  Action/Adventure
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The Setup
When writing an action sequence you first have to set the scene. I call it the setup and it has got to be a cliffhanger. Your reader must feel they have to know what is going to happen next and that it could very well spell the end for your hero.
It was the smallest of sounds that made him sit bolt upright.
The eyes were on him. They were close, and though he couldn’t see them, he could feel them. The knowledge that something was close, watching him, sent a chill across his skin. It made him feel naked. Vulnerable.
His eyes were wide, his heart pounding, as he looked straight ahead to where he knew the thing was. The silence, except for his heart beating in his ears, was oppressive. He held his breath, trying to hear.
Even before the action takes place there is a lot of suspense. To me, this is a pretty good setup. I have to know what happens next. I am compelled.
Again came the soft sound of a foot being lowered stealthily to the forest floor. It was coming toward him. His wide eyes stared frantically into the blackness, trying to see a movement.
Now, I am gripping the book cover hard. I know the action is about to come. Like the character, I am holding my breath, unable to turn away.
But wait…there is still more suspense.
It was no more than ten paces away when the yellow eyes inched into view, hunkered low to the ground. The eyes were glowering right at him. The thing stopped. He held his breath.
Now we are ready to address the action. Even though nothing has really happened yet, the reader’s heart is racing in anticipation of what will come.
With a howl, it sprang. He jumped to his feet, his hand going for the sword. When it bounded in the air, he saw that it was a wolf. The biggest wolf he had ever seen. It was to him before his hand even reached the hilt. The wolf’s front paws hit his chest square. The powerful impact drove him backward over the log he had been sitting on.
Whew! This is intense. Notice the short choppy sentences. The sequence is broken up into minute instances in time—easily digested—pushing the action forward.
But this author has built his action around suspense. So what could be better than to add some more right in the middle of all the action?
As he fell backward, his breath knocked from him, he saw behind him something more frightening than the wolf.
How could this be?
The author has surpassed himself here. What could make this sequence any worse for the hero?
By now, the reader is devouring the words on the page; the suspense is too much to bear.
It’s a monster from hell.
The huge jaws snapped at his chest just as the wolf reached the monster and went for its throat.
The hero’s head hit something hard. He heard a yelp and the sound of teeth ripping tendon. Everything went black.
Wow, the fact that the author leaves us hanging only shows his high caliber of writing. Again we must read on to see what happens next.
Combining action with suspense is a technique used by professionals. It heightens the action. It draws from it the maximum effect, which is to totally engross the reader.
There are an infinite amount of setups you can use, but the main thing to remember is to keep the suspense high and the reader guessing what will happen next.
Until next time...
billwilcox
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Action & Adventure With Lots Of 'Bang', 'Boom', and 'Ka-pow'!
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Talk Back!
Anne Light 
Submitted Comment:
I found myself nodding along in agreement as I read your concise newsletter. I'd like to add that dialog attribution serves as a pause. If you want the dialog to flow on, like an easy conversation, it's best to leave out any additional information. If you need a break, use it for giving out information about the characters. Well, that's what I do.
Kyna 
Submitted Comment:
A very helpful newsletter.
Thanks!
Joshiahis
Submitted Comment:
Excellent period of instruction! You broke it down so even I can understand it.
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Action/Adventure: April 09, 2008 Issue [#2319]
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