Reveal Backstory Layering in backstory through dialogue is another way to keep your reader turning pages.
Happily, there are a few devices you can use to ensure you write the kind of fight scene that grips a reader from start to finish. Let the reader choreograph your fight scene. This is their time to shine. Pace Intensifying the pace of your writing can communicate the immediacy and suddenness of conflict.
Short, simple sentences keep the reader on their toes. Fights happen quickly and your description needs to match that. In The Princess BrideWilliam Goldman writes a brilliant sword fightand perhaps the most enjoyable fight scene ever put on paper: The cliffs were very close behind him now.
Inigo continued to retreat; the man in black continued advancing. Then Inigo countered with the Thibault. And the man in black blocked it. Each sentence is short, the written equivalent of a sudden move. Every time a new person takes an action in this passage, Goldman starts a new line, making the reader encounter each attack as a sudden, vital event.
Hovering around the fight describing the actions of both characters sets a limitation on how gripping the experience can be.
The key is to thrust the reader into the thick of the actionand to do that they need to experience the fight through a character. McDonald mimics this experience for the reader by having longer passages between the single sentences of violence: Instead of looking who had pushed him, Fletch tried to save himself from falling.
Someone pushed him again. He fell to the right, into the parade.
A foot came up from the pavement and kicked him in the face. You can also write to match the perspective of the attacker: Verbs not adverbs Fight scenes demand brevity and adverbs are the opposite. There are too many adverbs in your fight scene. There are a few exceptions. They embrace guttural simplicity to communicate that same quality in the action, but this trick only works once before you start sounding like a caveman.
What there is plenty of is sensory information. The taste of blood, the ringing in their ears, the ache of their injuries. Evan Hunter wrote fantastically brutal fight scenes by stating a simple, physical act and then following it up with evocative sensory information: He pulled him to his feet, almost tearing the collar… He heard the slight rasp of material ripping.
That description, from his short story collection Barking at Butterfliesadds more physicality to the encounter than any physical description could. Use sensory information to make a fight scene relatable. Click To Tweet Sensory information is also more relatable to readers.
Not everyone has been held up by the collar, but everyone has heard fabric tear and tasted their own blood after an accident. You can summon incredibly detailed information through these minor descriptions: Just the results The opposite of writing a fight scene, but worth the occasional consideration, is to skip the violence entirely.Dialogue: Techniques and Exercises for Crafting Effective Dialogue (Write Great Fiction Series) [Gloria Kempton] on pfmlures.com *FREE* shipping on qualifying offers.
Craft Compelling Dialogue When should your character talk, what should (or shouldn't) he say. If the dialogue you write bores you, it’ll put your reader to sleep. And unfortunately, your first reader will be an agent or an editor. You can’t slip anything boring past them.
Learn how to write dialogue between two characters by using this little-talked about screenwriting hack and a dialogue example from the movie, The Girl on the Train.
If the dialogue you write bores you, it’ll put your reader to sleep. And unfortunately, your first reader will be an agent or an editor. You can’t slip anything boring past them. Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - .
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