#tips for writing action scenes

[thepedanticbohemian]

Writing tool for your fight scenes.

[luxaofhesperides]

Ghostlights where Phantom saves Duke or the Signal, and a week later (at a Wayne gala or some other place) Duke recognizes the light/aura coming from Danny

Putting off gala prep was perhaps not the best plan. Duke spent the past month insisting that everything is fine and he has it under control. Duke is also a lying liar who lies, and now he’s frantically trying to pick up his suit in time to get it dry cleaned and altered as necessary. 

Alfred would be disappointed in him, but in Duke’s defense, he had to go out of town on a mission to bust a growing drug cartel, and then spent half a week visiting a shelter for metas on the run (unofficial and hidden away) to help everyone find new homes and learn to control their powers. These things take time!

Unfortunately, gala prep also takes time, and since it’s a charity gala for funding the education of every Gothamite student, it’s not one he can slip out of. The entire family is being strong-armed into attending and not making a scene until the donation period in the first half is over. 

Duke knows he’s not the only one who’s scrambling to get ready for a gala that’s taking place in three days, but they’re not helping him, so it feels like he’s the only one messing up. 

“Sorry!” he calls behind him as he sprints through a group of people. 

He could have asked someone to drive him, but he knows they’re all busy and doesn’t want his own poor time management to cause problems for anyone else. Even though he’s sure Bruce is looking for an excuse to get out of a mandatory Wayne Enterprises board meeting that both Lucius and Tim dragged him to.

RIP Bruce. He will be missed.

The Diamond District is full of people walking the streets, sprinting between parked cars and waiting for their rides. They’re all dressed nicely, making him feel out of place. It’s a feeling that’s never left him since he joined the Waynes but it’s particularly bad when he’s left to navigate these spaces alone. Rich people and socialites are a different kind of human, one that Duke doesn’t care to understand; there’s greed in all of them, turning them heartless, and they can give as much as they want to charity but it won’t change the fact that all they do is a performance to make people like them, rather than a desire to do anything good. 

The sooner this is over, the better. He keeps going, hoping that he can still make it to his appointment with the tailor. Alfred recommended the store, then set up the appointment, so all Duke has to do is trust their judgment as they get him fitted. He’s still got twenty minutes until the scheduled time, but some unspoken rule makes it so he has to show up fifteen minutes early for better service or risk being turned away and told to reschedule. 

Duke slows to a walk when he catches sight of the store, the trying to catch his breath and look more composed before he reaches the door. He takes a moment to straighten his clothes a bit, then opens the door and steps in.

The bell jingles pleasantly above his head. The store is empty of any other customers, and the employee at the front counter looks up with a plastered on smile. 

“I’ll be with you in a moment!” she says, then looks down at her phone and types something out before placing it under the counter. A tablet comes out instead and she swipes through a few screens, then sets it down and look at Duke again. “How can I help you, sir?”

“I have an appointment? For a suit fitting. Under the name Thomas.”

She taps on the screen for a minute, then nods and gives him another customer service smile. “Alright, I’ll go ahead and grab the tailor. They’ll be out with your suit soon. Please, feel free to take a seat or browse some of our suits. We just recently got a new collection in from Italy.”

“Sure, thanks. I’ll just… be here, I guess.”

The employee takes her tablet and disappears through a door, leaving him alone in the store. He doesn’t want to sit down, not while his heart is still trying to settle from his sprint through half of Diamond District, so Duke wanders around the neat stacks of dress shirts and vests, pants and belts and shoes lined up neatly against the walls. 

He takes a moment to shoot Alfred a text that he’s at the tailor for his fitting appointment. Steph’s sent him a long string of videos online, and he’s just about to go through them when the bell rings again. 

Duke glances up and watches a guy walk into the store. He looks around, makes eye contact with Duke, then quickly looks down, taking a seat by the door.

Probably another upper class citizen uncomfortable with the fact that someone in jeans and a hoodie is shopping for suits. Shaking his head lightly, Duke wanders deeper into the store to get some distance between them so they could ignore each other more easily. It’s only until the tailor comes out, and then he can go to a fitting room and be done with this whole thing, so Duke resigns himself to suffering through the tense silence. 

How long is he even supposed to wait? He can only look at clothes in one of three colors before he gets bored. 

He goes to another rack, trying to see if he can notice anything different about these shirts. 

And then he hears a shoe scuff against the floor behind him. He tenses up, but before he can turn around, a belt is wound around his throat, pulling him back and choking him. 

Duke drops his weight, tucking his chin and gets a hand against the inside of the belt to try to push it away. His back hits someone’s chest and he’s trapped, focused on trying not to be choked to death while also keeping his vigilante abilities and meta powers secret. 

More footsteps come from behind, and a soaked cloth is pressed against his nose and mouth.

Chloroform, he realizes, familiar with the smell from Bruce’s training. But training isn’t enough to keep him from being knocked out, and he quickly slips away from the waking world, falling to the ground. 

Just before he passes out completely, he hears the employee who greeted him say, “I’m not sure how much Wayne would be willing to pay for him, but let’s start high and negotiate lower. New kid can’t possibly be worth that much…”

Duke wakes up groggily, memories of what happened quickly snapping into place. He’s too out of it still to get up, but he’s awake enough to be offended. Sure he’s the new kid, and barely even a Wayne, but he’s still worth a lot!

Kidnappers these days. So rude.

He doesn’t hear anyone around him, and it feels like he’s lying on a cold concrete floor. Basement, maybe? Warehouse? Storage unit tucked away somewhere? There’s nothing much to see when Duke is able to open his eyes, squinting bareilly at his surroundings. His arms are tied behind him, wrists bound, but they left his legs alone. 

If he could just hit the panic button on his bracelet…

Duke wiggles around, fighting through the lingering effects of Chloroform, and manages to sit up. If he strains his hearing, he thinks he can hear voices outside of the empty room he’s been left in. There’s a window high up, too high for a normal person to reach without help, but if he can use the shadows to travel through it, then he may be able to escape on his own. 

First things first: he needs to free his hands before anyone comes in to check on him.

They used zip ties on him, which is inconvenient. He’s learned how to get out of them, but it’s difficult enough without being drugged and having to do it behind his back. 

He’s feeling the zip ties bite into his wrists just as there’s a crash from outside the room. His kidnappers yell, alarmed, and are quickly silenced. That’s rarely ever a good sign. Duke renews his efforts to escape, ignore the pain in pushing against his binds like this. 

The door opens. Duke hears the small click of a lock disengaging and freezes. Then he gets to his feet, still unsteady, and prepares to ram his head into anyone who comes near him like some sort of deranged battering ram, or a drunk raging bull. 

Duke is ready for the worst: a gang hoping to steal away a Wayne hostage, a Rogue, Gnomon popping in to cause trouble for the sole purpose of getting on Duke’s nerve. 

He’s not expecting another teenage boy, who is literally glowing, to poke his head in and zero in on Duke. He blinks, then smiles; it’s friendly and sincere, nothing like the employee who helped kidnap him. 

“Hey!” he says, coming into the room properly. He’s floating a good foot off the ground, eyes a bright neon green, with white hair that sways as if he’s underwater. “Are you okay? I saw them drag you out of the back of the store and followed them, but I got a bit lost. Sorry for taking so long to get here.”

“...It’s fine?” Duke offers, trying to wrap his head around what’s happening. “I wasn’t expecting a rescue so soon, anyways. Think you can help me out here?”

“Yeah, of course!” he flies closer, then drops down to the ground behind Duke. He hums lightly under his breath, and then Duke feels a cold touch on his wrist and the zip ties are suddenly gone. 

Duke blinks, then brings his arms in front of him. He moves around a bit to make sure he’s not hallucination, and sure enough, he’s free and unbound because a random meta teenager vanished the zip ties into the ether, or something. 

“Thanks, man. Any idea where we are?”

“Not a clue. I got lost coming here, and I was following them. I don’t think you should trust any directions I give.”

“Fair enough,” Duke laughs. “I’m Duke, by the way.”

“Phantom.”

“Well, thanks for the save, Phantom. Can I treat you to something?”

“Like, coffee?”

“Sure. Or brunch, or ice cream. Whatever you want, really.”

Phantom considers it for a moment, then shakes his head. “Sorry, I would love to but going out in public looking like this,” he gestures to himself, “Is not a great idea. Thanks for the offer though. You got a ride?”

Duke pats his pockets, then sighs. “My phone’s gone. I still have my wallet, though.”

“I fly you to someplace you can call someone, if you’d like.”

“You sure? I could probably just walk out of here and call a taxi.”

“I don’t think walking around by yourself after being kidnapped is a great idea,” Phantom says, doubtfully. “Seriously, let me fly you.”

He should just hit the panic button and wait for someone to show up to get him. He shouldn’t go to some unknown location with a meta he literally just met. 

But, you know what? No one else can say they got kidnapped twice in one day, so Duke nods and says, “Sure, sweep me off my feet, Phantom. You gotta commit to this rescue.”

Phantom laughs. And then he does sweep Duke off his feet into a princess carry with a cheeky grin and flies them out the building, which turns out to be an abandoned apartment building slated for demolition. 

“Keep this up and you’ll be replacing Superman in no time,” Duke jokes.

“I think I could manage it,” Phantom replies thoughtfully. “I mean, I’m already prettier than him, don’t you think?”

“Oh, definitely. The glow really brings out your eyes.”

Phantom gets him a few blocks away when Duke recognizes where they are, and quickly directs him into Crime Alley. They land on top of one of Jason’s safe houses, and while he’s sure there’s enough security to take out a SWAT Team, that’s absolutely not going to stop him from breaking in to use one of Jason’s burner phones and eat his leftovers. 

He’s set down on his feet gently, and as soon as Phantom sees that he’s fine, able to walk and everything, he floats back up, just out of reach.

“Be careful, okay?” he says, getting ready to leave.

“I’ll do my best. Hey, are you gonna be in Gotham for a while, or…?”

Phantom gives him a tired smile. “Nah. I’m just passing through. As long as my luck doesn’t get even worse, then I should be out of here in a few days.”

“Shame,” Duke says, giving Phantom a very visible once over. He’s pretty tall, and Duke can see some muscle on him, and the tight black outfit really adds to his look. The glow that comes out of his chest makes him look ethereal and Duke is beyond glad that he got such a charming rescuer.

Phantom doesn’t blush like a normal person. He glows brighter instead, curling into himself a bit as he looks away, unable to stop the smile from growing on his face. 

“I guess,” he shrugs. “Are you really going to be alright from here?”

“Yeah, man, I have a friend who lives here. I’ll just bother him until he agrees to give me a ride.”

“Alright.” Phantom drifts away, glancing behind him before turning back to Duke. “I’ll get going then. Take care, Duke!”

Duke waves and watches as Phantom begins to fly away. Then Phantom… disappears? Or rather, his body does but Duke can see an orb of light making its way across Gotham, almost like a star fallen from the sky.

He stays on the roof until the light is long gone. When he’s finally ready to go in and steal from Jason, the sun has completely set. 

And he still doesn’t have his suit.

Duke sighs, and mentally prepares himself to other day of stressing out about the gala.

Three days of stress and last minute scrambling leave Duke in the Gotham Museum of Modern Art with Steph, Tim, Cass, and Damian. They’re hiding in the photography gallery to avoid other guests, taking a break from being polite and letting thinly veiled, passive aggressive insults slide over them.

.

.

.

“How much longer must we suffer this before we can go?” Damian grumbles, looking like he’s do anything to get his hands on a blade. Which, considering how many people tried to either pinch his cheeks are say some racist remark about him and his mother, is totally fair. Duke would just punch them, but sometimes a little drama helped get the message across. 

“At least two more hours,” Tim says, not bothering to look up from his phone. From what few glimpses of the screen Duke caught, he’s leading a Titans missions through text and clever hacking. Though it may be more accurate to call is a Young Justice mission since there’s no way any of this was authorized by a Justice League member. 

Also Anita, suited up as Empress, is there. If they aren’t on the news for property destruction and absolutely batshit wild shenanigans, Duke will have to check on Tim to make sure he’s not a pod person sent to infiltrate the family. 

“Think we can sneak out without anyone noticing?” Steph asks, looking at the emergency exit longingly.

Cass shakes her head and points to the door leading to the ballroom. When they look over, Dick makes very deliberate eye contact with them and give them a smile that looks stretched across his face.

Tim winces and pushes Duke. “Oh, something went down. Go take over for him and let Dick rest in here for a bit.”

“Man, why does it have to be me?” he grumbles even as he stands. Dick lets out a heavy breath and gives Duke a grateful smile, patting on the shoulder before shoving him out the door. 

As soon as he’s back into the main hallway, the music and chatter swell, no longer muffled by the thick walls of the photography wing. A few people come and go from the ballroom, no doubt looking for the restroom. 

Or more private places for… other things. Things they definitely shouldn’t be doing in an art museum.

He really can’t wait for this night to be over.

Duke joins the rest of the guests, fake smile on his face, and quickly makes his way to the snack table. He might as well make the most of his time stuck out here. Maybe he could even cause another relationship scandal by implying that Bruce is sleeping with one of partners when in hearing distance of a couple. Maybe even both of them. 

Bruce would go with it. It’s hilarious and he also needs something to make these events bearable.

Sadly, he doesn’t see any good targets as he scans the ballroom. A few people are dancing, while others are talking in small circles, closed off from outsiders. There’s an entire table of old ladies with glasses of wine in front of them; Duke considers hanging around them, since they confess to a lot of crimes after a few glasses. It’s fascinating. 

Also, he does kind of miss hanging out with the one old lady who’s declared herself his high society grandmother and told him stories of how she used to go to bars to find racist people or Klan members during the Jim Crow era, seduce them, then poison them and get their addresses so a few gangs she was friends with would fuck them up.

Granny Kaliasto is the coolest person ever. 

Just as he’s about to finish his last mini rolled crepe, Duke catches sight of one of the few teenagers still in the ballroom. The others, mostly stuck up rich kids no one actually likes, have already left to take over some other part of the museum to gossip until their parents decide it’s time to go home. These two are clearly not part of that crew, what with the girl being very goth and in a poofy, ripped dress, and the boy having already taken his jacket off to keep over his forearm, the top button of his shirt popped open.

They might be cool. He’s hoping they’re cool because he desperately needs some company to keep from dying of boredom while the gala continues on.

Duke walks over to them, going around the side of the ballroom, until he’s close enough to hear them talking.

The boy has his back to Duke, but the girl sees him. She immediately scowls and slaps the boys shoulder, eyes locked on Duke.

“Got another comment about my dress?” she says, voice sharp and acidic.

“Another?” Duke repeats. “I was just bored and wanted to talk to people who were my age. Sorry?”

The boy smacks the girl’s arm, then turns to face Duke. “Sorry about her! Sam is just naturally rude and aggressive. Tonight’s been a bit rough, with this crowd.”

Duke goes to say something, but the words stick in his throat when he sees the boy’s eyes shift from deep blue to an electric green. When he focuses, he can see a faint glow in his chest, the same glow he saw in Phantom.

“Dude? You alright?”

Sam looks him over judgmentally. “I guess it’s nice that I’m not being ogled for once, but don’t do that shit to Danny either.”

“Wait, that’s not what I was doing!” Duke hurries to say, snapped out of his shock. “I just… you look a lot like someone I met recently.”

“Yeah?”

“Yeah. What was your name? I’m Duke, by the way.”

He holds out a hand, and the boy shakes it with a small smile. “Danny. I don’t think we’ve met. I mean, I’m only here because Sam wouldn’t come to this gala without me, so her parents flew me in.”

“You from out of town?”

“Sam and I are from Illinois. Her parents are traveling around the east coast right now, and they decided to spend a week in Gotham to talk business.”

“I’d ask how it is, but outsiders tend to really hate Gotham, so…”

Sam barks out a sharp laugh. “Oh please, we can handle Gotham. Our town might not be as big and well known as Gotham, but we got our own shit to deal with there.”

“I do get shot at a lot back home,” Danny adds thoughtfully. “And that’s without the ghosts.”

“Woah, what?”

“Up for a bit of a story?” Danny asks, impish grin on his face. By his side, Sam brings a hand up to cover a manic smile, shoulders already shaking with laughter. 

This is already better than the grandma gang. Duke leans against the wall, getting settled in, and says, “Always, man. Hit me with it.”

The next hour an a half passes quickly with Sam and Danny dramatically narrating some of the things that have happened in their town. Duke listens, absolutely enraptured, and doesn’t even notice the Waynes file into the ballroom again. 

Unfortunately, they bring with them the attention of most of the ballroom, including Bruce and Sam’s parents. 

She cuts the current story about Box Ghost short with a heavy sigh. “Hold up, I need to greet the Waynes properly while my parents are watching.” She steps in front of Duke and Danny, holding out a hand with a pained smile.

Tim takes it first, giving a solid shake, and introductions start. 

Free from the rules of high society, if only for the moment, Duke leans closer to Danny and whispers to him, “Phantom. Wanna get out of here?”

Danny flinches and turns to him looking panicked. “How did you know?”

“I kinda got magic eyes. I see a lot of things normal humans can’t. Don’t worry about it. I still owe you, so you wanna get out of here?”

He watches as Danny glances around the ballroom, then back to him, clearly weighing out his options. Then he nods and says, “Know where to get a good milkshake around here?”

“Sure do.”

“I guess you’re the one rescuing me this time.”

“Not a rescue,” Duke corrects, and casually picks Danny up over his shoulder into a fireman’s carry, “A kidnapping.”

Danny laughs and waves Sam and all the others goodbye as Duke marches out of the ballroom.

“Don’t bother me for the next two hours!” he calls to the Waynes, “I’m going on a date!”

There are shocked gasps and murmurs all through the crowd. But as he spins around to wave at his shocked and easily amused family, he also catches sight of Granny Kaliasto raising her half full wine glass towards him.

She really is the coolest.

He’s definitely telling her all about this at the next event they attend together. It’ll be nice to have a few stories of his own to share.

[gr8writingtips]

writing tip #3585:

the only way to write a convincing action scene is to run around while someone shoots you with a nerf gun as you write it

[helpful-writing-tips]

instead of, "Suddenly-"

but before [Character] could [verb], ACTION!

[Character] was about to [verb] when ACTION!

but no sooner had [something] than ACTION!

but just as [something boring], ACTION!

BANG!/CRASH!BOOM! ACTION! "Character dialogue starting some sentence about–" ACTION!

Character's internal monologue starting some senten- ACTION!

Narrator starting some- ACTION!

...ACTION!

credit:@officialtheonite

[chordsykat]

How I write action/fight scenes

From a prompt posted by a friend on Discord last night. :3 Just thought I would ramble a bit before getting to work, this morning. If you're a writer and want to know what goes through my head as I come up with combat scenes in my stories, then read on. In this way, I hope we both learn a lot. Because I honestly don't think I've ever laid out my "formula" before...

First, know who you're dealing with.

This tutorial is going to stick mostly to the actual writing aspects, but if you're going to do an action series, you should factor in the combat abilities of your characters as you develop them. This doesn't have to be anything fancy. Keep it to the natural human responses at least. In other words, during a conflict, how will your character react:

Fight: Push back

Flight: Run away

Freeze: Do nothing

Knowing just that will give you enough to start thinking these dances through. And indeed, that's what they are - a dance. If you know more, like, specifically what kind of fighting they do, what their strengths in combat are, etc -- all the better, but know that what I list below goes in order from most to least important, and that stuff won't be on the list until the end.

Second, (and always) make the audience care about the action.

This sounds dumb and counterintuitive but people won't find an action scene compelling just because it's an action scene. Not to knock it, because it was brilliant for a different reason and a lot of the writing staff's hands were tied... BUT... During my time as a fan of, all the way into my employment with, Archie-Sonic, I can't tell you how many action scenes happened just because some executive at Sega was like "I think X and Y need to fight." So they would, and for reasons that were muddy at best. I think at one point, we had Sonic and Knuckles literally exchanging this dialogue:

Sonic: Yo dude, be cool. Last time we met, we left on good terms! Knuckles: Maybe, but you're still an intruder and just because you did me that favor on the day my daughter was to be married does not mean I owe you anything in the way of kindness.

IDK, my memory may be foggy, but that was the gist of it. Point is, don't do that - and first make sure your audience understands the motives behind the action, the potential stakes, and why it's all taking place to begin with. Else, you can make it as cool as you want and people are going to walk away with a sense of "that was cool" instead of "holy shit I was freaking out through that whole scene." If there's any question as to what you should be striving for as a writer, it's the latter.

Third, plot it out like it's a mini-story.

To the point - figure out the end first, and work backwards, just like so many writing tutorials have said before. Again, keep it simple: Who wins? Does the conflict result in a casualty of some kind? Does a character learn something?

Before you show how it goes down, you need to establish what goes down as the action happens, and what happens afterwards. Keeping the ending in mind as yo write a scene is always a good way of making it feel tighter. And throwing littlte twists for interest (maybe a character has the upper-hand for all but the end of the fight - maybe a character is losing until a specific turning point, etc) is made much easier, too.

Fourth, mind the rhythm.

A little weird to explain this, but the back-and-forth nature of the scene needs to flow well. Generally, conflict follows a pattern of:

Character acts

Opposition reacts

Opposition acts

Character reacts

If this pattern looks familiar to you, it should. This is the basic pattern of human dialogue as seen in stories and, YES, real life. Consider your scene like a dialogue all its own (even if the characters are talking throughout). The twists and turns I spoke about in the last point should be "off beat" because there's an unexpected nature to them. When a twist happens, consider breaking the above pattern.

Fifth, showcase character traits and skills (again, always).

Some characters have a high sense of honor and would put down their weapons if their opponent was unarmed. Some of them would fight dirty and hit someone with a chair when their back was turned. Some characters are scrappy and will jump into a conflict even when they're sorely outmatched. Some are straight up cowards who might run away even when there's a good chance they could win. Some are smart enough to bow out and will not engage -- hiding at the first sign of trouble. Some will throw snowballs at the oppressor and be surprised when they pull aggro and the dude comes after them.

You get the idea -- fights, conflicts and action scenes are great ways to show your characters' strengths, weaknesses, traits, and personality. Times of struggle are going to lay emotional responses raw, and it's a great way of showing "who someone really is" as it were.

Sixth, showcase unique defensive behavior.

Some characters have specific training: military, martial arts, street-fighting, etc... which, if you're aware of those, should come out during combat or conflict. Some characters have access to weapons. Some characters' bodies are the weapon. Etc, etc etc...

Whatever you do, about the only time you're going to show off the fact that your character knows Muay Thai is during an action scene. If you yourself do not practice this martial art, then research what you need to incorporate to make it believable when you write. Watch videos and write down the ways you would describe the movement. If you're doing a comic, then sketch the movement. Use that in your story.

Last, create more interest by tying in and highlighting story themes or disparities between protagonist characters, antagonist characters, and/or the conflict as a whole.

A little trickier, but if your story has a central theme or moral, try showing pieces of it shining through the action. Just as one wild example, if you have a theme of "love conquers all" this might mean your fight will end with the two people falling in love, instead of fighting. Think like a dungeon master. If you rolled a natural 20 on "try to woo the orc" in a combat situation (remember that comic?) what do you think would happen?

Too, if your combatants have something in common, or especially something that they are diametrically opposed on, feel free to show that off in these scenes. It'll leave the audience knowing them better (and set them up for further head-butting... or romance(?) down the line. And that's always fun).

Anywho, that's just a few of my thoughts on action sequences in fiction. If this helped you, or you want me to talk about this even more -- send me a message or a note or something. Always up for discussing this kind of thing.

And your reward for reading this far is an invite to join my discord if you wanna hear me ramble on about this sort of thing, in perpetuity. :)

[victoriadallonfan]

Actually, do you have any advice on writing action scenes?

So You Want to Write An Action Scene!

Alright, so first things first: Action scenes work just like any other scene.

There's been some unfortunate ideas tossed around that action scenes can be ignored or overlooked, and that they don't contribute to the story regardless of medium.

I think a lot of the time, this is because there has been an association between "action scene" and "schlock" or "slop" in terms of trying to fill in time or "dumbing down" stuff for an audience.

In reality, action scenes are just scenes that can be used in many different ways to help a creator mold the story and sell their vision to the audience.

In this instance, lets focus on the written form of action scenes.

NOTE: This advice is NOT rules. They are simply meant to assist, not to control. Disregard, modify, and use to your liking for whatever works best!

Consider the simplest action scene: A man walks down the street.

Transitional Action Scene: This type of action scene is used simply to transition from one moment to another. Simple shorthand for wanting to move along!

The man walked down the street, heading home.

I walked down the street, heading home.

Spectacle Action Scene: This type of action scene is great if you want to engross a reader into understanding the physical limits/pace/details of the character/setting!

The man walked down the street, feeling the soles of his grav boots adhere to the metal tiles as the material curved up and to the side in an arc, allowing the speeding holo-carriage to fly past without incident. The air of the supersonic passing buffeted his helmet, minor alerts to his oxygen storage popping up alongside his suit pressure regulators.

I walked down the street, feeling the soles of my grav boots adhere to the metal tiles as the material curved up and to the side in an arc, allowing the speeding holo-carriage to fly past me without incident. The air of the supersonic passing buffeted my helmet, minor alerts to my oxygen storage popping up alongside the suit pressure regulators.

Emphatic Action Scene: This type of action scene is more personal, digging into the thoughts behind each moment and movement of the character and their environment! Great way to tie in plot threads, symbology, or messages!

The man walked down the street, every foot fall radiating like thunder in his mind, the looming doom he was marching towards as his home awaited him at the end. An executioner patiently expecting its next death row meal.

I walked down the street, every foot fall radiating like thunder in my mind, the looming doom I was marching towards as my home awaited me at the end. An executioner patiently expecting its next death row meal.

How you blend, dismiss, fuse any of these means is up to you! But I hope this helps with a simplified example of what you can do with an action scene!

[candythepuppy]

Insanely basic tips for writing fights:

So... You wanna throw some characters at other characters and tell them to kill each other, huh? Well, in order to make all that interesting, ya gotta consider these tips first.

1. I've been in martial arts for over six years and animation for just as long. So of course I'm going to suggest you plebs do a little research first. Wanna know how it feels to punch someone? Punch someone. Wanna know how it feels to get punched? Come over to my place.

Even learning simple stuff like rolls, stretches, differing exercises, and the most basic of techniques can help out a ton. At the very least, it'll keep people from making this face at you: ಠ⁠_⁠ಠ

You don't have to go all out like me, but at least learning the fundamentals of physics and how certain injuries will affect the fight can help. Take these fun little tip for example: there's a vein on the neck that, when hit properly, will make you instantly pass out. It only takes eight seconds to choke someone out to the point of fainting as long as you're holding them right..and if you keep it up, then just wait five minutes and they'll be dead. Anywhere in-between can give them serious head injuries they'll likely never recover from. There are a thousand more, but I'll stop there. Trust me. I've learned more about biology from karate than from actual Biology class.

2. I feel like this is also a given, but at the very least, know what your surroundings are. Find ways to implement the setting into the fight creatively.

Example: two people are fighting in the desert and one tosses sand into the other's eyes. Or, two people are fighting in that same desert, but the one currently losing is being shoved into the sand, choked alive by all the granules.

Also please remember that when your characters are in extreme heat or freezing settings, they will fight differently. Maybe it's even the setting itself that is slowly killing the fighters, and the battle is really all about who can last the longest.

At the very least, I'd suggest you do two things in case you have a hard time with this one. (1) gather images of the setting, or at least settings like it. Then, take note of all the elements, obstacles, and even ambiance involved. (2) pick out objects to scatter about the setting that your characters can later pick up and use in the fight. Just make sure they have to do with the setting.

3. The destination of the fight can greatly impact the "vibe."

In the sky: superman level fights, typically very grandiose, larger than life, and impressive (even if written realistically). These are great locations for if/when you're trying to make your character look cool in some way.

On top of buildings/canyons: similarly grand but with more emphasis on stakes. You typically want that sense of uneasiness every time the main character sways or is knocked a little too far away. These scenes are often used around a climax thanks to the perfect level of grandiose tension and realism. It's a great way to get your character on edge and reveal their true feelings, mainly fear.

On the ground, outside: these fights are often much more grounded than most. Often deals with a lot of running/trying out other options beyond fighting. Typically, you're trying to establish what kind of a fighter your character is in these fights + what their morals may be.

On the ground, inside: oddly enough, this is where it gets personal. Mostly because I usually think of someone's home or a grocery store where every action means something. This is typically where the most drama takes place. I'd definitely suggest you lean into the importance of the setting they are fighting in much more than the setting of other fights. (This is also where every word counts.)

Underground: by far one of my personal favorites. The claustrophobia one can draw from these settings is truly something else. The most grounded of any other fight setting. This is where I like to strip the flashy powers and magic from my characters and let them brawl the old fashioned way, getting dirty and going all out. Down here, every punch matters.

There are of course more, but these are the basics!

4. Similar to the first step, please know how the weapons your characters are using work!

5. And of course no fight is complete without (A) build up, (B) understandable reasons for the characters to fight, and (C) clear stakes/what would be lost or gained if either were to lose. Remember, a fight is just an argument acted out. Keeping that in mind will make the whole process so much easier.

Anyways, that's just about it. I could ramble some more, but these are supposed to be the basics!

Anyways, I hope to see you guys again. Thanks for your time. And, seeya!

[ahb-writes]

Writing Problem: The Story Begins Too Late in the Novel

Problem: The Story Begins Too Late in the Novel

Solution: Gain traction early; use simplicity, momentum, and a bit of the unknown to carry readers toward the more complex and the improbable. The first chapter is context for what the whole novel is about. Don't wait to pull in readers, don't hesitate to tell readers which characters are the most important, and don't hesitate to expose readers (and the viewpoint character) to the narrative's central conflict. Be upfront about what kind of story you're telling.

Develop a strong sense of who your protagonist is, articulate the protagonist's needs (which may change), and hint at the limits or barriers the protagonist must acknowledge, or defy, to achieve their current or a future goal.

Writing Resources:

8 Ways to Write a 5-Star Chapter One (Writer's Digest)

10 Ways to Start Your Story (The Writers Society)

How To Start a Story That Grips Your Readers (Jericho Writers)

7 Steps for Writing Your Novel's Opening Chapter (The Novel Smithy)

4 Key Elements of Scene Openings (September C. Fawkes)

How to Find Your Writing Style (sunnydwrites; ahbwrites)

Writing Riveting Inciting Action: 7 Ideas (Now Novel)

In Media Res: 6 Steps to Start Stories From the Middle (Now Novel)

Writing Great Beginnings and Endings (Writing Questions Answered)

❯ ❯ Adapted from the writing masterpost series: 19 Things That Are Wrong With Your Novel (and How to Fix Them)

[greenglassmountain]

For the WIP game: shake, snip, or squirm?

Oooh very good words. I have "shake" in my next saintspy fic!

His arm has a line of fire running up it from the knife, and his shaking limbs want nothing more than to collapse into jelly.

Ethan's having a bad time lmao

[onyxedskies]

some tips for fight scenes

having trouble writing fight scenes? here are some tips!

keep your paragraphs short

add some choppiness to your sentences (either make them short, or have them broken up by commas/dashes/semicolons fairly often)

don't get too wrapped up in description; for the most part, the fight will be happening too fast to warrant lots of details. a simple "he attacked" "she stabbed" "they slashed" will do most of the time

don't worry about describing the pain from smaller wounds until after the battle, as adrenaline will block that pain out for the most part

feel free to add more, these are just a few of my thoughts!

[semperintrepida]

wow have I actually finished writing this action scene I've been stuck on for the past three weeks? Incredible performance, I'll be done writing this story in 2030.

[delsheree]

Action Scenes: Adding Uniqueness

Keeping action scenes unique will help hold the reader's interest. Learn how to add more variability and interest to action scenes in this article.

One of my pet peeves with action scenes, whether in film or book form, is repetitive action. I can only watch the same chase so many times or read endless thrusts and parries for so many pages. Keep action scenes interesting by making them unique. Adding Unique Elements Every fight, explosion, or gunshot needs to have at least some level of uniqueness to it in order to keep the various scenes…

[crowandmoonwriting]

The secret to writing in present tense (for me) is to practice with a character you're already familiar with. Narrow your focus, especially on emotions. Start off right in the middle of an action or a thought.

This is what I started with back in 2021, when present tense:

He isn’t anticipating it, so when the rocks stop falling around them and Liu Sang still hears the rumble of stone on stone echoing deeper and deeper into his body, it pulls him completely out of the present.

See? Right in the middle of something happening. You're already there, so you just keep going with it. Stuff is happening, and you mentioning right now, while it is. And from there it's just habit and forming your own style.

Ah thank you Sleepy!! I never knew how to feel comfortable with it, I'll give it a real try now <3

[ancientroyalblood]

The Dos and Don'ts of Writing Action Scenes

Action scenes are the pulse-pounding, heart-racing moments in a story where characters face danger, make split-second decisions, and confront conflict head-on. Whether it’s a thrilling swordfight, a high-speed car chase, or a tense standoff, writing action scenes can be a challenging but rewarding endeavor. In this exploration of the dos and don’ts of writing action scenes, we’ll share best…

[regaliasonata]

Gimme✨✏️✨✏️

How do you write a fight scene without becoming repetitive? I feel like it just sounds like "she did this then this then this." Thanks so much!

I watch her as she fights. Her left leg flies through the air – a roundhouse – rolling into a spin. She misses, but I guess she’s supposed to. Her foot lands and launches her into a jump. Up she goes again, just as fast. The other leg pumps, high knee gaining altitude. The jumping leg tucks. Her body rolls midair, momentum carrying her sideways. She kicks. A tornado kick, they call it. The top of her foot slams into Rodrigo’s head, burying in his temple. Didn’t move back far enough, I guess.

His head, it snaps sideways like a ball knocked off a tee. Skull off the spine. His eyes roll back, and he slumps. Whole body limp. Legs just give out beneath him. He clatters to the sidewalk; wrist rolling off the curb.

She lands, making the full turn and spins back around. Her eyes are on his body. One foot on his chest. I don’t know if he’s alive. I don’t know if she cares. Nah, she’s looking over her shoulder. Looking at me.

The truth twists my gut. I should’ve started running a long time ago.

The first key to writing a good fight scene is to tell a story. The second key is having a grasp of combat rules and technique. The third is to describe what happens when someone gets hit. The fourth is to remember physics. Then, roll it all together. And remember: be entertaining.

If you find yourself in the “and then” trap, it’s because you don’t have a firm grasp of what exactly it is your writing. “He punched” then “She blocked” then “a kick” only gets you so far.

You’ve got to get a sense for shape and feeling, and a sense of motion. Take a page from the comic artist’s playbook and make a static image feel like it’s moving. Try to remember that violence is active. Unless your character is working with a very specific sort of soft style, they’re attacks are going to come with force. So, you’ve got to make your sentences feel like your hitting something or someone.

“Ahhh!” Mary yelled, and slammed her fist into the pine’s trunk. A sickening crack followed, then a whimper not long after.

Angie winced. “Feel better?”

Shaking out her hand, Mary bit her lip. Blood dripped from her knuckles, uninjured fingers gripping her wrist. She sniffed, loudly. “I…” she paused, “…no.”

“You break your hand?”

“I think so. Yeah.”

“Good,” Angie said. “Think twice next time before challenging a tree.”

Let your characters own their mistakes. If they hit something stupid in anger, like a wall or a tree then let them have consequences.Injury is part of combat. In the same way, “I should be running now” is. When the small consequences of physical activity invade the page, they bring reality with them.

People don’t just slug back and forth unless they don’t know how to fight, or their only exposure to combat is mostly movies or bloodsport like boxing. Either way, when one character hits another there are consequences. It doesn’t matter if they blocked it or even deflected it, some part of the force is going to be transitioned into them and some rebounds back at the person who attacked.

Your character is going to get hurt, and it’ll be painful. Whether that’s just a couple of bruises, a broken bone, or their life depends on how the fight goes.

However, this is fantasy. It is all happening inside our heads. Our characters are never in danger unless we say they are. They’ll never be hurt unless we allow it. A thousand ghost punches can be thrown and mean absolutely, utterly nothing at all to the state of the character. This is why it is all important to internalize the risks involved.

The writer is in charge of bringing a dose of reality into their fictional world. It is much easier to sell an idea which on some level mimics human behavior and human reactions. The ghost feels physical because we’ve seen it happen on television or relate to it happening to us when we get injured.

You’ve got five senses, use them. You know what it feels like to get injured. To be bruised. To fall down. To be out of breath. Use that.

Here’s something to take with you: when we fight, every technique brings us closer together. Unless it specifically knocks someone back. You need specific distances to be able to use certain techniques. There’s the kicking zone, the punching zone, and the grappling zone. It’s the order of operation, the inevitable fight progression. Eventually, two combatants will transition through all three zones and end up on the ground.

So, keep the zones in mind. If you go, “she punched, and then threw a roundhouse kick” that’s wrong unless you explain more. Why? Because if the character is close enough to throw a punch, then they’re too close to throw most kicks. The roundhouse will just slap a knee or a thigh against the other character’s ribs, and probably get caught. If you go, “she punched, rammed an uppercut into his stomach, and seized him by the back of the head”, then that’s right. You feel the fighters getting progressively closer together, which is how its supposed to work.

Use action verbs, and change them up. Rolled, rotated, spun, punched, kicked, slammed, rammed, jammed, whipped, cracked, etc.

You’ve got to sell it. You need to remember a human’s bodily limits, and place artificial ones. You need to keep track of injuries, every injury comes with a cost. Make sure they aren’t just trading blows forever.

I’ve seen advice that says fights all by themselves aren’t interesting. I challenge that assertion. If you’re good at writing action, then the sequence itself is compelling. You know when you are because it feels real. Your reader will tune out if it isn’t connecting, and the fight scene is a make or break for selling your fantasy. It is difficult to write or create engaging, well choreographed violence that a reader can easily follow and imagine happening.

-Michi

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[writerthreads]

How to avoid White Room Syndrome

by Writerthreads on Instagram

A common problem writers face is "white room syndrome"—when scenes feel like they’re happening in an empty white room. To avoid this, it's important to describe settings in a way that makes them feel real and alive, without overloading readers with too much detail. Here are a few tips below to help!

Focus on a few key details

You don’t need to describe everything in the scene—just pick a couple of specific, memorable details to bring the setting to life. Maybe it’s the creaky floorboards in an old house, the musty smell of a forgotten attic, or the soft hum of a refrigerator in a small kitchen. These little details help anchor the scene and give readers something to picture, without dragging the action with heaps of descriptions.

Engage the senses

Instead of just focusing on what characters can see, try to incorporate all five senses—what do they hear, smell, feel, or even taste? Describe the smell of fresh bread from a nearby bakery, or the damp chill of a foggy morning. This adds a lot of depth and make the location feel more real and imaginable.

Mix descriptions with actions

Have characters interact with the environment. How do your characters move through the space? Are they brushing their hands over a dusty bookshelf, shuffling through fallen leaves, or squeezing through a crowded subway car? Instead of dumping a paragraph of description, mix it in with the action or dialogue.

Use the setting to reflect a mood or theme

Sometimes, the setting can do more than just provide a backdrop—it can reinforce the mood of a scene or even reflect a theme in the story. A stormy night might enhance tension, while a warm, sunny day might highlight a moment of peace. The environment can add an extra layer to what’s happening symbolically.

Here's an example of writing a description that hopefully feels alive and realistic, without dragging the action:

The bookstore was tucked between two brick buildings, its faded sign creaking with every gust of wind. Inside, the air was thick with the scent of worn paper and dust, mingling with the faint aroma of freshly brewed coffee from a corner café down the street. The wooden floorboards groaned as Ella wandered between the shelves, her fingertips brushing the spines of forgotten novels. Somewhere in the back, the soft sound of jazz crackled from an ancient radio.

Hope these tips help in your writing!