𝐓𝐀𝐂𝐄𝐍𝐃𝐀 ( writing tips. )

ii

credit to @ave-aria on tumblr

HOW TO APPLY WRITING TECHNIQUES FOR ACTION WRITERS

• short sentences. choppy. one action, then another. when there's a lull in the fight, take a moment, using longer phrases to analyze the situation--thendive back in. snap, snap, snap. 

• same thing with words -- short, simple, and strong in the thick of battle. save the longer syllables for elsewhere. 

• characters do not dwell on things when they are in the heat of the moment. they will get punched in the face. focus on actions, not thoughts. 

• go back and cut out as many adverbs as possible. 

• no seriously, if there's ever a time to use the strongest verbs in your vocabulary - bellow, thrash, heave, shriek, snarl, splinter, bolt, hurtle, crumble, shatter, charge, raze - it's now 

• don't forget your other senses. people might not even be sure what they saw during a fight, but they always know how they felt. 

• taste: dry mouth, salt from sweat, copper tang from blood, etc. 

• smell: OP nailed it 

• touch: headache, sore muscles, tense muscles, exhaustion, blood pounding, bruised knuckles/bowstring fingers. ingures that ache and pulse, sting and flare, white hot with pain. 

• pain will stay with a character. even if it's minor

• sound and sight might blur or sharpen depending on the character and their experience/exhaustion. colors and quick movements will catch the eye. loud sounds or noises from behind may serve as a fighter's only alert before an attack

• if something unexpected happens, shifting the character's whole attention to that thing will shift the Audience's attention too. 

• aftermath. this is where the details resurface, the characters pick up things they cast aside during the fight, both literally and metaphorically. fights are chaotic, fast paced, and self-centered. characters know only their self, their goals, what's in their way, and the quickest way around those threats. the aftermath is when people can regain their emotions, their relationships, their rationality/introspection, and anything else they couldn't afford to think or feel while their lives were on the line 

• do everything you can to keep the fight here and now. maximize the physical, minimize the theoretical. keep things immediate - no theories or what ifs 

•  if writing a strategist, who needs to think ahead, try this: keep strategy to before-and-after fights. lay out plans in calm periods, try to guess what enemies are thinking or what they will do. during combat, however, the character should think about his options, enemies, and terrain in immediate terms; that is, in shapes and direction. (large enemy rushing me; dive left, circle around / scaffolding on fire, pool below me / two foes helping eachother, seperate them) 

• lastly, after writing, read it aloud. anyplace your tounge catches up on a fast moving scene, edit. smooth action scenes rarely come on the first try.