenes in writing is crucial for creating immersive and engaging narratives. It allows readers to visualize and emotionally connect with the conflict, making the story more memorable and impactful.

How do I balance action with reflection in a battle scene?

Balancing action with reflection involves alternating between intense action sequences and moments of character introspection. This pacing keeps readers engaged and provides depth to the narrative.

What’s the role of vivid imagery in battle scenes?

Vivid imagery brings battle scenes to life by using descriptive language to appeal to the reader’s senses. It helps create a rich and immersive experience, making the scene more tangible.

How can I convey emotions like fear and courage effectively?

Conveying emotions in battle scenes can be achieved through character development, internal monologues, and vivid descriptions of their physical and emotional reactions.

Is it important to consider the point of view when describing battle scenes?

Yes, the chosen point of view (first-person, third-person, multiple viewpoints) significantly impacts how battle scenes are described and how readers engage with the story .

What’s the difference between realism and fantasy in battle scenes?

Realism refers to keeping battle scenes grounded in the rules of the story’s world or real-world historical accuracy. Fantasy allows for elements like magic and mythical creatures.

How do I know when my battle scene is well-written?

The effectiveness of a battle scene can be assessed through feedback from beta readers, peers, or writing groups. It should engage and resonate with the audience.

What are common pitfalls to avoid when describing battle scenes?

Common pitfalls include overloading the scene with excessive details, using clichés, and not balancing action and character development effectively.

Are there any recommended resources for improving battle scene writing?

Yes, there are many books, workshops, and online resources available for improving your skills in writing battle scenes . Joining writing communities and seeking advice from experienced writers can also be beneficial.

Can battle scenes be described differently based on the genre of the story?

Absolutely. The way you describe battle scenes can vary depending on the genre and the tone of your story. For example, a battle scene in a historical drama may differ from one in a high-fantasy epic. It’s essential to tailor your descriptions to fit the overall style and atmosphere of your narrative.

In the realm of storytelling, battle scenes are the crucible where heroes rise, villains fall, and destinies are forged.

Throughout this guide on how to describe battle scenes in writing , we’ve explored the intricate steps, the emotional nuances, and the literary techniques that bring these moments to life on the page.

It’s not merely about detailing combat but about captivating the reader, drawing them into the heart of the conflict, and making them feel every sword clash, every surge of adrenaline, and every heartbeat of courage and fear.

Whether you’re crafting epic fantasies, historical dramas, or intense personal confrontations, the principles of vivid imagery, emotional resonance, and balanced pacing remain the pillars of creating gripping battle scenes.

As you embark on your own literary battles, remember that the words you wield have the power to transport readers into worlds unknown, stirring their hearts, and etching your characters’ struggles into their memories.

With the insights gained here, you have the tools to make each battle scene an unforgettable journey for your readers, ensuring that your storytelling leaves an indelible mark in the hearts and minds of those who venture into your literary realms.

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  • How To Describe Fear In Writing (13 Steps You Need To Know)
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Nonfiction Books » Politics & Society » War

The best war writing, recommended by kate mcloughlin.

War writing extends to all sorts of genres, including blogs and Twitter. Oxford University's Professor Kate McLoughlin , author of Authoring War: The Literary Representation of War from the Iliad to Iraq recommends some of her favourite books of war writing.

Interview by Beatrice Wilford

The Best War Writing - Charlotte Sometimes by Penelope Farmer

Charlotte Sometimes by Penelope Farmer

The Best War Writing - The Iliad by Homer

The Iliad by Homer

The Best War Writing - War and Peace by Leo Tolstoy

War and Peace by Leo Tolstoy

The Best War Writing - Catch 22 by Joseph Heller

Catch 22 by Joseph Heller

The Best War Writing - If This Is a Man by Primo Levi

If This Is a Man by Primo Levi

The Best War Writing - Charlotte Sometimes by Penelope Farmer

1 Charlotte Sometimes by Penelope Farmer

2 the iliad by homer, 3 war and peace by leo tolstoy, 4 catch 22 by joseph heller, 5 if this is a man by primo levi.

Y ou’ve chosen three novels, a memoir and a poem. Which other genres come under the umbrella of war writing?

Does writing about war, in the vein of someone like Hemingway, ever glamorise it? And is there a vein that does the opposite?

Yes. It’s possible to split war writing into pro-war writing and anti-war writing and that can depend on the culture at the time, or it can depend on the individual’s view.

Hemingway obviously thought war was a great thing. Outside war, he liked hunting, fishing and shooting. Killing things was his thing and a war was a natural environment for him. That’s not to say that he thinks that war is an unmitigated good. For Whom the Bell Tolls and A Farewell to Arms show the human cost of war as well, and the political cost of war, and the futility of it.

“The blog has taken over from the epic as the war-writing genre of choice.”

I suppose it’s rare to find anything that says war is a good thing without it being questioned at all. But some of the earlier texts celebrate heroism in battle unquestioningly.

How do writers deal with the horrors of war?

There is some incredibly graphic description of what goes on in war and among the most graphic is one I’ve chosen, the Iliad , where there are descriptions of horrific injuries. Another way of describing the horrors of battle is by indirection. Describing, for example, all the people who didn’t get funerals in the First World War—as Wilfred Owen does in ‘ Anthem For Doomed Youth ‘—is a way of conveying death and loss and bereavement on a mass scale.

Is there a clear gender divide in written perspectives on war?

Yes, I think there is. There’s a concept famous among academics who work on war writing called ‘combat gnosticism,’ gnosticism meaning knowledge. It’s the idea that only people who’ve been in combat have earned the right to write about it. And it seems pretty unique to war as a phenomenon. You would think something like childbirth would be similar, but it seems not. It’s war: you have to be in it to be able to write about it according to some people. That has led to there being a canon built up of combatant writing. Especially, for example, the First World War and the trench poets. Of course that has implications for that section of humanity who don’t get to fight in armed combat: women.

I think there are only two armies—the Israeli and the Russian—in which women, even now, can fight as ground forces. That means women have been banished and talk about another angle: the folks back at home, the hospitals, the orphans, the widows, the more sentimental aspects of war. But you get some incredibly feisty women who fight their way to the front anyway, who don’t take no for an answer, stow away, just turn up and who write remarkable reportage—and of course that’s not to overlook the role of the imagination in all of this. Being in war, actually having that combative experience, you might get too close and need more of a detached perspective.

I think the gendering of war writing is about different kinds of experience, but not different kinds of validity of experience.

You’re currently writing about modern warfare. Your most recent book choice is Charlotte Sometimes , written in 1969. How has war writing changed in this time?

The book I’m working on at the moment is called Veteran Poetics . It’s an exploration of certain philosophical ideas—self, experience and storytelling—in the age of modern mass warfare, which I date from 1793 as that’s when the French issued their levée en masse : mass conscription. I think the French Revolution and Napoleonic wars were when war became modern, globalized, industrialised and mass.

I also think that was different from anything that had gone before. Walter Benjamin famously said in his essay “The Storyteller”, “men came back from the First World War, not richer but poorer in communicable experience.” I think he got the date wrong, I think it was actually the Napoleonic and French Revolutionary wars. He conveys this sense of having had an experience that you can’t describe because there’s literally nothing to compare it with, and I think that’s a very modern feeling. I think that’s almost a unique feeling to modernity.

The books I’m looking at for my veterans book wouldn’t necessarily qualify as obvious war writing. The most recent ones are by JK Rowling, her Cormoran Strike series, because they feature a detective who’s a veteran. I trace that figure back to Lord Peter Wimsey and to Dr Watson. I’m looking at how veterancy becomes a means of expressing a certain kind of problem solving, not the forensic problem solving of Sherlock Holmes but the more ‘university of life’ understanding of Dr Watson.

Your first book is Charlotte Sometimes by Penelope Farmer.

This book is the first war book I read and it made a deep impression on me. I read it when I was about nine or ten. It’s a book for children , published in 1969. The Charlotte of the title is a twelve year old girl who goes to boarding school and goes to sleep in a dormitory in a bed which has a funny set of wheels on it, and wakes up fifty years earlier in 1918. She has swapped places with a girl called Clare, who in 1918 was sleeping in the same bed. We don’t hear from Clare’s point of view, what she makes of 1969 or 1968, but we do hear about Charlotte, who finds herself in the final year of the First World War .

They swap backwards and forwards night after night. The plot twist is that Charlotte gets stuck in 1918. She and her younger sister are evacuated to a house where the son has gone to war thinking it was going to be a fantastic military heroic adventure, and it turns out it wasn’t. They play with his toy soldiers and the family hold a séance. It made a huge impression on me because Penelope Farmer has this incredibly deft way of making you get a sense of the shock Arthur feels on going to war and finding it was nothing like his toy soldiers and his ideas of bravery.

There is another poignant moment surrounding a teacher in the 1918 school called Miss Wilkins. She’s very bright—a little bit plump, she’s sort of birdy and beady—and Charlotte likes her very much. When she eventually gets back to her own time there’s a Miss Wilkins who’s white haired and a different person altogether, her fiancé died in the First World War. It’s a way of showing how, without being graphic in the slightest, this enormous worldwide conflict had very personal consequences. I think it’s an extraordinary novel and a very thought-provoking one, with many interesting details for children to use to think about war.

What should we tell children about war?

You don’t want to overwhelm children with the seriousness and magnitude of war, but on the other hand there are children who have no choice but to live through war. The children who are told about it are the lucky ones. But I think doing it in this way, having details of the home front, makes it extremely vivid.

There are other fantastic war books for children. Carrie’s War by Nina Bawden is another good example. That also involves an evacuation. It is dear to my heart because my dad was an evacuee. That sense of the impact of war on children comes across very convincingly, very vividly.

As you describe, this book has a very complex temporal framework. How does war alter our experience of time, and how does writing seek to reflect this?

Let’s move on to your second book, the Iliad .

The Iliad is absolutely extraordinary. I read it every so often, and from the beginning it has the most incredible evocation of place, on the beach with the camp fires and Achilles sulking in his tent. There’s such a sense of camaraderie between these warriors. It’s an ancient culture, completely foreign to us now, and yet somehow we are brought to feel their day-to-day emotions. Not just on the Greek side, on the Trojan side as well. There are poignant moments, for example where Hector’s going in to fight and his wife Andromache doesn’t want him to. It’s an extraordinarily vivid account of war and a very graphic one.

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The edition I read it in first, and still read it in, is E. V. Rieu’s Penguin Classics translation. When I’m doing my academic work, I check it against the Loeb Classic edition where it’s very literally translated. Rieu fought in the First World War. He was in the Maratha Light infantry in India and then in the Second World War he was in London in the Blitz, when he decided to start translating the Odyssey . He did the Odyssey first and then the Iliad . This is a veteran in war, translating the great book of war.

How has the Iliad influenced and shaped the genre of war writing?

It continues to inspire. There have been so many writers who have been influenced by it. For an epic, it manages to do both things: it has an enormous scope, but then it really focuses in. To write vividly about battle you need that human interest angle. Monomachia or hand-to-hand fighting comes out in other much later works of war literature, which focus on a single individual and their fate in war.

I’m thinking now of C.S. Lewis in Surprised By Joy . He fought in the First World War and when he got to the western front he said, “This is war, this is what Homer saw.” I’m sure it was nothing like it actually, it’s dubious whether Homer was one single person and it’s unclear whether he could see. But it still carries the weight of all these centuries of cultural baggage.

Having influenced war writing; do you think the Iliad influenced the way people fought in wars?

Book number 3 is War and Peace by Leo Tolstoy . Don’t people only read it for the peace bits? Because the war bits can be quite boring, people say.

The last hundred pages are dull, but if you can stick out the first 1200, then you might as well stick out the last. For the first 1200, it’s a kind of ebb and flow between war and peace, and I think each is equally engaging. When you get to the war parts, Tolstoy is always having the characters think about how they can talk about war. So Nikolai Rostov has these very heroic ideas of going into battle, but then it’s not quite as heroic as he imagined, it doesn’t go as well as he thought, and then when he’s asked to talk about it he realises his listener seems disappointed, so he very quickly slips into a standard heroic war tale. Tolstoy didn’t fight in the Napoleonic wars, but he did fight in the Crimean war, so he drew on his experiences in that when he wrote War and Peace .

Yes, it’s not about the time that he’s writing in. How common is writing written post conflict? What difference is there between this and writing written in a conflict?

That’s true of most of the choices here. Tolstoy is writing in the 1860s about the beginning of the nineteenth century, Homer is writing about an imaginary war, Joseph Heller’s Catch-22 is published in 1961 and it’s about the Second World War . Penelope Farmer was writing a good fifty years after the First World War . I think people do write about previous wars and partly it’s a way of avoiding contemporary rawnesses.

Let’s move on to Catch 22 , tell me about this book.

This is the great war book of the twentieth century. It’s laugh-out-loud funny. He’s talking about the Second World War , which is thought of as the good war. He picks up on an aspect of war which has gone on since Homer. You have an overarching war strategy which might make sense, but, for the individual, the things they’re asked to do can seem absolutely ludicrous — in this case to fly death-defying, practically suicidal missions. It’s completely illogical, being in the war zone. He captures that brilliantly: through repetition, through completely farcical situations and through extremely harrowing moments as well.

Is comedy antithetical to war, or is it a useful lens through which to look at the experience of war?

Laughter and war are almost natural companions. But I wouldn’t say laughter implies funniness or a lack of seriousness, and nor does comedy. Catch-22 gets you to the point where you can’t apply your reason any more and laughter takes over. It’s the laughter of the absurd which might not be to do with funniness, but is to do with preposterousness or incongruity or disbelief. It’s that kind of, “I can make no sense of this,” laughter and I think evoking it is incredibly skilful.

Another person who does it is Spike Milligan. I love his war memoirs. The first one is Hitler: My Part in His Downfall . Just the title conveys the ridiculous. He is one person who mostly spends his Second World War in Bexhill-on-Sea doing maneuvers.

Catch 22  also has some very visceral descriptions of the horrors of war. How successfully does he convey those experiences and what are their purpose in this book?

He does convey them graphically. He makes it absolutely clear that man is mortal. A character gets chopped in half and there’s someone else who’s horribly wounded in an air accident and you find out the contents of his stomach. It’s literally visceral, his kidneys are there with the tomatoes he had for breakfast. He’s very good at conveying that sense of the absolute mortality and carnality of the human body.

“There’s nothing like war to show the fragility of the human body, its destructibility.”

There’s a recurring character called the Soldier in White, who’s a soldier in the hospital completely encased in white plaster cast. In another scene the characters discover the solder in white is gone and an identical one is in his place. Although his arms are different lengths and his body’s a different length, he’s still encased in white, so there will always be a Soldier in White. People become absolutely indistinguishable from one another, which conveys this sense of man as organic matter. There’s nothing like war to show the fragility of the human body, its destructibility.

There’s the amazing description of the Blitz in Kate Atkinson’s Life after Life . The narrator sees a body that she thinks is clothes on a coat hanger because it’s just hanging there.

I was stunned by Life After Life . I think that idea of the world turned upside down, and particularly the house turned inside out, is quite common. I can only imagine what it must feel like to have an intimate room like the bedroom suddenly on show in the street, and have all your possessions out in the street. It’s the complete opposite of civilized living. Writers use it quite often, “ The Land-Mine ” by George Macbeth described how the war has ripped off the front of houses.

Your final book is If This Is a Man by Primo Levi.

I first read this in my twenties. It was my introduction to the Holocaust . This is when I began to understand what the Holocaust had been. Primo Levi was an Italian Jew and an industrial chemist who was sent to Auschwitz. It is about his existence in Auschwitz. Reading it, horror follows horror. It’s hard to believe that the human frame can survive under such circumstances, let alone survive to write something like this.

There are two moments in it that particularly struck me. Auschwitz is in Poland and it’s winter. The hard labour is extremely difficult and it is very cold and bitter. The prisoners are going to be synthesizing rubber in a factory near to Auschwitz, so there is a chemistry exam. And it’s the most infernal exam in the world. This person who has been reduced to something that is almost sub-human now has to try and remember his chemistry from his degree. If he can remember he will be able to work inside in the warmth, and he won’t die. There’s something about being a scholar and thinking about your knowledge under such circumstances that is very powerful.

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He does get to work in the factory, which probably saves his life. There is a scene in which he is going with a very young prisoner to get soup and suddenly a line from Dante’s Inferno comes to his mind. It’s the Ulysses canto, where Ulysses is saying, “I’m not meant for men like these but men who strive after excellence” and Primo Levi tries to remember it. Trying to remember it is this moment of confirmation that he’s still human. The young man he is with is French and doesn’t see what he’s talking about, but senses that it is really important. Levi doesn’t remember the whole canto, but he remembers enough snatches of it that he’s just about got it. I’d like to say that this proves the enduring, humanising power of literature, but I’m not sure you can. George Steiner has pointed out in his great book Language and Silence that people who read Goethe and listened to Schubert in the morning then went out and did their work as guards at Auschwitz. So I don’t think literature improves you.  Nonetheless, it is a moment worth registering because it is this remembrance that means so much to him and he says, “I would give my day’s soup ration to remember that line.” You’d have to read this account to know how much a day’s soup ration matters.

This makes me think of Elaine Scarry’s The Body In Pain and her idea that if you reduce somebody to just a cipher or symbol of your own power through causing them pain it involves that removal of self. I think it’s a very coherent way of thinking about that loss of humanity–you remove the inner life and you make them simply a body.

Yes, I absolutely agree with that. The writing of this, and similar Holocaust memoirs, is a reaffirmation, it goes back to combat gnosticism. It’s hard for anyone who hasn’t been in that situation to talk about reaffirmation, because it’s hard to imagine just what you would have to come back for.

How does he approach the writing of the truly unspeakable?

He writes with extreme candor and a remarkable lack of self-pity. I think there’s this sense, in theories of representations of the Holocaust, that if you deviate even slightly from the truth then you risk letting in the deniers. And so the place of literature in relation to the Holocaust is a very delicate subject. As readers, we have to be very, very aware of the potential of slipping into sentimentality, or trying to make something good out of it that just isn’t there

Does our knowledge of his suicide in any way alter the experience of reading his writing?

In a way it just makes the bravery of the writing—not only of If This Is A Man but all his other works, which never leave this subject—the more extraordinary. There is something about surviving to bear witness, it is an incredibly brave thing to do. He strikes me as an absolutely heroic person.

You’re writing now about literature and silence, how can silence creep into literature? Might it be the purest expression of a horrific event?

My next project is going to be about literature and silence. It grows out of the last chapter of the book I’m writing on veterans which is called “The End of the Story”. The penultimate chapter is about veterans who never stop talking about the war as a model of literary creativity. And the final chapter is about veterans who won’t say anything or can’t say anything or don’t say anything.

We neglect the silences in literature. I’m interested in the acoustic use of silence in poetry or drama and in things that aren’t said, and how we know they’re not said. It’s terribly difficult if you’re not going to say something or write something in protest, how do you register that? You’ve got to sort of hedge it round with words. But I think we can try and listen to those silences.

And silences, as we know from the two minute silence, are incredibly powerful. I want to try and understand this better, and understand how we can see silences in texts that are there, and also maybe texts that aren’t there, or texts that aren’t as they would have been. It’s looking into the realm of the subjunctive, into the hypothetical, into the not said.

February 12, 2016

Five Books aims to keep its book recommendations and interviews up to date. If you are the interviewee and would like to update your choice of books (or even just what you say about them) please email us at [email protected]

Kate McLoughlin

Kate McLoughlin is Associate Professor of English at Harris Manchester College, Oxford.  Her books include Authoring War: The Literary Representation of War from the Iliad to Iraq (2011) and Martha Gellhorn: the War Writer in the Field and in the Text   (2007).  She is a former government lawyer, an Associate of the Royal College of Music in piano performance, and a poet: her collection  Plums came out in 2011.

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Contemporary Writing on War and Conflict

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

creative writing description of war

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

Patrick Hennessey on memoir 

Helen Dunmore   on fiction,

Owen Sheers  on poetry

Ben Hammersley   on digital writing

Helen Dunmore was the first winner of the Orange Prize and is also an acclaimed children's author and poet. She has published twelve novels including  Zennor In Darkness , winner of the Mckitterick Prize; A Spell Of Winter , winner of the first Orange Prize; The Betrayal , longlisted for the Man Booker prize, shortlisted for the Orwell Prize and the Commonwealth Writers Prize; The Greatcoat (2012) and The Lie (2014). Helen Dunmore has also published three collections of stories, Love Of Fat Men, Ice Cream and Rose 1944 , and her stories have been widely broadcast and anthologised. Her children's novels include the INGO series, published by harpercollins and shortlisted for the Nestlé Smarties Book Prize. Her ten poetry collections include The Raw Garden, Out Of The Blue and The Malarkey , all published by Bloodaxe Books. She spoke on the theme of war in her work at events in Russia at the Krasnoyarsk Book Fair 1-4 November 2014 along with Nigel Farndale (who spoke about the research he undertook on the First World War for his novel The Blasphemer ) and Imtiaz Dharker (who talked about her response to Wilfred Owen’s Anthem of Doomed Youth in the collection of poems 1914 Remembers ).

Patrick Hennessey was born in 1982 and educated at Berkhamsted School and Balliol College, Oxford, where he read English. On leaving university he joined the Army and served from 2004 to 2009 as an officer in The Grenadier Guards. In between guarding towers, castles and palaces he worked in the Balkans, Africa, South East Asia, the Falkland Islands and deployed on operational tours of Iraq and Afghanistan. On leaving the Army he wrote his first book, The Junior Officers’ Reading Club , a memoir of a brief but eventful stint in uniform; followed by Kandak an account of how unlikely alliances can be forged in the intensity of battle. Patrick is now a barrister.

Owen Sheers has written two collections of poetry, The Blue Book and Skirrid Hill , which won a Somerset Maugham award. His verse drama Pink Mist won Wales Book of the Year and the Hay Festival Poetry Medal. Non-fiction includes The Dust Diaries and Calon: A Journey to the Heart of Welsh Rugby . His first novel Resistance has been translated into ten languages and was made into a film in 2011. His plays include The Passion, The Two Worlds of Charlie F and Mametz , which has been longlisted for the Dylan Thomas Prize 2014. His second novel, I Saw A Man , is published by Faber & Faber in 2015. 

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 .

Caroline Wyatt became the BBC’s Religious Affairs Correspondent in August 2014, having been a BBC Defence Correspondent from 2007. Prior to that, she covered UK operations in Iraq from 2003 and in Afghanistan from 2001. From 2003 - 2007, Caroline was BBC Paris correspondent, and before that spent three years as Moscow Correspondent, charting Vladimir Putin's first term as Russian President. She also covered NATO in Kosovo in 1999, and Russian operations in Chechnya, as well as working in Gaza and the wider Middle East for the BBC in the late 1990s and early 2000s. She is also an occasional presenter for R4 The World Tonight and Saturday R4 PM. She contributed to 'The Oxford Handbook of War', R4’s ‘More from Our Own Correspondent’ and ‘Only Remembered’, a children’s anthology edited by Michael Morpurgo looking at the literature of WW1.

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literature matters

Away from the Western Front

First World War postcard published by ‘The Cairo Postcard Trust’ (© Lyn Edmonds)

We received entries from all over the world – Britain, Ireland, France, India, Pakistan, Serbia, Australia and New Zealand – and were struck by the multiple viewpoints and the wide range of styles, but also by the focus on the stories of individual people, which brought the wider history to life.

Congratulations to our winners! We hope you enjoy reading their work. Click on the PDF page next to the citations below to open the short story or poem. Here you can read all the shortlisted entries . Copyright remains with the authors.

11-18 category

Winner: ‘heat’ by constance cottrell.

creative writing description of war

Runners up: ‘The Long Road East’ by William Bowden-Ritchie and ‘Welcome to East Africa’ by Charlotte Lee

creative writing description of war

Highly Commended (in alphabetical order)

creative writing description of war

‘Lest We Forget’ by Matthew Gittleson.  The central idea of this story, that the actions of humans on the battlefield seem inexplicable and contrary to nature, is very well expressed. Using a tree as the voice of the author allows us to step back from the human experience and become more objective. The action is placed in the East African campaign and the writer picks out the extraordinary valour of the colonial soldiers who fought for the British and German empires.

creative writing description of war

‘Long Live War’ by Ishaabyha Tripathi.  As a piece of creative writing this entry focusses on one simple idea and uses this to epitomise the writer’s experience of the war away from the Western Front, where the majority of troops on both sides were colonial, and many of them – as described – not English speakers. The entry also manages to convey something of the contradictions of war, along the lines of ‘Oh What  A Lovely War’, where soldiers become ironic and fatalistic about their situation. This is all the more poignant in the choice of writer, who cannot appreciate the irony due solely to lack of knowledge of the language.

Over 18 category

Winner: ‘buried letters’ by helen parker-drabble.

creative writing description of war

An audio version of ‘Buried Letters’

Right click here to download it as an MP3 file

Runners-up: ‘The Princess Beatrice’ by Antony Dunford and ‘The Cheecha’ by Peter Susa

creative writing description of war

‘The Syrian’ by Patty Lafferty.   The simple idea that history is repeating itself in Syria is well expressed. The poem uses short lines and vivid images to take the reader through the experience of waking up after being wounded in war. The historical context is clear and the references to T E Lawrence and Feisal place the action in its time.

creative writing description of war

Our competition originally had three age categories – ’10 and under’, ’11-18′ and ‘Over 18′. Unfortunately in the ’10 and under’ category we received no entries which complied with the rules so we took the decision to transfer the value of the prizes to the other categories, and were therefore able to offer book tokens to two runners-up as well as the winning entry.

creative writing description of war

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Creative Writing- war

Creative Writing- war

Subject: Creative writing

Age range: 11-14

Resource type: Worksheet/Activity


Last updated

22 February 2018

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Thank you for this great resource .

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Thanks for this, I used it as a differentiated ww1 assessment for a year 8 girl with severe learning difficulties.

Thank you. I used with Y9 intervention group to develop language and writing skills. It fits really nicely with the History curriculum too.

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Battlefield Description

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The Moment Before the Battle

Dusk is approaching but the heat does not retreat. The stagnant air still hangs loosely under the lambent sun. Weak rays of sunlight ignite the clouds, and burn across the sky, turning it into a sea of flames. A vast expanse of emptiness stretches underneath the alit clouds. The land is hot and dry, no seeds are germinating; no plants are growing; no animals are living. The sunrays have penetrated deeply into the ground, leaving huge cracks, splitting the land into millions of pieces. Nothing is in sight, apart from two fronts drawn between the Spartans and Persians.

On one side, valiant Spartan soldiers stand uniformly. They are highly disciplined, but their growing impatience is becoming more and more apparent. Through their eyes, fierce anger and uncontrollable hatred is building. They seek revenge from the opponents whom stole their family’s lives; insulted their religion; pillaged their country’s wealth. The stallions are becoming restless, stamping their hooves loudly on the hard ground, eager to tear a gap in the enemy lines. Every man and animal is garbed in shiny armor, which, even in the dim sun, glitters. The morale of the army is building. The soldiers and steeds are hungry for blood.

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At the very front of the troops, erects a man and his steed. Clad in gold lustrous armor, his battle horse neighs loudly at the sight of the enemies. It had lost one of its pupils during one of its ferocious battle, but the other is glaring and burning. Its thick muscular legs matches well with its rider. And like his malicious steed, the man is coated also in thick armor. Underneath the armor, his body is scarred with wounds acquired from countless battles and skirmishes. His eyes - like his soldiers - are full of hatred and anger, eager to slaughter the enemies. The piercing stare seems to penetrate the opponent lines, and none of the enemies dare to meet his gaze.

The atmosphere on the other side is entirely different. The armors are still polished, and the swords are still sharp. However, fatigue and plague has swept across the entire army. Everyone is tired and exhausted. The wounds are coming back and hurting more than ever. They seem eager, but it is merely a mask. Behind the mask is nothing but fear. They fear the enemies; they fear death; they fear this fight. They are fighting an impossible battle, and it has ended before it has begun.

The general’s sword hisses as he draws it out of its sheath. Him, the knights, the cavalry, are all thinking as one—cut; kill; crush. They will hack through the enemy lines and mow down every single body standing in between them and victory. He signals and a prisoner of war is brought forth. The general calmly brings his sword up and bellows his ritual. The deep strong voice quakes the earth, and the enemies shiver uncontrollably in fear. Suddenly, he slices downwards with force and accuracy at the neck of the prisoner, blood spurting out as he soaks his sword in the enemy’s blood.

The soldiers behind him erupt in cheers of approval and the horses neigh loudly. The ritual is done. The enemy will pay with blood. Every friend and family they have lost by the cruel invaders will be avenged with no holding back. Minutes later, the tumultuous uproar dies down, and only silence remains. It is time for battle.

The general shrieks his war cry that pierces the eerie silence, and the cavalry charges towards the enemies.

Battlefield Description

Document Details

  • Author Type Student
  • Word Count 590
  • Page Count 3
  • Subject English
  • Type of work Coursework

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  • battle scene


MilesTro Senior Member

Battle scene examples.

Discussion in ' Setting Development ' started by MilesTro , Nov 7, 2017 .

googletag.cmd.push(function() { googletag.display('funpub_e33d9600d3eb7af261ac92638155d5ee'); }); Let's have some good battle scenes here. They can be any kind for people who have the trouble describing them. If you got any good ones or ideas, post them here, please. It doesn't how you write them as long as they are readable. Go crazy if you want to, but don't start a flame war. I just want good examples that can be shared here.  

John Calligan

John Calligan Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_e33d9600d3eb7af261ac92638155d5ee'); }); This is from my web serial. Erland jumped over the boat with inches to spare. Impressive for a guy in armor. He was smiling. I hated how he showed his teeth, but I couldn’t reach him. I’d have to close the distance if I wanted to strike. Erland was waiting for me to try, so he could step into his own range; He didn’t fear me. We stared at one another for a long time – the only motion between us were his tests. He raised his sword or stepped his lead foot up to gauge a reaction. I gave him small reactions. Erland was looking me in the eye. I looked him in the chest. I had to stay focused on myself. Mind games would be too risky given my disadvantages. Again, he stepped a foot in but this time more boldly. He was trying to train me not to fear his step. I bit down on my impulse to pull back and acted as if I had frozen. It was the reaction he wanted, but I gave it to him on purpose. He laughed as he took a rushing step in and tried to cleave my head. Ready for it, I leapt away and swung the oar in a flat arc. Its blade landed flush with his ribs. Nothing’s more satisfying than making a clean hit with a blunt instrument. I could hammer nails all day.  

Cave Troll

Cave Troll It's Coffee O'clock everywhere. Contributor

googletag.cmd.push(function() { googletag.display('funpub_e33d9600d3eb7af261ac92638155d5ee'); }); A short part of a little bit longer affair, from Major Graxis. Greeted by a pair of guards, they fail to react to our intrusion in time. Placing precise cuts into their unarmored bodies, spilling their organs and blood upon the crude stone floor. More come to join their fallen comrades. Bullets tear through the air and scar the walls of the cavern in the narrow passageway leading deeper into the much lager areas of the complex. The combative Confederation troops test my body armor, and my resolve. Taking a hit to my left forearm and another to my right thigh, I roar in pain and rage. Fighting through the searing punctures, a dozen more bodies lay mutilated by my blades. They begin to retreat from the animal they have awakened in me, realizing the fatal mistake it was to not put me down when they had the chance. Some men begin to be picked off ahead of me, and I can only assume the others found their way here into the fray. Limping and growling, I continue to cut them down like a farmer in harvest season. Each strike felling, and dismembering, hungrily gnawing into their soft tissues and shattering bone. Boots making the familiar sick slapping as I tread through blood, organs, and other bodily fluids. The last enemy unit falls to the floor with a dull wet thud from my blade, his eyes wide as his last breath hisses from his lungs and the lights leave his eyes. The others at my back ready to get the civilian captives out of here.I listen to them as they proceed in locating the cell blocks where they are held. I set off down another route to where the Harvest is being done, a pair of boots at my rear. I do not know who is following me, but at least they are on my side.The stench of death is a sick irony, as the death dealing enemies lay mutilated about the larger alcove. Tributaries of their blood slowly wind across the gray stone underfoot, making sticky tracks to a drain in the floor.  

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Y5/6 Blitz Setting Description

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