  Action/Adventure
This week: Edited by: Puditat  
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Life without action is static, and by necessity, it would therefore be dead. Action writing takes the normal and shares it for all to live vicariously.
Adventure is the spice: the exciting, adrenalin-pumping, thrill that makes one feel so alive. Everyone has an adventuresome spirit. Maybe dreams of excavating some long-lost treasure, visiting a new country, or trying a new flavour of potato chip.  Some of us prefer our adventures to come between the pages of a book, and many of us like to write that adventure. |
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** Image ID #1092365 Unavailable **
** Dynamic Movement of Characters **
This week's topic comes from the inspiration of likenion. Thank you for the suggestion and I hope you enjoy my ramblings on the subject...
Firstly some selected definitions from The Collins Dictionary and Thesaurus:
 Dynamic:
1. of or concerned with energy or forces that produce motion
2. characterised by force of personality, ambition, energy, etc.
Under the definition of Dynamic we find two possible applications. The first is on the physical movement of a character;the second definition relates more closely to characterisation. I will be tackling the use of dynamic movement in characterisation this issue. Next month I will discuss dynamic movement as it relates to the story/plot.
Movement:
1. the act, process, or result of moving
2. an instance of moving
3. a trend or tendency
4. tempo or pace
One of a writer's best friends in achieving dynamic writing is a thesaurus. Why must a character 'walk along the boardwalk', when he can shuffle, stride, navigate, or mince. Each option gives a clue to the character himself -- his mood and attitudes, motivation, intentions, and even their health.
Like the pace of your story, the movements of the characters should rise and fall, gaining momentum and easing into periods of rest. This engages the reader whilst conveying a realistic series of events. No person goes from start to finish in a series of strong actions, not even Superman. A reader will soon tire of a character that is always making the strongest (or conversely, weakest) of movements.
Let's look at two examples of the same scene -
One Adam drooped his shoulders and picked at the paint. His eyes drifted across the landscape nervously, hooded beneath dark, bushy brows. Reclining against the post he sank a fist into his pocket.
Two Adam squared his shoulders and attacked the paint. His eyes darted nervously across the landscape, hooded beneath dark, bushy brows. Pushing against the post he jammed a fist into his pocket.
1st example
- string of indecisive verbs.
- describes Adam as nervous, maybe with low self-esteem or shy, reserved, a loner, moody
- Adam is a weak character, possibly compelling pity in the reader
2nd example
- verbs are all decisive and intentional.
- describes Adam as nervous, perhaps full of anger or frustration, he appears moody, even aggressive
- Adam is strong, but not very likeable
- contains some actions that seem illogical or silly - like pushing against a post
What we really want to read is a blend of these two examples.
Three Adam braced his shoulders as he picked at the paint with careless fingers. His eyes darted nervously across the landscape, hooded beneath dark, bushy brows. Reclining against the post he jammed a fist into his pocket.
3rd example
- a blend of verbs
- Adam is more complex, showing both strength and vulnerability
- encourages a reader to find out more about him and what is happening
Using the appropriate word for a character's actions needs to take into consideration what messages about the character need to be conveyed. With a deft change in word you can bring a totally different intention to the reader's notice.
Dynamic movement requires force and energy to produce tempo, pace and change. A character's personality and goals should contain this sense of movement also. It may or may not be the central theme or plot, but will provide a rich, balanced character that a reader can identify with or at least wishes to see what happens to them.
I hope this little foray into characterisation, using their movements within the story, has been of some help. Stay tuned for next month's look at the dynamic movement of characters as it applies to a scene and story.
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 'I thought I saw a...' Pudi,
Very nice examples of how to use and incorporate Settings. You gotta love Tolkein 
billwilcox
'I did, I did see a...' Thank you, Bill. I am enjoying reading Lord of the Rings, though find his tendency to include every step of their day a little unnecessary. Still, a must-read as there is much to learn just from his use of personification and description alone.
I'll definetely stick around for the character's movement topic.
This was yet another awsome and well thought newsletter covering a very important topic. Settings are essential for the effect of a story on the reader, so this was a gret review. Congratulations!
likenion
Happy reading! Thank you for the rave over my last edition. 
Puditat, this was a great Newsletter on backdrops and settings. The different moods established by your examples were an eye opener ! I've printed this one out for future reference. Thank you, Excellent job !
dejavu_BIG computerprobs
 Thank you so much!
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Action/Adventure: June 13, 2007 Issue [#1765]
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