Last month, Dionne Lister and I attended GenreCon in Sydney,
Australia. One of the workshops was run by fantasy author Karen Miller (also
writing under the pen name K.E. Mills) on character movement and action scenes.
She explained we are now a culture steeped in visual imagery
and story-telling. If you’re a fan of Dickens, Tolkien, or other classic
authors, sorry, this doesn’t cut it for the modern audience. Modern fiction has
shifted away from that style of story-telling to meet the more visual
expectations of the modern reader. As far as visual imagery goes, it’s also
worth knowing that people will believe something if they see it, even without
explanation, but that in a novel plot holes will be more readily questioned. This
explained to me why I’m not able to be as critical of movies as I am of books!
Despite the fact your audience is visual, you can’t just
take a fight scene (for example) and transcribe it into words – this will
create a boring description which does not in the least engage the reader.
Instead, you have to translate what you see into words that create an
impression. The scene must be fast enough to ensure the reader is not bored,
clear enough so they understand, and real enough they feel they’ve experienced
it.
Relatively speaking, you should incorporate very little
actual physical description because this will bore the reader. It’s also
unrealistic. When someone is in the middle of action, they can’t and won’t
notice everything. At the same time, they can experience time distortion and
time will seem to slow down so that person may notice quite a bit in what actually
took only a split second. These are qualities you should be sure to note in
your fight scenes.
Action scenes should be anchored through the viewpoint of a
particular character to help place the action (unless you’re using omniscient
POV, you should be doing this anyway). You should include emotions, thoughts,
and sensory impressions of the viewpoint character as to what’s occurring
around them. Short, punchy descriptions and verbs will help you to keep the
energy going. Choose words that tell us something about the characters, words
that make an impact and are energetic.
It’s very important to get your characters moving even
outside of a fight scene or an action sequence. If you don’t, you’ll create a
static scene in which people do nothing but talk to each other i.e. talking
heads. To avoid this problem, try including body language to bring a scene to
life (what Karen called the equivalent of subtitles for books). Not only does
this help to define the action, it also helps you to flesh out the characters.
When doing this, try to work out what actions go properly
with the dialogue i.e. there may be automatic actions and responses you
associate with the dialogue. Think about them and try to identify what they
are. You may find there is more than one correct interpretation, in which case
you need to decide which is the impression you actually want to convey. This
will depend on the plot, the story you want to tell, and the level of conflict
you generate.
While long speeches are uncommon in genre fiction, sometimes
characters need to say a lot. If you let one character just ramble on, this can
have the same effect as a ‘talking heads’ scenario, and the reader may get
bored and wander away. To avoid this, either have the character interrupted a
lot, or find the right moment, a lull in the speech, to interrupt and include a
physical action on the part of the character.
Some other words of wisdom from Karen included:
- Use said almost all the time – it becomes invisible;
- Dialogue tags like retorted, objected etc. should be used
judiciously and ‘he ejaculated’ is not recommended any more;
- There is a school of thought that it should be clear from
the text how the dialogue is presented, but this is not always the case, and
then sometimes you may need a descriptor or an adverb – but this should be used
carefully;
- Exclamation marks can be useful, but don’t overuse. Don’t
use multiple exclamation marks or exclamation or question mark combinations;
- Be vigilant about unintended repetition and sentence
construction – don’t use repetitive sentence rhythms, as it will put the reader
to sleep;
- Try to give each character their own rhythm and speech
patterns (easier said than done!).
- Including everything slows the pace too much;
- All you can do is the best job you are capable of at that
time, with all the input available to you. You cannot control how the reader
will interpret it;
- Every reader’s view is correct – subjectively speaking;
- Remember every character is the star of their own show. Give
each character a thumb-nail sketch of realness. Don’t ever treat a character as
a cardboard cut-out;
- Use italics to stress a word of dialogue judiciously – only
do this when needed to clarify an ambiguous line where it’s important the
reader get the correct message;
- It’s said that you can get the reader across the galaxy, but
you can’t get them across the room.
Karen is a brilliant writer, so I strongly recommend taking her advice into consideration. Not only did she read us a
fight scene from her draft WIP, which was good enough to turn me green with
envy, but I read the book she gave me in two days flat. It’s not often I have
the time to do that these days, and when I make the time, you know that
book’s got my attention.
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