Wednesday, October 23, 2013

My Guest: Rayne Hall

The craft of writing a novel is not an easy one; each page brings a new challenge. My Guest this week has chosen to share her experience of resolving a particulary notty issue for many. Ladies and Gentlemen,



Rayne Hall




Creating Convincing Combat




Creating a good fight scene is one of the most challenging aspects of the writer's craft. Here are techniques on how to give your readers the thrill they expect from a fight:

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1.  Give each fighter a compelling purpose and raise the stakes as high as possible. A heroine fighting for her life is more exciting than a heroine fighting for her purse, and a heroine fighting for her children's lives is more exciting still. If she fights for her purse, raise the stakes by making that purse important: it contains not only money, but the jackpot-winning lottery ticket, only photo of her abducted baby daughter, or evidence that her husband is innocent of the murder of which he stands accused. For her opponent, a street urchin, the stakes are also high:  the money in the purse will buy food for his starving baby sister, or gang members are assessing his performance to decide whether to accept him.

2.  Stack the odds against your protagonist: the more difficult the fight is for him, the more exciting it is for the reader. Give the opponent better weapons, greater strength, and other advantages.

3.  Use a location which is either unusual (a wine cellar, a cowshed, an artist's studio) or dangerous (a rope bridge across a ravine, a sinking ship). [more on this below]

4.  Use deep point of view: let the reader experience the fight the way the PoV character experiences it. Keep to the PoV's vision (only what's immediately before him) and convey his emotions (fury, fear, hope, triumph).

5. Hearing, more than the other senses, creates excitement, so describe noises, especially the sounds of weapons (pinging bullets, hissing arrows, clanking swords).

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6. Create fast pace by using short paragraphs, short sentences and short words.

7.  Verbs, more than other words, convey excitement: hack, slash, pierce, stab, race, jump, leap, drive, spin, punch, kick. Choose vivid verbs, and build your sentences around them.

8. Avoid blow-by-blow accounts: these soon get boring. Instead, show only the first few moves, as well as the decisive final ones, and for everything in between, focus on the direction of the fight ('Fired with new courage, she kicked and punched.' 'He drove her closer and closer to the cliff').

9.  In a long fight scene, let something unexpected happen (the hero loses his weapon and is forced to fight on with his bare hands, the hero's girlfriend comes to his aid,  the villain's henchmen join the fight, the bridge collapses, building bursts into flames). This event should change the fight, but it should not decide it.

10.  If your protagonist has a special skill - e.g. she's good at acrobatics, at oil painting or at basketball -  let her use this skill in a surprising way in the fight.

11. Create a 'black moment' when all seems lost. Then the protagonist recalls his purpose, rallies his courage, and fights on to win.

12. If the protagonist wins the fight, it must be from his own efforts, not because of a stroke of luck, divine intervention or outside interference.  Other people may help, but they must not decide the outcome.

The writer's secret weapon: location

To make a fight scene interesting, place it in an unusual venue. What's the quirkiest possible location in your novel?

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How about a sauna, a laundrette, a playground, a morgue, a potter's workshop, a lady's boudoir,  a cow shed, a minaret, a sculpture gallery, a stalactite cave, a theatre's prop store room, a sewage tunnel or a wine cellar?

What features are there that the fighters can jump on, leap across, climb up, swing from, duck under? What items can they topple or toss?  The more creatively you use the space, the more entertaining the scene becomes.

Staircases work well because the fighters can stand on the steps, they can run or  leap, they can stumble, fall or tumble, and maybe slide down the banister. They can also use the stairs to move from one location to another, which is useful in prolonged entertaining scenes. To make your fight scene stand out, make the stairs unusual in some way. Perhaps they've been freshly washed and are still slippery, or maybe they are so dilapidated that some boards are missing.

In a long fight scene, the fight can move right across the terrain. This adds variety. Try to arrange it so the climax of the fight happens in the most dangerous place - at the edge of the cliff, at the top of the tower, on the narrow crumbling wall.

The terrain also helps to make your fight scene realistic. As soon as you mention what kind of ground the combatants are fighting on, the scene gains authentic flavour. What's the ground like: Persian rugs? Concrete? Lawn? Uneven planks of splintered wood?  Hard, firm, soft, squishy, muddy, wet, slippery, wobbling, cluttered, sloping? I suggest mentioning the ground twice: once to show how it feels underfoot, and once to show how it affects the fight. Perhaps your heroine slips on the wet asphalt, or stumbles across the edge of a rug.

To keep your fight scene plausible, consider how large the space is. How much room do the combatants have to fight? How high is the ceiling? What obstacles restrict the space? 

For example: The hero is a warrior, used to swinging his sword in a high arc. Now he must fight indoors, where the ceiling is too low to raise the sword overhead. How will he cope?

Most staircases are too narrow for big sword swings, which can add interesting difficulties. In medieval castles, spiral staircases were almost always built so they favoured right-handed defenders. The person coming down had room to swing the sword-arm, while the person coming up had not. This makes an interesting challenge for the hero fighting his way up, or for a left-handed defender.

Spatial restrictions make the fight scene authentic, plausible and interesting.
  
Show the location before the fight

During the fast action of the fight, there's no room for describing the setting. This can be confusing for the reader. To help the reader understand the location, show it in advance.  If the plot allows it, place an earlier scene in the same venue. Alternatively, let your point-of-view character check out the terrain immediately before the fight starts.

Bio:
Rayne Hall has published more than forty books under different pen names with different publishers in different genres, mostly fantasy, horror and non-fiction. Recent books include Storm Dancer (dark epic fantasy novel), 13 British Horror Stories, Six Scary Tales Vol. 1, 2, 3, 4, 5(creepy horror stories), Thirty Scary Tales, Six Historical Tales Vol. 1 and 2 (short stories), Six Quirky Tales (humorous fantasy stories),  The Colour of Dishonour: Stories from the Storm Dancer World, Writing Fight Scenes, The World-Loss Diet, Writing About Villains, Writing About Magic and Writing Scary Scenes (practical guides for authors).
She holds a college degree in publishing management and a masters degree in creative writing. Currently, she edits the Ten Tales series of multi-author short story anthologies: Bites: Ten Tales of Vampires, Haunted: Ten Tales of Ghosts, Scared: Ten Tales of Horror, Cutlass: Ten Tales of Pirates, Beltane: Ten Tales of Witchcraft, Spells: Ten Tales of Magic, Undead: Ten Tales of Zombies, Seers: Ten Tales of Clairvoyance and more. 
Rayne has lived in Germany, China, Mongolia and Nepal and  has now settled in a small dilapidated town of former Victorian grandeur on the south coast of England.

Short video: Ten Random Facts About Rayne Hall: http://www.youtube.com/watch?v=KXv4EisfqvQ
Amazon’s Rayne Hall page: http://www.amazon.com/Rayne-Hall/e/B006BSJ5BK/ref=ntt_athr_dp_pel_pop_1
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Rayne can also be followed on Twitter here


Wow! As someone who has been trained in over 25 different fighting arts, I take my hat off to Rayne. Her tips are right on the nail. Thank you, Rayne, for sharing your expertise with us today.

And there's more! Rayne has collected many more practical tips for writers in a series of books also available on Amazon. This is the one about Writing Fight Scenes: 


Eric @ www.ericjgates.com

Wednesday, October 9, 2013

My Guest: Laurence O'Bryan

My guest this week is a thriller writer who gives Dan Brown a run for his money. He brings us an explosive post that will help put spice into our writing. Ladies and Gentlemen, I give you




Laurence O’Bryan




Dangerous Fiction:
Grabbing your Reader’s Attention



What the hell is dangerous fiction? Well, there’s truth, and there’s lies. Then there’s showing people what they thought was the truth is all lies. Or what they thought was all lies, is the truth.

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What else is dangerous? Breaking taboos. But surely they’re all gone by now? Aren’t we all sophisticated internet peeps now? 

So here the challenge is in finding taboos that are still edgy. We’ve had taboos broken, then turned inside out so many times there’s probably not much left, except for Nazi hippies wanting to die.

And even that’s been done. Or has it? Late night occult anyone? Do you remember that movie about the man who taught the hippies how to get stoned, and what he was up to in Germany in the 1930’s? And then he met Charles Manson. Mr Hippy himself.

But dangerous isn’t just about taboos and truth telling. It’s also about fiction that explodes all over your face, like an eye ball eating squid popping out of your Kindle as you hold it up close. 

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For me it doesn’t matter how well you write, if you’re not a bit dangerous you’re boring. If your story is about an afternoon in an apartment, as your hero argues with himself about whether to make dinner for his partner, I’m just not that interested.

Ok, I’ll read two pages if your prose totally sparkles, but I’ll soon put you down. Shiny, glistening literary baubles lack substance for me. I want something dangerous. I want my big D fix.

Which brings us to the central point of danger, it’s all about choice. Your D fix, I may hate. And danger is affected by genre too. Crime fiction, thrillers, erotic fiction, romance, fantasy, science fiction, they all embody danger at their core. Characters fall into danger and some of them die, horribly. And some of them get tortured, in ways that involve balls and whips. And let’s not even talk about the erotica.
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Danger makes a book more commercial. If you write and extend one of the popular modern genres listed above, have a great story and danger at the core you are more likely to excite a publisher. Publishers want to publish books that people are more likely to buy. And they have found out, over many years, that books written with dangerous themes - about love, loss, betrayal, and triumphing over the odds, about lies and greed and very personal threats, sell well and then some more again.

So make a bold statement. Introduce your big D fast. Hook the reader. And get a good title.

Getting personal is my final piece of advice for writing dangerously. Whether that means telling people what a rotten mother you had, what a time waster you used to be and how you used to steal food to eat is up to you, but keep this in mind. Everything you ever did was all research for great plot twists. 

You couldn’t decide to pick a different childhood, but you can decide now that it’s all research. Telling stories, whether true or imagined, allows us an entrance to dangerous worlds we could never otherwise experience. Let people see yours. I wish you all the best. And I hope, in the end, we can all do some good with what we create to make the world a little less dangerous. Because we’re doing it all vicariously.

Bio:

Laurence O’Bryan’s novels have been translated into ten languages, but you’ve never heard of him.

And he should be dead, many of his friends are. And you should read his new novel, The Manhattan Puzzle, out Oct 10 2013 all over the world. It’s a knife on the artery of corruption. The Da Vinci Code on crack. Catch it before this Irish writer become too popular. Then you can say you read him first.

See www.lpobryan.com for more and follow him on Twitter.


Thank you, Laurence, for a fantastic article that contains many useful tips for writers of all genres.