| The real mechanics of a good action/fight scene | | | | The above example leads us to our next |
| lies not only in the concise and clear nature of | | | | technique: alternation. Notice how each character's |
| each sentence, but also the way its formatted. | | | | action is explained in its own paragraph. Don't try |
| Trying to jumble too much in one paragraph is | | | | and explain two people's actions in one paragraph. |
| confusing and tiresome to the reader's eyes. It | | | | Every time another character makes a move, |
| also slows the action down when you really want | | | | give it him his own paragraph. (Be careful to |
| to speed it up. | | | | balance the constant short-paragraph shift with |
| How do you structure the paragraphs during an | | | | internal and external dialogue.) |
| action scene? In short lines. For example: | | | | It can't be stressed enough: keep the sentences |
| "Ezra skipped backward, two shots pounding from | | | | clear, simple, and powerful. Pick strong nouns and |
| his revolver. | | | | verbs and stick with them--don't add words, |
| Kyle ducked. While dropping he launched a dagger | | | | especially not adverbs (although there are |
| from his sleeve. | | | | exceptions). Be brutal to your work. Take a knife |
| The knife lodged into Ezra's shoulder. He grunted | | | | to it like a you take a cutter to the Turkey on |
| and struggled to hold his gun straight." | | | | Thanksgiving. Strip the scene to the bone. |
| The paragraphs don't have to be that short, but | | | | In the end you have to practice, practice, |
| try and keep them as compact as possible while | | | | practice, in order to write a good action scene. |
| still including thoughts, feelings, and mental | | | | You will eventually develop your own style, your |
| processes, spastic as they may be. | | | | own likes and dislikes and techniques. |