What a Good Fight Scene Needs

 A fight scene is put into the plot not only to liven up the action but also to move the plot forward. Figure out what is at stake for the viewpoint character and the other characters. Make the possible results of the fight, beyond dying, as dangerous as getting killed.

This is the beginning of a fight scene in STAR-CROSSED. Kellen is being transported by two soldiers to his first owner and a life as a sex slave, and one decides to try him herself.

When she invaded his mouth, Kellen heaved with nausea. For the first time, he understood the violation of rape. He fell backwards onto the floorboard with her on top of him. She weighed more than he did. Her hand slid into his pants.

As she touched him, he realized that it would be die or escape. No middle ground of surviving in the harem was acceptable to him. He hit her then, a killing blow to the throat. She gurgled and arced like a woman in orgasm and went limp.

For Kellen, at this moment, death is preferable to what is in store for him, and escape or death are his only options, and the reader knows this, too.

The fight should also offer at least one or two pieces of the viewpoint character's emotional puzzle to the reader as well as telling the reader something about the opponent. 

In this scene from THE ONCE AND FUTURE QUEEN, I wanted to show my hero Val's skill at stopping a fight, not in winning one. He's facing his rival for the Queen in an exhibition match that quickly turns real. Prince Gregory also shows his true nature in this fight.

During the first blows, Val concentrated on his defense and let his muscles settle into the rhythm of swordplay. 

After several minutes of attempting to get past his defenses, Prince Gregory began to batter at him as if to pound him into the ground. The prince had expected a quick defeat and easy humiliation, not an equal opponent, and his simmering anger about Fira now boiled. He wouldn't be content with pretend wounds and victory; he was out for blood.

The crowd, who had chattered and cheered their local favorite, became completely silent, and the air rang with the tintinnabulation of the singing blades and the hoarse rasp of both fighters' breathes.

Val thought desperately for a way out of the mess. 

Gregory's weapon slipped past his defenses and slashed toward his throat. Val dodged, laughing as if having a marvelous time. He praised loudly, "A wonderful strategy."

When Gregory slashed backhanded in a return blow, Val thrust his blade vertically and caught it before it cut him in half. "Excellent. Excellent. You're one of the finest swordsmen I've ever seen."

Gregory blinked as if coming out of a daze but continued to go for blood.

Val laughed and spouted praise for almost a minute before the prince's attack began to ease in its brutality. Their weapons caught each other high in the air, and they stood belly to belly, face to face.

Gregory whispered, "What the hell are you doing?"

"Dying is a messy, bloody, ugly thing. I don't want to kill you in front of Fira, and I don't particularly want to die in front of her either. Where I come from that's not acceptable. If we must fight, we do it without a female audience."

The boy glanced toward Fira who stood white and silent, her hands clinched in painful distress. "I had forgotten...." He danced away, bringing his sword forward. "Another time then."

Starting with the Murder Victim

 A common practice on TV mysteries is to start out with the discovery of the dead body.  NCIS, for example, is notorious for funny or gross body discoveries to start the mystery.  

Or the show uses the ever popular death on screen of the victim of the week.  Unless it’s COLUMBO, the viewer doesn’t know the identity of the murderer.  They just see some poor soul chased and murdered.

That’s TV, a very visual medium, but is it a good idea to start with the murder or the murder victim?  

Like all things in writing, it depends.  Here are some possible reasons to start with the body or the murder.

The writer makes the reader care immediately with a personable or sympathetic victim in viewpoint.  Clues and false clues can be presented to get the reader’s crime-solving started at that first page.  

The murderer as the viewpoint character ups the scare factor because it’s obvious he intends to do it again as a serial killer, or he has a vendetta against the book’s hero.  The hero may realize this, early on, but the reader knows already and is flipping pages like mad because he’s worried about the main character.  

Reader expectations.  If this book is about solving a murder, and the main character is a professional crime solver,  the body should be front and center from the beginning.  A cozy mystery is allowed some time to set up the characters, etc., without the reader getting bored.  

Atmosphere.  A chase through the darkness or the murder can really set the book’s tone and atmosphere.  This is more a side effect of the other reasons to start with the murder, and shouldn’t be the only reason.

Excitement before the boring part.  If the mystery needs considerable set up, the murder gets the reader reading then hopefully keeps him reading until the pace picks up a bit.

Later then now.  A technique which is no longer popular with good reason is to start at the murder, then go back in narrative time before that point.  It’s a cheap trick that will make most readers roll their eyes.  Use with great caution.  

Summarizing Information

QUESTION: Should I include dialogue with minor characters in full, or should I simplify them in a few sentences skipping the entire dialogue part?

Say if the MC saved a town from an assault and he wanted to investigate it, should the conversation between him and a random officer be mentioned fully? If it is to be skipped, how write it so that the important information he obtained be told to the reader?

I use the Rule of Three when I'm uncertain whether I need to write or keep a scene.  

If a scene doesn't contain at least one or two plot points (information or events which move the plot forward), and one or two character points (important character information) so that I have at least three points total, then it should be tossed, and whatever points included in that scene should be added to another scene.

In the case of that bit of dialogue, you can say something like this in another scene.  "On his way there, several of the soldiers told him ****"  

Or you could have another important character summarize to the main character bits of information he'd picked up on the way to their meeting.

When I have a bunch of bits of information that needs to be given to the reader and the main character, I often get the main character to assign that search for information to a secondary character who can then summarize what he's found out.

Even More Will and Estate Information

 Since there’s no such thing as too much information on the business side of publishing, here are more links on author wills and estates. 

WILLS AND ESTATES (General info plus Nevada State Laws) :

https://lasvegasestatelaw.com/estate-planning-authors/

AN AGENT’S VIEW OF ESTATE PLANNING AND WILLS:

https://bookendsliterary.com/literary-estates-will-and-trusts-for-authors/

SFWA LEGAL KIT FOR PLANNING AUTHOR ESTATES:

http://file770.com/sfwa-releases-the-bud-webster-legacy-kit-to-aid-authors-in-protecting-their-literary-estates

ESTATE PLANNING, COPYRIGHT AND INVENTORIES:

http://kriswrites.com/2013/01/09/the-business-rusch-fearless-inventories/

AUTHOR ESTATES AND WILLS:

http://writersinthestorm.wordpress.com/2013/05/10/who-will-you-trust-wills-in-author-estate-planning/

ON AUTHOR WILLS AND PRINCE:

http://kriswrites.com/2016/04/27/business-musings-prince-estates-and-the-future-contractsdealbreakersestates/

NEIL GAIMAN ON WILLS WITH AN AUTHOR WILL TEMPLATE : 

http://journal.neilgaiman.com/2006/10/important-and-pass-it-on.html

PREPARING FOR A MAJOR AUTHOR EMERGENCY, LEGAL ELEMENTS:

http://bloodredpencil.blogspot.com/2016/05/in-case-of-emergency.html

Wills for Writers

When my mom died, one of her final caring gifts to the family was a huge folder filled with absolutely everything we would need to go forward with her cremation, memorial service, and the probating and closing of her estate.  

She had even written a rough draft of her obituary and the hymns and Bible verses she wanted at her service so we knew we were giving her the send off she wanted.  

Most of us with families already have our wills in order, but, as a writer, do you have a plan for your books after you die? 

Have you included instructions about your writing in your will? Or have you filled out an addenda to your will containing details about your writing? 

Some things you may want to consider are 

What do you want to happen to your books and "name" after you die. 

Do you want others to write books using your name? 

Do you want someone to finish whatever books you didn't finish? 

Do you want books you wrote years ago to be pulled out and sold? 

Do you want your notes and drafts sold or given to a university or a collector? 

Do you want someone to maintain your promotions (website, etc.) while your books are in print?

Do you want a special executor just for your writing? Most established authors name their literary agent or literary lawyer as special executor to their writing estate because writing is so specialized that people not in the business haven't a clue. 

Here's a really excellent blog on the subject by Neil Gaiman which includes a PDF form that writers can use to explain their wishes on their works.

http://journal.neilgaiman.com/2006/10/important-and-pass-it-on.html

If you already have a will, I’d use this form as an addenda to your will since it revokes previous wills.  As Gaiman said, talk to your lawyer.

And while you are doing all this, remember what my mom did for us and build a large folder that includes copies of all your publishing contracts, website contracts, passwords, and all the other things you need to manage your professional career.  And keep your files in order, too, to save your family from having to sort through the useless junk to find the important things. 

Suddenly, A Pirate Ship Loomed Over the Horizon

 QUESTION: In action scenes, I use the phrases "suddenly" or "all of a sudden" a ridiculous amount of times when describing fast-paced action scenes. What other words or phrases can I use?

If you write the scene correctly, you don't need "suddenly" or any other synonym or phrase. The reader is smart enough to know the fighters in a physical battle are moving fast so everything is "suddenly" unless we say otherwise.

The trick is to get into the head of one of the characters and stay there. Let the reader see what the character sees and feel what the character feels.

You don't say, 

Suddenly, the other fighter pulled out his knife and jabbed at him.

You say, 

Sam dodged the other man's fist. The hand that should have been blocking his next blow moved downward toward the man's knife sheath. 

A flash of steel. 

Throwing himself backward away from the other man's knife, Sam slammed into the ground on his back. 

Or, if you are describing a battle of many men, you don't say 

Suddenly, a line of cavalry surged over the top of the hill toward them.

You say, 

On the hill just above the soldiers, the drumming of many horse hooves and the Rebel yell of hundreds of men warned them. 

The Yankees spun around as the Confederate cavalry charged toward them.

What Overused Words Can Mean in Your Writing

QUESTION: Readers complain I use some words too much.  “Porch” and “door” are two major offenders.  

If you overuse "porch" and “door," you may want to vary your settings, or you are writing too many useless steps when your character is moving around.  He can go from the crime scene to his kitchen having coffee with his wife without every step detailed.  The magic of transitions.  

Pro Tip from a Writing Teacher:  Over-used words say as much or more about other writing problems than it does your vocabulary.  For example, words like "suddenly" mean you really need to work on your tight viewpoint in action moments.