 Action/Adventure: June 02, 2010 Issue [#3768] |
  Action/Adventure
This week: Exposition Vs. The Action Scene Hook Edited by: emerin-liseli  
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Dear readers,
My name is emerin-liseli and I am your guest editor for the week. This is the second Action/Adventure Newsletter I have written; I had so much fun with the first one that I had to come back for more. 
Thanks so much for reading, and I hope that my thoughts can be helpful!
Cheers,
Em
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In my last newsletter, I discussed the creation of action/adventure scenes as episodic. However, as writers, we are tasked to create fuller pieces - like short stories or novels - not standalone scenes. Therefore, such scenes must take place within the context of a larger plot arc to create a story.
The ability to write good action/adventure scenes is especially important because action/adventure lends itself nicely to blend with a variety of other genres like Romance, Fantasy or Western. In fact, there are few books that are purely action, because most books include at least a few scenes based on dialogue and backstory -- these slower scenes are often necessary to give the reader required information and therefore advance the plot or develop character.
Thus, the difficult task of the action/adventure writer is balancing the fast-paced excitement of the action scene and the slower scenes that divulge necessary information. To sum in one word: pacing.
Most writers have, at one point in their lives, seen the classic plot diagram, which consists of:
1) The exposition, which includes a basic introduction to the characters, scene, and other vital details;
2) Rising action and conflict, which develops the story;
3) The climax, where the conflict peaks;
4) The falling action, which describes the solving of said conflict, and
5) The resolution, which brings us to the conclusion of the story.
It is difficult to assess when to insert action scenes into this basic plot diagram. Take, for example, the dilemma of the exposition.
The exposition traditionally set the scene, described the characters, and introduced the beginning of an overall plot movement. Today, however, many novels and short stories begin with an action scene that acts as a "hook"; writers are often advised to weave in necessary details into an action-packed opening.
However, melding "the hook" and "the introduction" together often results in poor scenes, like the one written below:
Arnold dashed through the winding streets of Townsville, breathing heavily through his mouth, which currently wore a frown although he usually tended to be smiling. His long legs ached, and he brushed his brown, medium length hair out of his eyes. His pursuer, a dark figure who wore a cloak exuding a strange, earthy smell, seemed to possess inhuman speed.
This would have meant Arnold's doom, had it not been for the fact that he was gifted with superpowers from an unusual incident involving several radioactive spiders, a vat of bubbling liquid, and parents of mysterious intergalactic origins.
As the footsteps behind him grew louder and louder, Arnold knew he had to make a stand. His bright blue eyes narrowed, and sparks flew from his fingertips. He took a deep breath, remembering all the lessons taught to him by Master Lee, the friendly town dojo who had trained Arnold with astonishing patience and wit since the boy was three. That was fifteen years ago, when he knew nothing of the prophecy. When his life had no burdens.
Other flaws aside, this opening suffers from the commonly seen disease of too-much-info-itis. When writing action scenes -- even opening ones -- resist the urge to put in descriptions, backstory and internalized thought. Include only what is necessary at that particular moment. If the information isn't necessary at that moment, then save it for later. It may be extraneous -- you may find that the reader doesn't need to know that particular piece of information at all.
If your "action scene hook" must include incessant insertions of information, or if there is too much information the reader must know from the beginning, then the "action scene hook," unfortunately, is not for you. Consider instead an intense conversation, an excerpt from a book or journal, or perhaps a letter or diary entry.
The action can be saved for scene (or chapter) two. |
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This is the feedback received from the May 5, 2010 newsletter. Thank you to everyone who wrote in! I am so honored by the response.
KimChi
Comment: Awesome first newsletter, Em!  I never thought about it before, but a lot of action stories do suffer from "cinema-titis".
I've always loathed writing action, and I think you've helped me see why. There's a huge disconnect between three seconds of film and two pages of writing.
Obviously, we are limited to 2-D with a book, but I think we can still borrow from modern film techniques. Panning, zooming, cut scenes, etc.--are not new to the written word, I think just more prevalent.
Techniques to integrate the two seamlessly? Well isn't that the question centuries of artists have tried to answer?
Loved the examples; keeping it for reference. Kudos on a thought-provoking first NL!
Thanks so much, Kimchi! Techniques to integrate -- hm, that's a toughie. Perhaps I'll address it in a future newsletter.  - Em
LJPC - the tortoise
Comment: Thanks for making good points about the mechanics of writing action scenes. The examples you gave made the different techniques easy to understand. Great first newsletter!  -- Laura
You are the sweetest!  I'm so glad I could be helpful. - Em
omni_squirrel/Keev
Comment: To the Guest Editor emerin-liseli ,
Thank you for the informative newsletter on the difference of story portrayal between film and literature. It made me take a look at my own writing style and I realize I tend to mix them both too much. They are very different, and we must realize that.
I'm honored that my newsletter assisted you -- best of luck with your future writing projects, and thanks for reading! - Em
writetight
Comment: Thanks for mentioning my "Invalid Item" in the Action/Adventure Newsletter.
Dan
You're welcome, and thank you for writing such a great piece. I'm a huge fan. - Em
Cassie Kat
Comment: Congrats on your first newsletter!  You did a fantastic job! It can be easy to get caught up in wanting to portray an action scene in writing just as its done in the movies. I'll keep your advice in mind the next time I write an action or fight scene.
Thank you so much! - Em
billwilcox
Comment: liseli,
Congrats on an outstanding first issue! I agree with your remarks about Action Scenes. To me, writers have to write the scene in slow motion, and by using great verbs, make the scene feel as if it were happening very quickly, when in fact, it is stretched out and every minor detail is described.
You make a great point -- word choice is incredibly important for writing seamless scenes. - Em
Free_Rip
Comment: Nice newsletter- especially for a first one. You've highlighted a some common errors that, I admit, I've fallen victim to more than once!
The bit about making it clear who is being referred to is a good point in particular; I find that I often have trouble with this in longer action scenes as it is clear in my head who I am talking about and I don't want to slow the action down with a lot of names. Fortunately, I have some friends who are happy to tell me in no uncertain terms that 'it makes no sense. Change it. NOW.'
You are very lucky to have friends like that! Identifying the problem is half the battle. Best of luck with your writing pursuits, and thank you for reading. - Em
JACE 
Comment: Congrats on your first newsletter, Miss Em. You make some great points; now if I can put them into practice. This writing gig is hard work ... but worth every minute.
Ain't that the truth! Thanks for commenting, Jace. - Em
NaNoNette 
Comment: Awesome first NL. You are a gifted action/adventure writer. The two replays of the same scene were very inspirational for me to get back into writing and instructional on how to do it better.
Aw, shucks! Thanks, Giselle! - Em
Winchester Jones 
Comment: emerin-liseli, I loved your news letter. You pointed out a writing mistake that is so subtle and so easily made, I appreciate your insight. Writers can not compete with "The Big Screen" visually. We can add what the screen cannot into the mix, however, and you explained that well! Thank you!
Thank you for reading and for your kind words! - Em
Jeff 
Comment: Wonderful first NL, emerin-liseli ! As a screenwriter and production executive, I'm usually the one telling screenwriters to write more cinematically... it's interesting to see an article from the other point of view! Looking forward to many more great newsletters from you.
It's really interesting to hear about action/adventure from the other side. I'm sure cinematic experience is very useful in visualizing scenes! Thanks for writing in! - Em
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