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Old 25-04-12, 14:33   #1481
larafan25
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I find I have trouble writing fight scenes because It's hard to maintain that quick pace/ action while describing the actual actions happening. Something I need to work on.
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Old 25-04-12, 16:19   #1482
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Quote:
Originally Posted by Greenkey2 View Post
Why don't you like fight scenes?
It's so hard to describe without it sounding boring.

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Originally Posted by larafan25 View Post
I find I have trouble writing fight scenes because It's hard to maintain that quick pace/ action while describing the actual actions happening. Something I need to work on.
And this. =/
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Old 25-04-12, 21:25   #1483
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^ What I do generally is write the whole scene with as many details as possible, and then remove some sentences and let some others, in order to oblige the reader to image the missing fragments. The whole segment should make a coherent paragraph though, which should give the reader the feeling of being part of the action.

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Forests? We have some, and there's also the park with big trees and a big pond...

Wow that does sounds refreshing when I think about it. Thanks a bunch for the suggestion peffect!
My pleasure! =)
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Old 26-04-12, 08:36   #1484
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The old 'less is more' really applies to action, especially fight scenes. I gave up reading the novelisation of Star Wars II because the author thought he had to spell out every single freakin' move It made me think I was watching it in slow-motion and the excitement value was nil.

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^ What I do generally is write the whole scene with as many details as possible, and then remove some sentences and let some others, in order to oblige the reader to image the missing fragments. The whole segment should make a coherent paragraph though, which should give the reader the feeling of being part of the action.
Agreed, although I would find it really hard to scrap 80% of a paragraph I'd just spent two hours writing! I try to write minimally to start with; keeping sentences short, killing adjectives on sight (unless they're really important details I need to include because of plot) and deliberately leave most things unsaid. When I read back over the scene, it seems to 'happen' much faster and makes a good contrast with times when the pace slows down and description can take more of an active role.
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Old 26-04-12, 14:56   #1485
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Rest assured, these two hours won't be a waste of time.
Some writers actually spend them drawing strange lines and arrows between names and numbered points on a scrap paper, some others picture the whole scene, spend as much time as they could (/feel necessary,) perfecting it (in their heads or most commonly, on a scrap paper too,) linking up the events and then taking some of them out. This will give the reader the opportunity to evolve into the story as if he was a platforme game character, where he has pillars aligned that he'll have to jump on, (the void between each pillar and his neighbor being the parts that you remove.) And I'm trying to be one of them. This is where you have to play, choose which sentence is going to be the pillar, and which sentence is going to serve as the void.
The image is a bit bizarre but I hope you got the main idea. And trust me, the more you spend time on it, the better. And even if you'll have to take out 99% of it, that 1% would never exist otherwise.
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Old 27-04-12, 08:37   #1486
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I've never come across this approach, but it sounds interesting
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Old 27-04-12, 13:40   #1487
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And a fruitful one, especially for action-packed, fast-paced texts.
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Old 30-04-12, 10:37   #1488
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Default The marchioness - an epic poem

Stanza 1

The Marchioness's roving eye, courted her confinement
To the distaff side a gate, with a tiny golden key
To the left a wind hole, too small for her abiding waist
A table with trumperies and trinkets, and a mirror most of all

On the fell a horseman hums the ditty of the day
Her brief uttle swallowed silently, she turns her face away
The calendar on the wall sheds its autumn leaves
December, the covenant of Jesus, the final one to fall

Her coughing greets the Robin, who cocks a greedy eye
An arrowhead of geese, pierce the morning sky
The field of death she never saw, blinded by some light
The bridal truss and family thew, the gathering mourners under the yew

A sliver coach races through the night, the rising hour almost come
Numb hands gripped in prayer, the smoke of treason in her hair
Nightmares foaming at the bit, flee the hunters call
A secret ship sets in wait, against a harbour wall.
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Old 05-05-12, 01:53   #1489
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Oddly enough run on sentencing can help make an action scene seem more vivid because you are not cuing the reader to break so when you bash Simon's head in with the bat it seems to happen much faster which makes Jacob's backpedaling sword slash more intense.
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Old 05-05-12, 11:01   #1490
lara c. fan
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^ I see what you did there, Draco.
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