| The real task when writing a large scale battle | | | | person perspective of a bird or dragon flying |
| scene is to take a lot of visual information and | | | | overhead. The third person view can also be a |
| clearly describe it in writing. This can be a | | | | great tool for building suspense in the battle. The |
| challenge but here are some ways that will help | | | | reader will feel anxious and worried if from the |
| you do it in a way that it is understandable and | | | | bird's eye view he knows there is a secret attack |
| enjoyable by your reader. | | | | coming from behind that he can see but the |
| Draw Yourself a Map | | | | warriors on the battlefield cannot see. |
| This is the most important thing you can do. You | | | | Handling the Logistics and Mechanics of Battle |
| have to sketch out a map for your own use. It is | | | | One of the most important things you have to |
| very important for you to be able to clearly | | | | consider when it comes to a large battle is the |
| visualize the battlefield, the location of | | | | logistics of everything. Every general in the real |
| combatants, and the various landmarks. Ask | | | | world worries about the logistics of getting things |
| yourself some questions when drawing out the | | | | to where they need to be. Troops have to be |
| map. Where are the hills, mountains, streams and | | | | moved and this takes time. And those troops |
| rivers? Are there any unusual terrain features | | | | need food, water, and all kinds of other things like |
| that you should note? Are there unusual terrain | | | | weapons, clothing, first aid -and the list goes on |
| features that are specific to the fantasy world | | | | and on. They also need large places to camp and |
| you have created? Are there any bridges over | | | | to sleep. Remember these things and plan |
| waterways? Are there buildings, castles, or other | | | | accordingly. Shortages of materials can also make |
| structures? You should draw these structures | | | | for very intense plot points. Real wars and battles |
| right on the map. And if a castle or a keep is a | | | | have been won or lost based strictly on availability |
| central figure in the battle you should draw it with | | | | of supplies. Make use of this. |
| as much detail as possible. These things are all | | | | Magic, Elves, Dwarves, and other unusual things in |
| important because they are military positions, the | | | | your Novel and in your Battle |
| terrain, structures, bridges and other things all | | | | You are writing a fantasy novel so chances are |
| have a bearing on how combat is fought. | | | | good that you have all sorts of fantasy things in |
| Dealing with the fluidity of the Battlefield | | | | it. Things like magic, elves, dwarves, dragons, and |
| A very large battle is not a static thing or a single | | | | whatever else your imagination stirs up. And all of |
| event entity. There are many things going on | | | | these things may be a critical part of your battle |
| over the course of time which could be hours, | | | | scene but you have to be careful. Even though it |
| days, or even weeks. This fluidity and all the | | | | is a fantasy world you have created, it still has to |
| changing variables can cause information overload | | | | follow rules that make sense. What good is it if a |
| or confusion in your reader. What you can do to | | | | wizard can cast a spell that kills all the enemies? |
| help yourself to better describe what is happening | | | | Or if you have creatures that are so well |
| over a period of time is to make yourself a small | | | | armored they are practically invincible? Everything |
| table top simulation of the battlefield. You can | | | | should have limitations and everything should have |
| draw the terrain on it and then add objects that | | | | consequences. If the wizard casts that terrible |
| represent buildings, landmarks, and troops. This is | | | | spell would he also die? That would be an |
| exactly what all generals do and it is something | | | | interesting twist. And what if the invincibly |
| you can do to keep things straight and accurate. | | | | armored creatures moved at a snail's pace and |
| Changing Point of View | | | | are very susceptible to fire. See what I mean? |
| Your novel may be written in first person or third | | | | Set limitations and rules that add to the story and |
| person omnipresent and you may want to stick | | | | the drama. |
| with whatever scheme you are using but in a big | | | | And your various creatures may have specific |
| battle it is often a good idea to switch between | | | | logistical needs. Elves may need to sleep twenty |
| these two views. This switching can add suspense | | | | hours a day or dwarves may be useless in |
| and paint a rich picture for your readers. The first | | | | daylight and Dragons may need very special food |
| person view can jump from person to person or | | | | that is hard to come by. |
| across enemy lines between "bad" and "good" | | | | In summary, a fantasy battle on a large scale is a |
| guys. This will lend emotional impact to the battle. | | | | complex organism that moves in a lot of different |
| Using a third person view of the battle will lend a | | | | ways and you, as the author, need to keep all the |
| sense of grandeur to the battle and make it more | | | | information straight in your mind so you can |
| epic. You can do this simply as third person | | | | convey it clearly to your reader. And you have to |
| omnipresent or you can even do it from the first | | | | do it in a way that makes sense. |