Ps 91 (NKJV)

3 Surely He shall deliver you from the snare of the fowler, and from the perilous pestilence.4 He shall cover you with His feathers, and under His wings you shall take refuge; His truth shall be your shield and buckler.5 You shall not be afraid of the terror by night, nor of the arrow that flies by day,6 nor of the pestilence that walks in darkness, nor of the destruction that lays waste at noonday.

Showing posts with label H.L. Wegley. Show all posts
Showing posts with label H.L. Wegley. Show all posts

Monday, February 18, 2013

Writing Action Scenes, Part 2, by Harry Wegley.


Welcome back, Harry. I'm so excited about the post below, I'm not going to say much. Let's get to it. :)

Writing Action Scenes: Part 2 - Putting It All 
Together
Harry (H. L.) Wegley

You might want to review the list of guidelines we accumulated in Part 1 of this post.

As your scene unfolds, I suggest iterating through the guidelines asking, “How can I…” You will come up with a lot of ideas. Choose those that best fit into a logical sequence of events.

Let’s take a look at some examples extracted from a chase scene in my novel, Hide and Seek. As this scene begins, the protagonists, Lee and Jennifer, have uncovered a sinister cyber-espionage plot. They’re leaving a defense contractor’s compound to explain their findings to the head of Computing Security. We begin in the parking lot in Lee’s point-of-view:

The area lit up like mid-day. A deafening boom sounded behind him. The shock wave blindsided him with the force of an NFL linebacker, knocking him forward to the concrete. He stuck out his arm to protect his face. His body rode on his right forearm for several feet, while the rough concrete rasped off his coat sleeve and much of the skin underneath it.
He lay sprawled out on the parking lot pavement.
His mind struggled to comprehend what had happened.
When he picked himself up, he shook his head to remove the cobwebs. There were too many of them. Blood ran down his right forearm. Pain brushed some of the cobwebs away.
Explosion.
His arm burning and his ears ringing, he stood and looked for the source of the blast. It came from what had been his car—from what was now only a blackened shell. The sense of loss hit him in his gut. He might never be able to replace that car. He brushed away a few more cobwebs. The clearing of his mind brought a bigger worry. Better a bombed car than a bombed body. But the bombing attempt had failed, so…
He emptied the air from his lungs and drew a deep breath. His pulse quickened. The realization hit him like a stinging slap on the face. They were in big trouble, but the incoming flak wouldn’t be the kind that got you fired. It would be the kind that got fired at you—bullets from people who killed to keep secrets.
Despite their delicate search on the infected computer, their foray must’ve triggered attention, and it wasn’t all coming from some hacker halfway around the world.
Jennifer stood motionless by her car, staring across the parking lot at the blackened remains of Lee’s Mustang.
He sprinted toward her. “Jennifer, start your car, now!”
She jumped toward her car door, eyes wide with fear.
A staccato stream of gunshots sounded from near the gate shack as Lee slid into her sedan.
A large, black SUV turned from the street. It sped past the gate shack and into the parking lot. The headlights swung in an arc, the light beams stopping on Jennifer’s car. The SUV rolled down the lot toward them.
He fought to control his racing thoughts. “Go, go, go! Turn left into the next lot, and floor it straight through to the street.”
“Are you sure it’s us they’re after?” Her voice shook.
“Shall we stop and ask them, Jenn?”
Jennifer jerked toward him, mouth open and frowning.
What did I say?
This wasn’t the time to analyze her response. “Jenn, we’ve got to make it to the police station.”
Her head jerked around again.
Why was she looking at him? “Watch where you’re going, Jenn. They’re coming, that black SUV.” Lee rolled down his fogged window. “They shot at Randy, and they weren’t using a single-shot .22.”

Jennifer and Lee’s goal changed immediately from disclosing their findings to staying alive. I want to keep them on the run for the next 100 pages. To accomplish that, they must lose their ability to communicate.

In a road race, her small sedan would be no match for the powerful SUV.
She said nothing, hands gripping the steering wheel as she focused on driving.
“Just do whatever you have to do to keep them from closing on us. I'm calling 911, now.” Lee reached for his cell phone.
“What's the best way to the police station?” Her voice was stronger, as if she’d come to grips with what was happening,
Gutsy woman. Good. Because their survival depended on her.
“Turn right onto North Park. Keep going south. You’ll come to it.”
He stuck his head out the window and looked at the headlights behind them.
The SUV angled straight across the parking lot. Its driver ignored the rows, sidewalks, everything. The gunmen would overtake them in a few seconds. The bright headlights vibrated as the vehicle bounced over all of the concrete curbs and parking space dividers in its path. Their pursuer’s two-fold intent became clear.
Keep them from heading south toward the police, and get within easy firing range.
If they turned south, their pursuers might cut behind the building, cut them off on Park, then cut them down with their weapons. “Turn left. Get behind that building. Then left on North Park.”
She flashed him a glance and another frown. “What? Away from the police station?”
“If you wanna stay alive, do it.”

Jennifer now becomes the plausible path of escape. She’s smart, gutsy, and can handle a car. But we stack the deck against her and Lee by giving the bad guys assault rifles and Jennifer a small car.

Jennifer yanked the wheel to the left.
Lee’s body slammed against the side of the car.
Their pursuers whipped around, accelerating to intercept them before Jennifer could put the building between them. Two guns jutted through the windows of the SUV and swung toward them.
“They’re gonna shoot! Get around the building.”
Jennifer responded quickly despite her panic, accelerating across the next parking lot, pressing Lee back in the seat.
But the headlights behind them loomed too close.
Gripping the arm rest, he thumbed his cell phone open. “Go Jenn! Get—”
Bullets sprayed from an automatic weapon, shattering the top of the sedan’s rear window.
Like buckshot, fragments of glass pelted Lee's head and left hand. His cell flew from his fingers. Blood trickled down the back of his neck and his left hand, while his cell phone danced on top of the dash.
His left hand throbbed. He swept his right hand across the dashboard, attempting a backhand catch.
Jennifer clipped a curb. The sharp bump launched the cell phone up into the air.
When he tried to catch it in midair, it bounced off the heel of his hand. His hopes of reaching a 911 operator flew out the window with his cell.

We finally got rid of that cell phone. The chase continues onto streets, through an alleyway (which I’ve omitted). Now it’s time for a short breather.

He blew the air from his lungs then tried to take a calming breath. “I don't see any headlights.”
Jennifer replicated his breathing exercise. “Maybe we lost them.” She glanced his way. “You’re bleeding.”
“It’s nothing. Just cuts from the glass.”
“There’s a pack of tissues in the glove box.”
“Thanks, but I’d rather have a cell phone. Do you have one with you?”
“No. I left my phone and…well, some other things at the computer lab before I drove over to National Aerospace. Didn’t know what I could take through your security. And, Lee…I’ll bet you don’t play shortstop, do you?”
Lee studied her face. Sarcastic or…he couldn’t tell. “No, I pitch.”
“Sorry about the bad hop I gave you—you know, just before it went out the window. Do think we lost them?”
“Maybe, but I'd recommend you just keep it floored as much as possible. We've got to make sure they can’t find us.”
“We’re on city streets. I’ll do my best. But what about the police station?”
He looked down the street. “Let's get further west before we turn south and work our way back. Make sure you avoid the freeway. They could run us down easily there. No place to hide.”

That’s enough air. It’s time for more action and more danger. Since this post is growing a bit too long, here’s a brief summary of the action that follows.

I gave Jennifer a Corolla so she and Lee wouldn’t stand a chance on the freeway, then I forced her onto the interstate. There I provided another plausible path of escape, 3 sixteen-wheelers driving as a convoy in lane 2 of 4 lanes. Jennifer forces her car between the trucks twice to avoid automatic weapon fire.

During the remainder of the chase, they two are chased away from the city into a mountainous region, Lee’s childhood stomping grounds. Their only weapon for the next 75 pages is Lee’s knowledge of the area. This is where I wanted them – two geniuses pitted against three armed goons in a war between wits and weapons, a game of Hide and Seek.


Wow, a big thank you to Harry Wegley (H.L. Wegley) for giving us a sneak peak into how to effectively write actions scenes. I might have to add a few to my romances. :)

What do you think? Would a car chase work in 17th century Scotland? Yeah, probably not. I could always make it a horse chase.  LOL 

What ideas does this give you for your own personal writing? If you're not a writer, but a reader...do you like to read scenes like the above? What do you like about it?

Blessings,
Ginger


Friday, February 15, 2013

Writing Action Scenes: Part 1, by Harry Wegley


Today I welcome Harry (H.L.) Wegley to A Bed of Roses...Thorns Included.

Harry has retired from careers as a Meteorologist, Computer Systems Programmer, Intelligence Analyst. He just recently began writing novels and is a member ACFW, OCW, & NCWA (per his blog profile).

He enjoys writing and reading and makes his home in the upper Northwest. You can find out more about Harry here.


Writing Action Scenes: Part 1 - Advice from the Pros
Harry (H. L.) Wegley

Lee Lofland on his web site, The Graveyard Shift, gives a cardinal rule to follow for action scenes. Keep things realistic by giving your protagonist a plausible way out. http://www.leelofland.com/wordpress/place-your-hero-in-a-good-light/
One thing I like to do is make it appear there’s no way out, then using clues I’ve already given the reader, find a clever, but dangerous, way out that was there all along but no one, including the reader, sees it until the last second, when it pops into the mind of the protagonist.

One of the best basic articles on writing action scenes that I’ve seen is by Linda Adams, Thriller: Writing the Action Scene http://fmwriters.com/Visionback/Issue32/thriller.htm

Here’s a subset of things Linda talks about in her article. The writer must plan the scene in advance and make the stakes high enough to justify dangerous or desperate action. Our protagonists don’t do dangerous things without very compelling reasons. Also, you must pace the action so the reader can catch their breath. Personally I like to hold them under water until just before they drown, then let them draw just enough air to sustain life and shove them down again. But don’t continue doing this for too long because the reader will take a break from your story if you don’t give them one – maybe a permanent break. Linda also says scenes should be credible, and they should have a goal. That goal must be relevant to the story. You should not be putting in action just for action’s sake.

Other things Linda mentions are omitting unnecessary details that slow the story down. It’s OK to have those details in your mind as you write, but you can’t convey them all to the reader without bogging down the story. Another effective mechanism is to maintain a ticking time bomb to keep the reader white-knuckled as they hold the book (or e-reader).

Finally, keep it simple. If complex logic or abstract thinking are required to follow the fast moving action, the reader is lost. To follow your story, they either have to reread the entire scene or move on, scratching their heads and wondering if there will be more stuff they won’t be able to follow.

There are other techniques you can use to enhance your action scenes, such as using short choppy sentences with single actions in them during the fast-moving parts of the scene.
Comic relief is sometimes needed. I like to use a five or ten second lull as an opportunity for one of the protagonists to say something funny (sometimes ironic) to the other. It may not be intentionally funny, but it gives the reader a smile and a little relief right before you sock them in the face with something really dangerous, something that makes the protagonist’s words even more saturated with irony.

A final guideline comes from Jeff Gerke, who says we should emphasize the “or else factor.” What happens if the protagonist fails during the action scene? Make the stakes clear and high for maximum impact.

Let’s look at the list of guidelines for writing action scenes we have accumulated so far:
  1. your protagonist(s) should have a goal that’s relevant to the story
  2. give your protagonist(s) a plausible path of escape
  3. high danger should be accompanied by equally high stakes
  4. pace the action, let the reader catch their breath
  5. omit unnecessary detail
  6. keep things simple during the action
  7. shorten your sentences during the height of action
  8. use an “or else factor” or a ticking time bomb to heighten suspense
  9. don’t be afraid to inject a little humor for relief
 
Any given action scene will seldom use all of these guidelines. But any plausible action scene will have a thread of logic running through it. By ensuring that this thread is a logically connected sequence of plausible events, we can extend or intensify the action as needed. With a little analysis of our scenes, we can find places to intensify the action.

In the next post on action scenes, I’ll provide some examples taken from my book, Hide and Seek. While these are not perfect examples, they will show how I introduced elements into the scene that intensified the action.

References:
Writer’s Digest October 2012, Raising the Stakes in Your First 50 Pages, Jeff Gerke pp50-52


Thank you, Harry. I will have to think of ways to incorporate this information into my own writing.

Okay my little readers (spoken with the voice of the wicked witch of the west from the Wizard of Oz) what is your favorite action scene, either from a book or a movie? Why? What pulled you in?

Mine is the very first scene of Mary Conneally's Sharpshooter in Petticoats when Tom is dangling on the edge of the cliff waiting for Lady Gray to look away so he could climb up and capture her heart. Just loved that scene. Of course, Harry put so many such scenes in Hide and Seek it would be hard to name just one, but the one that sticks out the most is when Jennifer and Lee are in a cave, free-climbing the wall to escape, and their pursuers enter and start shining a light on the walls looking for them. Action packed for sure. :)

Blessings,
Ginger


Monday, February 11, 2013

Review: Hide and Seek by H.L. Wegley


Wow! What an exciting book. The first chapter or so had some difficult to read technical computer stuff, but if you read past it--it's only in a few paragraphs, not throughout the novel--the story really comes alive and pulls you along for a  heart-stopping ride.

Hide and Seek by H.L. Wegley is a definite keeper if you love suspense with a touch of romance. :)

More about the book:

A computer security breach within a US defense contractor’s firewalls leads investigators, Lee Brandt and beautiful, brilliant Jennifer Akihara, onto the cyber-turf of terrorists, where they are detected and targeted for elimination. Lee leads them on a desperate and prayer-filled flight for survival into the mountains of the Pacific Northwest. Will Jennifer’s pursuit of truth about the conspiracy, and the deepest issues of life, lead her into the clutches of terrorists, into the arms of Lee Brandt, or into the arms of the God she deems untrustworthy?

Rating: 4 stars

Blessings,
Ginger