How to Write a Dramatic Confrontation Scene Between a Hero and a Villain
Where do they confront each other?, What weapons or other equipments do they have? , Are they both alone or does either (or both) have helpers with them and how many?, Don't cut the emotional and psychological part out., Have both sides hit, miss...
Step-by-Step Guide
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Step 1: Where do they confront each other?
A stage can add variety and change choreographies. -
Step 2: What weapons or other equipments do they have?
, Sometimes an all-out massive brawl is better, sometimes you may need just a duel or punch-up. , Have them taunting each other, trying to get under each other's skin, expressing their emotions, playing a blame-game, throwing witty, caustic remarks, bantering, reflecting on past events and discussing their rivalry(or outright enmity), if it's in character for them.
However, if these characters would just go right away for the violent brawl, then have them do it.
In that case, mere murderous gazes and other subtleties are enough. , Keep the outcome in doubt and you'll increase suspense.
Show that both opponents are capable of winning the fight. , Maybe both parties place the blame on each other, but the true blame lies in someone else.
Maybe the villain and hero were secretly in love with each other.
Maybe a secondary character shows up and kills both.
Maybe a villain manages to get rid of (yet not quite kill) a hero for some time with an ace up his sleeve the latter failed to foresee thanks to his (hero's) personality flaw (extremely useful, if the parties confront each other too early in the story).
Be creative! , If it's the hero's first meeting with the villain just make it simple like a chase of sorts.
This helps set up their hatred of each other.
If you want to the make the confrontation take place in a hazardous environment with the hero and the villain trying to kill each other in melee combat then that's best reserved for the climax.
A good example of this is the film True Lies.
The protagonist Harry and the antagonist Salim meet up midway through the film and have a chase throughout a hotel and ultimately Salim escapes.
At the end of the movie they fight again but on board a large helicopter hovering several thousand feet off the ground.
Bond movies are known for doing this so try to take that. , It can be in a regular setting.
A good example is the shootout at the end of Scarface where Tony Montana engages in a large firefight with several assassins inside his house.
There is not lightning and no outside danger.
Sometimes it's better if it's a simple shootout than an all-out brawl. -
Step 3: Are they both alone or does either (or both) have helpers with them and how many?
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Step 4: Don't cut the emotional and psychological part out.
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Step 5: Have both sides hit
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Step 6: defend
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Step 7: get hit
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Step 8: stagger and stumble.
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Step 9: Don't be afraid to add a twist if the scene and the story itself call for it.
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Step 10: How dramatic and "epic" the confrontation is depends on where the story is.
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Step 11: If you are constructing the climax it doesn't always have to be a final epic climax in a structurally collapsing building.
Detailed Guide
A stage can add variety and change choreographies.
, Sometimes an all-out massive brawl is better, sometimes you may need just a duel or punch-up. , Have them taunting each other, trying to get under each other's skin, expressing their emotions, playing a blame-game, throwing witty, caustic remarks, bantering, reflecting on past events and discussing their rivalry(or outright enmity), if it's in character for them.
However, if these characters would just go right away for the violent brawl, then have them do it.
In that case, mere murderous gazes and other subtleties are enough. , Keep the outcome in doubt and you'll increase suspense.
Show that both opponents are capable of winning the fight. , Maybe both parties place the blame on each other, but the true blame lies in someone else.
Maybe the villain and hero were secretly in love with each other.
Maybe a secondary character shows up and kills both.
Maybe a villain manages to get rid of (yet not quite kill) a hero for some time with an ace up his sleeve the latter failed to foresee thanks to his (hero's) personality flaw (extremely useful, if the parties confront each other too early in the story).
Be creative! , If it's the hero's first meeting with the villain just make it simple like a chase of sorts.
This helps set up their hatred of each other.
If you want to the make the confrontation take place in a hazardous environment with the hero and the villain trying to kill each other in melee combat then that's best reserved for the climax.
A good example of this is the film True Lies.
The protagonist Harry and the antagonist Salim meet up midway through the film and have a chase throughout a hotel and ultimately Salim escapes.
At the end of the movie they fight again but on board a large helicopter hovering several thousand feet off the ground.
Bond movies are known for doing this so try to take that. , It can be in a regular setting.
A good example is the shootout at the end of Scarface where Tony Montana engages in a large firefight with several assassins inside his house.
There is not lightning and no outside danger.
Sometimes it's better if it's a simple shootout than an all-out brawl.
About the Author
Mark Sanders
Specializes in breaking down complex hobbies topics into simple steps.
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