 Action/Adventure: October 11, 2006 Issue [#1308] |
  Action/Adventure
This week: Edited by: W.D.Wilcox  
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Good adventure stories live and breathe with action. But how do you write them? What is the secret to writing a white-knuckle page turner, a non-stop roller coaster ride that leaves you gasping for breath? |
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Writing an Action Sequence
Action sequences happen very quickly in real life. In fact, there are things going on that are sometimes too quick for even the eye to see. The problem is that writers have a tendency to write them in just that way. But don't fall into the trap. There is a little trick to it that you should know...
The key to writing a heart-pounding action sequence is to slow everything down...WAY down. Just use the help of strong verbs and put the whole scene in slo-mo.
That's it...pretty simple, huh? Let's take a look at an action sequence and I'll show you what I mean...
Silas reacted on instinct, surging across the room and sliding to a stop just behind the door as it crashed open. The first police officer stormed through, swinging his gun left then right at what appeared an empty room. Before he realized where Silas was, Silas had thrown his shoulder into the door, crushing a second officer as he came through. As the first officer wheeled to shoot, Silas dove for his legs. The gun went off, the bullet sailing above Silas's head, just as he connected with the officer's shins, driving his legs out from under him, and sending the man down, his head hitting the floor. The second officer staggered to his feet in the doorway, and Silas drove a knee into his groin, then went clambering over the writhing body into the hall.
-"THE DA VINCI CODE" by Dan Brown
Notice how time slows down, giving the author ample time to describe each movement, yet at the same time making the scene feel as though it were racing to a conclusion. This is important. You want to control time, yet mask the fact that you are doing it.
The first sentence sets the stage by using strong 'action verbs'. Silas reacted on instinct. Now this tells us the urgency of the scene, the man has no time to think, only to act. He surges across the floor, slides to a stop, as the door crashes open.
In the second sentence the verbs once again denote action: the officer storms in, swinging his gun left to right. Can you see it in your mind?
In the third sentence, Silas throws his shoulder into the door crushing the second policeman.
In the fourth: the first cop wheeled to shoot, as Silas dove for his legs.
In the fifth sentence things happen very quickly: the cop shoots, the bullet sails, just as he connects with the cop and drives him down.
In the last sentence the cop staggers to his feet as Silas drives a knee to the groin (one of my favorite moves), and then clambers away.
Action scenes demand action verbs. Make a list and use them as the action unfolds.
Also try to remember to keep upping the stakes. What obstacles must the character overcome? (The more the merrier. Avoid the easy route.) Your characters should be challenged, pushed to the wall, forced to improvise and invent and draw on inner resources as well as physical strengths. They should use their minds as well as their muscles. Because the consequences of failing to survive the action sequence is that the bad guys win, and the good guys die.
Until next time,
billwilcox
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Writers Write In
Last month I talked about building a character without using dialogue. This is what the community had to say...
Bailey  writes:
Welcome back. You're writing was sorely missed in the newsletters.
Thank you, I missed not being able to do them.
Starr* Rathburn says:
Thank you, Bill, for including my "The Ghost of Mount Grace" in your newsletter. I've received an excellent (that is, detailed and helpful) review because of this newsletter.
I enjoyed reading your editorial about character-building. I, too, like to try to see my characters as if they're in a movie. I liked what you said about trying to write a character as a mute. Nice idea. I liked this, as well: This is the power of action--cause and effect. Very true. Well done!
Thanks Starr, that's quite a compliment coming from you.
Ghostwriter writes:
Good NL and definitely a great way to practice writing what your character wants to say without actually using dialogue . I don't know why, but I find writing dialogue a bit difficult. When I try, it sounds corny and cliched, like I've heard that said a gazillion times before! It's comforting to know that we can still write action without so much dialogue, so thanks for the tips.
Writing dialogue depends upon the character that's speaking. As in the real world, we each have are own distinct voice as do our characters. Try to imagine the conversation in your head before you write it. That always seems to help me.
Robert Waltz  challenges:
I, too, visualize scenes like movies running through my head. The challenge is to make them good movies, not flops.
No truer words were spoken, my friend.
Alimohkon writes:
Mr. Bill, I always read you and I have come to know the man behind the words. Thanks and best regards!
OMG, somebody found me out  ! Seriously, thanks for your kind words.
Vivian  comments:
Hey, Bill, are you back with us? Great newsletter. I like how you explain how we can make our characters "real." ~~ Viv
Yeah, I'm back, and trying to offer a few of my tainted pearls of wisdom to the community. Thanks, Viv  !
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