What do you look for in an action scene?

I'm finding it really hard to get going with my story The Last Storm.
I mean, sure I am doing fine-have four chapter done already. But, I'm getting to the point where I need to start adding action and fighting scenes. I need some help, and I would like you guys to help me!

So, what do you want to read when an action scene comes up? Is there a point where description is too much? Too vague? Should there be dialogue in the scene? Or after? Or before?

Thanks, Classy.

As soon as every move gets described perfectly, as in, every movement the character goes through in order to attack somebody, then description becomes too much. Try to use as simple sentences as possible so readers don't get dragged along through moves they don't understand. Think how would you describe something to people who've never seen any fighting before. That's usually a good starting point for move description.

I also like little quirks and character thoughts in a fight scene. Even if it's just the character freaking out a bit because the guy's stronger than they expected. I have one line in a fight-scene of mine where the (well trained) MC thinks about why there were three easy-to-spot killers and a fourth that was harder to see, and only came out when the guards were all occupied. She ducks under his swing and there's a line, "that puzzle would have to wait." I just love coming across lines like that; they break the constant description of what's going on and give a more human element.

Also, if your characters are good fighters, and your prose is very close to their viewpoint (be it first person or close third) then don't really bother describing every single move. The more they know about fighting, the less they should focus on moves.

Really, what I adore in fight scenes is a human element. Make it real for your characters, not just a list of moves.

~Rosey

I agree with making it real for characters. In the action, they might think or remember random things (and not just in the cliched "life flashes before my eyes") way. If they're in pain, they can cry, scream, faint, throw up etc, although if they do faint or collapse it should be in a safe place*, because even a few seconds of being incapacitated might be long enough to die, unless that's part of the plot.

Also, it can be hard to build to a climax, and it's easy to be fearful of trying to do this. Things I find helpful to remember:
1. The climax is not a "point" or a single sentence. You can't drag it out, but don't feel the need to write a single, perfect, climactic sentence/paragraph. In fact, a really short climax might be unsatisfying after a long, suspenseful lead up. Generally, people talk about the climax as being the long action scene at the end of the book.

I think technically the climax is the part where the action ends (ie. the baddie is destroyed). But people tend to describe the book's climax by the climactic scene, ie. the exciting scene that leads to the events that lead to the "end" of the story.

2. As for building up to the climax, show the stakes. This can be by having characters die (or imprisoned, injured, whatever the "bad" outcome of the action scene is) or narrowly avoid death - make sure narrow escapes are realistic though. Sometimes minor characters die in these scenes to show the stakes for the main characters. You could also have a character get injured, although remember they can't be too injured to fight later unless it's part of the plot.

3. How to write a narrow escape. Luck is a bad idea, it's unrealistic. You can have some luck elements - "We'll only escape if this window is unlocked!" - as long as it's fairly likely that the events work out, and some skill should be involved so it doesn't seem like just a lucky getaway. If the window is normally open but sometimes locked, that's believable that it could be open. If it's always locked but just happens to be open on that one occasion, it's unlikely. Sometimes what seems like luck can turn out to be another character helping though (Lief, a character in Deltora Quest, spends his childhood thinking he has lucky escapes, when in fact there's someone "babysitting" him!).

The character can either rescue themself, showing their strength, or another character could rescue them, which shows strength of character and strong relationships.

4. Chase scenes. Exciting to write, exciting to read. About 10 000 words of my Nanowrimo was a chase scene. These can be especially fun if they're international or even interplanetary. Although, with these types of chase scenes, it can be boring to be the chaser, and more exciting from the point of view of the runaway.

5. Fight scenes. Everything the person above said is true. Unless the character is openly boasting about their abilities, they probably won't say the names of the moves. Usually, in longer fights, it can be boring to focus on each move (sometimes in books and movies there's even a cut scene in the middle of the fight), probably just the initial attack and any final moves leading to a conclusion of the fight.

*It is sometimes possible to stave off fainting. Once I was sleeping and there was a very sudden, huge crash of thunder, and I sat up way too fast, realised it was just thunder, and then fainted (from sitting up too fast). However, keep this within reason -- at a point, the character is either going to faint or recover from the feeling of being about to faint.

Thanks guys, that was very helpful.
My characters are all untrained, unskilled people. They were basically put in this position to learn.
I will have to use a chase scene, and if you could expand on what you do more, that would be great.

Basically, I want people to get the full grasp of it, but because my characters know nothing about fighting/defending themselves, I can't describe too much, you know?

I did one sentence by saying one character was dead, and then after saying that, I wrote how they died. Is that good, or do readers want more in-the-action?

Thanks much, Classy

Okay, I must say I love writing chase scenes. and consequently, I also love writing about writing about chase scenes, so this is probably going to be a long post. I'm mainly focusing on situations where the main/good/POV characters are the runaways.

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Action type chase scenes -- The you-can-run-but-you-can't-hide situation
Characteristics of this type of chase scene:
- The pursuer/s and runaway/s are usually within sight/earshot. The characters may hide away for brief periods, but only as a temporary measure. The people are usually aware of each others' approximate location.
- You can run but you can't hide; the scene is mostly running and very little hiding (not necessarily on foot).
- The motions are controlled by a runaway. For example, running on foot, riding a horse/bike, or driving a car. The party controlling the transport is aware of the runaways, and the transport is arranged specifically for them.

Kibble's List of Mistakes in These Scenes:
- Not enough tension. People would be literally freaking out in this situation.
- Cliched tripping over. Why do people always trip over just as the person approaches them?
- Apparent non-concern for crashing into things (in a car). Um... even an impact with a lamp post would be pretty major. While the characters are worried about escaping, crashing should take more priority than it often does!

In the immediate chase scene, the characters are directly responsible for putting distance between themselves and the pursuers.

Things to remember:
- Realism: how long people can realistically run. Even driving a car chase style would be hard to sustain physically or mentally for more than twenty minutes.
- For more excitement, have the pursuer/s come very close (even touching the runaway/s) at some points.
- Suspense; not knowing someone's exact location or when they're going to jump out. However, this is getting more into the second type of chase scene.

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Suspense chase scene -- the hideout/leaving the country
Characteristics:
- Characters may spend more time hiding (either in a transport or a non-moving location)
- Characters are not physically running or directly engaging in moving themself away from pursuers, though they might be on a plane/train that is doing this for them.
- Usually, the character is in disguise. They have often entered a situation where they can blend into a crowd to avoid pursuit.
- The pursuer/s are not (or are not thought to be) aware of the runaway/s' exact location.

Problems in this type of chase scene:
- Too much tension; after a while, your capacity for panic and adrenaline runs out. If the characters are escaping on a plane, they'll probably still be nervous and jumpy, but can't continue full-on panic mode forever. They'll also eventually fall asleep etc. Maybe even get bored and do something like read a book.
- Not enough tension; on the other hand, anyone on the transport could be a pursuer. The characters are not going to be completely relaxed, even if they do sleep or get bored.
- Too much description; these scenes can be highly suspenseful, but as they're usually not as exciting, and take place over a longer time frame, than action chases, it's not necessary to describe every time the characters have a dream, read a book, play their Nintendo, go to the bathroom etc.

Hiding chase scenes require the ability to write suspensefully. I'm not sure how to explain to do this (actually, I'm not sure I can do it well). You can have the characters looking around, wondering if anyone's chasing them, clues that the pursuer/s are "getting closer", possible sightings of pursuer/s and so on. If you're not writing from a limited point of view, you could have a scene actually showing the pursuer/s getting closer to locating or catching the runaway/s.

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As with a lot of things, chase scenes should be a balance of action and suspense. Again, remember the characters are human. They might get tired or get a stitch - in fact, another mistake in chase scenes is character's pain being used only as oh, no, they can't keep running and it's important to the plot that they fall. The pain is reduced to a mere plot driver, when in fact if you mention injuries that are not significant to the plot, it shows a human side to the characters.