  Action/Adventure
This week: Edited by: Vivian  
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*looks around in confusion* Where am I? This doesn't look like the For Authors editors' lounge or the Short Stories editors' lounge. *ducks as a chair flies by her head, dodges as a man runs by chased by a police officer* Ohhh, I'm in the Action/Adventure Newsletter area. I have been here a few times lately and not just to read the newsletter.
I am the guest editor for this issue, and I'm glad to be back.
Viv |
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Lights! Camera! Action!
(Showing action in writing)
“Action” brings to mind a movie director starting the filming of a scene. Writers should keep that in mind when writing action whether in a love story, an adventure, or any other genre. Action should be included in scenes, framed portions included in the story line.
According to Betty Wilson Beamguard, (“Actions speak louder,” The Writer, September 2005), writers should step back and observe each scene being written as if the writer were a movie director. Each character in the scene should be active, doing things to enhance his words. The action activity should convey a message that fits.
“Narrative summary can drag down the pace, while physical movement, dialogue and scenes engage your reader,” says Jordan E. Rosenfeld in the February 2007 issue of the same magazine. He calls a scene a frame “a little ‘container’ of action and description that reveals plot information and engages the reader.”
Even when a story is given in written form, the reader should be able to “view” it, see what is happening, as if a drama or play is unfolding. This need for action must be explored so that readers stay focused on the plot. Rosenfeld states, “What you put “onstage” in your scenes is what your audience members can see for themselves.” This action allows readers to participate and be affected by what happens.
If too much expository is used or the scene isn’t interesting, a reader becomes frustrated and starts skipping paragraphs, even pages. The author has, in effect, lost his audience, the reader. Most information given in descriptive or narrative paragraphs can be presented through dialogue and action, woven through the plot in a way to provide new information and to advance the story. The conflict, setting, setup, and “what happen next” components necessary for a good plot can be developed more interestingly through action (dialogue, movements and actions of characters, body and facial behavior).
One point that Quinn Dalton makes (The Writer, December 2006), “A scene’s action must be connected to the central concerns of the story.” Action needs to be connected to the plot, not thrown in just for the fun of it, as padding.
Action/adventure stories or novels, even poetry, requires some powerful action. The reader needs to “see” the chase, the fight, the escape. Short sentences with strong action verbs helps make the action tough and invigorating. That doesn’t mean that each sentence should be so short that the writing becomes too choppy, but long, complex or compound sentences distract from the action portrayed.
Authors need to think like movie directors and develop scenes of action that become visions in the minds of readers.
The following is an example of action as shown in one of my stories, a story that readers seem either to love or to hate: *sigh*
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Words from our Readers
Since I did a guest spot in this newsletter just a few weeks ago, I actually have some readers' comments to share.
fleckgirl
Vivian - Great newsletter! I think that Gregory House, MD the lead character in Fox's TV Series House, MD is a perfect example of a lead character who is addicted to pain killers coupled with other deeply twisted character flaws, but you love him anyway. I find it very effective for his character anyway. Thanks so much!
Fleck Girl
A speaker at a writing clinic stated that no character should be perfect: no one is all bad or all good. A good character has flaws, and a good writer reveals the flaws.
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darkin
Good suggestion, Viv. Having a hero who is vulerable makes them even more human - and real to the reader.
Darkin
Personally I think that anyone who overcomes obstacles to gain his goal is more heroic than one who has something handed to him.
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StephBee 
Vivian, I really liked the topic you tackled in this week's newsletter. I agree - having your action/adventure hero deal with a little pain not only makes them human, it really helps to make the hero believable. I'm currently working on an action/adventure story called "Destination:Berlin" and my heroine has to tromp 90 kilometers to West Berlin with sore, aching ribs and various other minor ailments. Your newsletter let me know I'm on track! Two thumbs up!
I'm glad I was able to help. 
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Max 'indent' = 10
Great newsletter. I am new here and enjoyed this very much. Thanks for the tips.
Thank you, and welcome to W.Com.
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Received by email from feegreen:
Mrs. Zabel,
My heart broke as I read about the pain you endure. Your newsletter was an excellent reminder not only that our truest writing comes from personal experience on some level, but that those of us who live our days without pain should be perpetually grateful for this often-unnoticed gift.
Having planned to email you the above, imagine my surprise and delight when I scrolled down to notice you had included some of my writings in the items from site members. I appreciate your inclusion of my work!
With thanks,
Stacy
Thank you for your email. And you're welcome.
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Thank you for allowing me to visit this part of Newsletter Land again.
Vivian |
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Action/Adventure: February 14, 2007 Issue [#1539]
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