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 Action/Adventure: December 27, 2017 Issue [#8671] |
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  Action/Adventure This week: Adventures are Reactions to Actions Edited by: Kate - Writing & Reading   More Newsletters By This Editor   1. About this Newsletter 2. A Word from our Sponsor 3. Letter from the Editor 4. Editor's Picks 5. A Word from Writing.Com 6. Ask & Answer 7. Removal instructions 
 
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For example, we wouldn't want to read that "Fred ran quickly across
Instead, how about, "Fred darted across the parking lot, 
Keep up the pace with shorter, cleaner, sentences and paragraphs. Again, if we eliminate the picturesque descriptions, the action stands on its own. Your hero (or villain) would not be contemplating the myriad stars lighting his way beneath a cerulean sky as he/she plots the next move. He or she would be acting or reacting to engage the adventure.
Action is Movement. To have an adventure, the character moves from one place to another - again, an action - across town, across continents or oceans, or through space or time.
Dialogue that's on point and moves the plot along. This means few, if any, extraneous dialogue tags. Stick with "he said," or "she replied," ejecting the spent shell casings. - Then move, once again. Dialogue can also thus introduce a shift in point of view. 
Forget pathos and descriptive backstory. In an Adventure, readers don't want to spend a chapter on the hero's childhood fear of spiders or the loss of life for lack of anti-venom. Dialogue, or disgust expressed with a shudder upon finding a spider in a weapons cache akin to his mother's utensil drawer gives the reader the picture and forwards the plot (weapons cache - utensil drawer - both have knives).
