 Action/Adventure: July 25, 2007 Issue [#1849] |
  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 vicriously.
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 #1220211 Unavailable **
** Dynamic Movement ~ Plot **
Our characters need to move within the story. Even a story about a quadraplegic will involve movement, either of themselves or of characters around them, or even in their dreams. If there is no movement, then there is nothing happening in a story, and essentially - no story.
Movement can contain a purpose in itself. For example, shooting a rifle is a deliberate action. Alternatively it can be used as a means to an end, like stepping off a bus - the movement itself is not important, but where the character might be going is. Dynamic movement, then, is most concerned with the purposeful acts of your characters, demonstrated in a way that they show energy and forcefulness.
The rate and degree of movement entertained by characters in a story should be relative to the plot. Thus, it would be unbelievable for a reader if a soldier, angered by the death of his mate, Andrew, to "slap Jimmy for calling Andrew a coward". He is far more likely to get into an all-out brawl. However if the period of the story was shifted, a sword fight, duelling pistols or zap with a phaser might be more appropriate.
Most of the movement created for characters will come naturally as the writer has the omnipotent ability to see, direct, and change the characters' actions and subsequent outcome. However, to shift movement to dynamic movement we must make use of several techniques.
1. Use all of the senses: sight, sound, smell, touch, and taste.
James entered the dark and musty cave.
James entered the cave, feeling his way with a hand against the cold lava wall. The dust and musty odour of age tickled his nose. He sneezed, listening to it echo dully in the dark as the sour taste of cobwebs and mould coated his tongue.
It is not usual to use all senses in one descriptive, but it is possible. A balance of 2-3 sense is a good guide.
2. Give your characters reasons to go places, to move within the story. Even if the entire story takes place in a single room such as a lounge, movement can be created: door --> couch --> phone --> couch --> liquor cabinet --> window, etc.
3. Avoid using too many adjectives and adverbs. Look for strong nouns and verbs to communicate the image instead.
Adverbs/Adjectives ~ A glittery golden sun sank slowly down the sky.
Nouns/Verbs ~ Stretching in a lazy arc to the horizon, the gold sun sparked with shafts of white fire.
4. Avoid cliches. Cliches are tired expressions that will either irritate a reader or cause them to gloss over the action.
Cliche ~ Sam ran circles around her opponent.
Original ~ Sam's punch and twist fighting style, learned on the streets of Chicago, could not be bested by her opponent's classical training.
5. Use the movement of characters to raise questions about the plot. This will engage the reader and keep them reading to find those questions answered. Some action should be left unexplained till later in the story.
For example, "Jim squatted and stared thoughtfully down the pier as he waited for Angela to join him so they could board their new boat together. His muscles spasmed him from the reverie when a hand clamped on his shoulder."
Later on the reason or partial reason for his actions can be released. He could be seeing a cloud disturbance on the horizon which later turns into a deathly struggle for them in the boat; the muscle spasm is because he's not an experienced boater and has reservations. He could have been cotemplating how far out to take the boat before he could safely dump Angela overboard, and the spasm is his guilt. Or maybe he was remembering a time he went out on a boat as a child and the spasm merely a surprise at his memories being cut short. Lots of questions and lots of possibilities are present with little clues.
Dynamic movement is movement that not simply happens, but happens with purpose, even if that purpose is kept secret until a later date. Even if it appears casual, there is a reason behind it.
Dynamic movement is movement that is interesting and fresh.
Dynamic movement is used to strengthen both plot and character.
Thanks for being with me this issue.
Puditat
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 A very helpful and easy-to-understand newsletter. Loved it! Have a great day!
daydreamer13
You're very kind. Thank you! 
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