Kung Fu Action Theatre – Reborn!

For a while now, I’ve had a secret project on the go, and now it’s time for the big reveal! 🙂

KFAT-Ping-An-Magazine-Cover-Patreon

Yep! You see that right! KFAT is back! I have restarted the KFAT site as an short and serialized fiction site, where I will be posting new stories every Monday to Thursday! Not only that, but if you support me on Patreon for a few dollars, I am also doing readings of the stories each week that my Patrons can listen to as well.

I have worked hard to turn KFAT into a premium quality site, designed for readers to enjoy on whatever platform they like to read on, and plan to provide thrilling new stories of action and adventure every week. KFAT is now designed to read like a digital magazine, and the cover above (courtesy of Brushmen) is my tribute to the pulp adventure stories that continue to inspire me to this day.

So come on over and check it out! This is the start of big new things for KFAT, which will eventually include a revival of the podcast as an audio fiction cast and other surprises. So make KFAT part of your daily routine, and join the adventure!

Rob

The key elements of a bestselling novel

The Independent newspaper had an interesting piece today about a pair of researchers (Penguin UK editor Jodie Archer, and associate professor of English at the University of Nebraska-Lincoln, Matthew Jockers) who have spent the last 5 years using computer algorithms to analyze 20,000 books looking for patterns that make best sellers stand out. The result is a system they claim can predict bestselling books by an 86% margin, which is pretty good.

Naturally, they’re releasing what they learned in their upcoming book The Bestseller Code (and probably marketing their software to major publishers as we speak) however they did release a few interesting tidbits from their research:

“Novels with high or low emotions tend to have a stronger chance of hitting the [bestseller] lists and staying on them.

A couple of pointers from the findings: real people are more appealing to readers than fictional being, so stay away from Dwarves, unicorns, and elves as main protagonists. Those characters who appeal the most are also more likely to “grab”, “think” and “ask”.

The words “need”, “want” and “do” are twice as likely to appear in bestsellers, while the word “okay” appears three times as much. Words like “love” and “miss” appear more often in successful books, apparently appearing three times for every two in lesser selling books.

So, basically, people like reading about other people they can relate to, and stories where the main characters are active and pursuing goals (especially relationships) are what readers want. Now, the word “okay” is an interesting bit, and my interpretation on that is that readers like books written in colloquial and easy to understand language. It may also be a side effect of most bestsellers being modern thrillers and romance novels, so “okay” turns up in modern dialog a lot.

It will be interesting to see the results of this research, and how far it can go. Of course, the publishers would eventually like to have machines churning out their bestsellers like widgets, but I doubt that will happen anytime soon. Also, it will mean a bunch of books which don’t fit the formula will never get the chance to reach a wider audience, because 86% is not 100%, and many good books could fall between the cracks if publishers start using this to cut costs and be lazy.

Rob

Xianxia- The Fantasy Genre that’s Dominating Chinese Web Fiction

Pan Long (Coiling Dragon)

A little over a year ago, I noticed a Chinese name, Douluo Daolu, on the “top 20 manga” of the site Mangafox.com, which I thought was unusual to say the least on a site dedicated to Japanese manga. The site does have Korean and Chinese comics, but to see a translated Chinese one reach a serious English readership (which required tens of thousands of reads a month) made me quite curious. So naturally, I did what I always do when I’m curious- I checked it out! As it turned out, Doulu Daolu was my first step into the world of Chinese fantasy web fiction, but I didn’t know it at the time.

As anyone who knows me, or is familiar with my work, knows I’m a longtime fan of Chinese Wuxia stories and movies. Wuxia, familiar to most English readers through movies such as Crouching Tiger, Hidden Dragon, is essentially the Chinese pulp historical action genre that holds the same place in the Chinese culture as Westerns do in the United States and Samurai films do in Japan. It flourished during the first half of the twentieth century in newspaper serials, and then eventually moved to the big and small screens in China, Hong Kong and Taiwan. Even today, elements of it pervade Chinese culture, and even “normal” historical Dramas have a habit of making use of stylized Wuxia-eqsue swordfighting once the action kicks in.

Now, despite Wuxia’s tendency toward “flying swordsmen”, you might be surprised to learn it is often a fairly “grounded” genre. “Standard” Wuxia stories will contain a bit of a jumping around, and maybe a few funky martial arts qi-based abilities, but tend to be light on what Westerners would call “magic” because they were still mostly focussed on the characters and their relationships with their martial arts sects and clans. Yes, there are often lost secret martial arts techniques, but these mostly just make people stronger and faster fighters, and rarely (in the literature) are about tossing around fireballs and summoning monsters.

I always found this groundedness somewhat appealing, that underneath their hyper-stylzed combat techniques, we were still watching skilled humans deal with inherently human problems for the most part. Likely, it also worked for me because this was the power level George Lucas used when he “borrowed” Wuxia tropes and made a little film series called Star Wars. I grew up dreaming of Jedi, so when I was shown Wuxia fighters who could do basically the same things Jedi are shown doing in the movies it didn’t really bother me.

This is also why, when I came across examples of what Chinese would call “Immortal” stories, which are stories about “gods” like Zu: Warriors from the Magic Mountain, I didn’t care for them. “Immortal” stories are basically super high-powered Wuxia stories about people who have transcended the mortal realm (or were never human to begin with) and their conflicts with the other “gods”. They spring mostly from Chinese mythology and of course the classic Journey to the West (aka The Monkey King) which in itself is basically an Immortal story about a couple gods hanging around with a priest on Earth and battling other gods and evil spirits.

I like my Wuxia “basic” level, and that’s it.

Or so I thought!

Because it seems the Chinese actually came up with a new genre that sits between the two- Xianxia, which is sometimes referred to as “Cultivation” novels. This currently super-popular genre is one of the pillars of Chinese Webnovel fiction (online serialized fiction on Chinese web portals) and while largely unknown in the English speaking world , has taken the Chinese one by storm. I posted previously about the top webnovel writers in China in 2015, and without an exception, all of them are Xianxia writers.

So, what is this mysterious Xianxia Genre?

For most of my English speaking readers, I can explain it in one hyphenated word- “leveling-up”. Taking its roots from Taoism and Buddhism, the characters in Xianxia novels (often generically referred to as Cultivators) are trying to “evolve” their souls into higher and purer forms and work their ways up to becoming immortals. However, while that might sound boring and make you think of a bunch of monks sitting around chanting and hoping to spiritually transcend this mortal coil (which is the reality version), in a Xianxia novel this has turned into an excuse to give the main characters magical superpowers they use to fight other Cultivators.

I often describe Xianxia novels as Wuxia meets World of Warcraft, which is essentially what they are. They’re stories where a generic nobody hero levels up by fighting, finding magic items, going on quests, and making friends and allies. And while that might sound dull, in the right hands, it is anything but! Since they’re written as Light Novel serials targeted at a Young Adult market, they tend to be action-driven stories filled with adventure, romance, humor, and more twists than a barrel of eels! They harken back to the days of Horatio Alger Jr. stories of a youth becoming a man, but with a uniquely Chinese spin on them.

Having read a few of them, here are a few common “tropes” or standards that seem to pop up over and over in the majority of Xianxia stories I’ve checked out:

 

  • It takes place in a pseudo-historical Fantasy world often based on old China.
  • The main character (MC) is (almost) always a weak young man of low birth.
  • Despite being of low birth, the MC has some weird advantage over others in becoming a Cultivator which kicks in around the time the story starts. (Common ones are they are reincarnated from another time and place, they have been transported to a fantasy world from our world, they have some unique skills from a strange background, or they have some magic item that activates around the time the story starts.)
  • There is a system of rankings which all Cultivated beings in the setting will follow. (This usually involves a combination of Numbers and something else. So the character might be a “Bronze Rank 3 Fighter” or be working up from “Level One White Mage” to “Level 99 Black Mage”, with the colors designating approximate level of spiritual development.)
  • All cultivated beings have some pool of Qi Points (Magic Points) which they use to enhance their physical abilities and cast magical spells. (Often this is called a “Soul Realm” or “Spiritual Energy”.)
  • Magic and magic items are plentiful in the setting, but are pretty much only used for fighting, healing and levelling up. (Other uses of magic aren’t even on the radar- it’s all battle, all the time.)
  • The setting will be filled with wandering monsters of varying rank (which corresponds to the Ranks of character development as well) and these monsters will produce gemstones when killed that can be used in various ways. (Commonly, to be absorbed by the MC to help further their Leveling.)
  • Often the MC will get one of these monsters as a pet early in the story, which will be his companion and level up with him.
  • The main character usually has a mentor, but the mentor will be pretty unreliable and tend to disappear for long periods of time. (Only showed up to help the MC get over critical challenges and occasionally as a Deux ex Machina.)
  • There are clans/sects/guilds that the character will have to become involved with to get the things they need to level up, but by allying with one group, you gain the enmity of their enemies. (Thus perpetual conflict.)
  • Each of the above groups has their own power levels in their society, and there are always top ones which dislike the main character for some reason. (Thus being the high-powered opposition that the MC will need to face toward the end of the story and often they hunt the MC at some point.)
  • There are a handful of “Immortals” who have reached top rank in the setting, and the world tends to revolve around them. Some are friendly toward our hero, some will want him dead. The baddest of these will be the “final boss” the hero will need to face to finish his quest.
  • There was once a great lost civilization in the setting who littered the setting with lost tombs and hidden places filled with cool magical items and books.
  • There will be some variant of a Magic Satchel (usually a bag or ring) which is easy to carry but which allows the MC to store massive amounts of stuff they find with almost no weight.
  • There will be “healing pills” which restore health, and “power-up pills” which help in the character’s levelling. (Sometimes the latter are the gems that monsters leave behind when killed.)
  • The character will gain some bizarre magical superpowers during their journey that seem weak at first, but level up into something massive over time.
  • There is a main female love interest character, but something always keeps them apart. (Usually she is the daughter of one of the clan/sect/guild heads, and will be described as “a fairy” or as the most beautiful woman in the world.)
  • In the meantime, the MC will be pursued by a host of other young hotties who will tempt him and keep the drama flowing and try to seduce him at various points in the story.
  • The female lead will have some ability that enhances or is complimentary to the male lead.
  • Every young man wants to be a warrior/fighter- it’s their dream to fight for their clans.
  • Many Xiaxia stories have a “survival of the fittest/strongest” theme to them.

 

There are other standards, but these tend to be the big ones and the most common ones. Reading that list, you can see what I mean about the similarities between Xianxia stories and MMO’s like WoW. The only thing that makes them different from typical Tolkien-esque settings are the Wuxia twists that tend to be injected into them, and elements of Chinese culture. Also, each author will put his own spin on a number of these elements, and sometimes do some interesting twists on them. (Which will then result in others copying that twist, and innovating it in other directions, keeping the genre evolving.)

Let’s look at a few examples that I’ve enjoyed or checked out:

(Note, many of the more popular ones started as serial Webnovels and have also had comic adaptations, and I will provide links to both when possible.)

battle continent cover

Douluo Daolu (aka Battle Continent), which is the story of a martial arts genius from a Wuxia version of our Tang Dynasty named Tang San who commits suicide and finds himself reborn as a young boy in a high-fantasy Xianxia setting. He uses his Wuxia knowledge to give him an edge when he goes to a magic school (ala Hogwarts), where he forms a team of students and helps them all to level up. This one tends to be somewhat lighthearted and a bit silly at times (he goes to the “Shrek Academy”, which is run by “Principal Flanders”) but the core story is interesting. Most Xianxia stories are very individualistic, but this one is a little more team based. It was the first one I read (in comic form), and is actually one of the most popular Xianxia novels. (Comic adaptation here)

battlecontinentcover3

Doupo Cangqiong (aka Battle Through the Heavens) is the story of Xiao Yan the young martial arts genius of the Xiao clan. However, shortly after his mother’s death Xiao Yan’s spiritual energy all disappeared and he came the laughing stock of his clan. At the start of the story he discovers that it was because the ring his mother gave him on her deathbed contains the trapped spirit of an ancient immortal ranked alchemist with no name. The alchemist’s spirit was sucking away Xiao Yan’s energy to reform himself as a ghost, and once he has reformed, Xiao Yan regains the use of his spiritual energy. Xiao Yan and the alchemist make a deal- the alchemist will become Xiao Yan’s mentor and teach him, and in trade when Xie Ni gets strong enough he will help the alchemist reform a new body in the physical world. This is good, because Xiao Yan just made a pact with his ex-FiancĂ©e that he will fight a duel to the death with her in three years for his clan’s honor. Again, I read this one in comic form, but I have to say it’s one of my favorites, and I still read each new chapter as soon as I can each week. The alchemy angle adds a surprising amount to the story, and the author never ceases to crank the tension or have interesting twists- so highly recommended!  The comic also has nice art, and while more serious than Battle Continent, it still has a good blend of seriousness and humour. (Comic here. Note- the comic translation is way ahead of the novel translation, although both are ongoing.)

issthcover

I Shall Seal the Heavens is one of the most popular Xianxia serials by the master Xianxia author Er Gen (aka I Eat Tomatoes), and is the story of Meng Hao. A failed young scholar, he gets kidnapped by an Immortal (7th Rank Chi Cultivator Sister Xu) and taken to a mountain retreat to become a servant in the Reliance Sect. Through hard work, he goes from servant to an actual member of the sect (Level 0 to Level 1) and becomes one of the hundreds of students who all strive to improve their rank and get martial arts superpowers. However, once he becomes a student he discovers that the sect functions in a dog-eat-dog sort of system, where the strong prey on the weak, and the weak all too often end up dead. As you might guess, this one is much darker than the previous two, and I’m still deciding if I actually like it. (My tastes are for more swashbuckling material.) Try to give it until Chapter 6 before you make a real decision about it, if for no other reason than to find out what the MC’s magic item can actually do. (It has, perhaps, one of the most unique powers in all of fantasy- which will have you laughing like crazy, or staring at the screen in horror, or perhaps both.)

coiling dragon cover

Coiling Dragon (aka Panlong) was one of the first Xianxia stories translated into English by the webmaster of Wuxiaworld, Ren Wo Xing. It is also special in that it takes place in what is a basically western fantasy setting instead of a Chinese one. Linley Baruch, one of the last members of the once-mighty Baruch clan, discovers that he is the inheritor of a great legacy- he has “dragon blood” running through his veins, but it only gives him potential, he has a long journey to make it reality. If you’re looking for an intro to Xianxia novels, and aren’t sure if you can handle all those Chinese names, then this is probably the one for you. It starts a little slow, but is well written, and picks up as it goes. When people go on the Wuxiaworld.com forums and ask where to start among the many series, this is a name that pops up almost every time (along with I Shall Seal the Heavens) and it has the other advantage of being 100% finished in both English and Chinese.

TDG001

Tales of Demons and Gods is a series that I both highly recommend reading, and suggest you do not read as your first Xianxia story. Go read something else, maybe two or three something else’s first, and then come to this one. The reason is say this is because this story turns many of the standard Xianxia tropes on their heads, and a lot of the humor of the story comes from the fact the author is both deconstructing the genre and yet writing a perfect example of it at the same time. That said, I love this story, despite all its weirdness and faults, because it never fails to thrill and entertain. The core story is also a bit of genius- Nie Li is a man who watched his city destroyed by a demon army and everyone he ever loved die, he then went on to become one of the greatest warriors of humanity and lived for hundreds of years until he lost a battle with the Dark Sage and was killed. However, after his death, he wakes up during class in the body of his 13 year old self three years before the demon army comes to destroy the city. He has his knowledge from his previous existence, but is stuck in the helpless body of his young self, and now he has three years to save his city. Of course, every change he makes to the timeline makes the new timeline different than the old one, and spawns even new dangers that he didn’t know existed the first time around. (Last time he was a typical teenage commoner from a minor family with no connection to the political or warrior side of the city.) Nie Li is the smartest and most manipulative older-self-in-kid-body bastard since Edogawa Conan, and I can’t wait to read each new chapter. Another plus is that the comic version and text version are in sync with each other on a chapter-by-chapter basis, so you can read the comic first if you want, and then flip over to the text version (which is about 150 chapters ahead) with no issues at all. (Comic here.)

Of course, these are just a few of the Xianxia webnovels being translated right now by sites like the ones listed below, and are just my own entry points. You should probably check those sites out for more information and find something that works best for you. Wuxiaworld also has very active forums, which can answer any questions you have.

Wuxiaworld

Novel Updates (Xianxia Category)

Dreams of Jianghu: Novel Translations

Jade Water Paradise: Romances, Wuxia and Xianxia Fiction

Shiroyukineko Translations

[EDIT: Since this article was written, I’ve discovered that my terminology wasn’t quite right, and that I mixed more than one category of Chinese fantasy fiction together when I wrote this article. While some of these stories are Xianxia, and I did get a lot of the common elements correct, there is some debate over what is “real” Xianxia and what is really just high magic Wuxia, or another (sub) genre altogether. For more on this topic, refer to this other post about Chinese Webnovel Genres.]

Enjoy!

Rob

How Koreans get their Web Novels

Yesterday I had a long and fascinating chat with a recently arrived Korean international student about Korean webnovels. Webnovels (books written specifically for the web) are extremely popular in Japan, China, and of course South Korea, and have become a gateway for new and rising authors in those countries. Recently, I’ve found myself reading some (fan translated) Chinese Webnovels (more on this in another post) and so I was curious as to what Korea’s market was like.

The student told me a few interesting things:

  • Her primary reading site of choice is NAVER, which is a popular Korean webportal similar to YAHOO, but which offers Webtoons (comics) and Webnovels as part of its lineup. In 2014 alone, Korean NAVER Webnovels had 3.6 Billion views (that’s BILLION, and remember there are only 50 Million people in Korea!).
  • The comics are more popular than the novels, but the Novels still have a large audience which she said is mostly female.
  • Anyone can write a novel on NAVER, but it sounds like there are three tiers- the stuff that anyone can post, the “Challenge League” and the “Best League”. The latter two being high quality amateurs and professionals who get promotion and profit-sharing with NAVER. (More info here.)
  • Works in the Leagues come out in serialized (chapter by chapter) format, with between 1 and 3 chapters released a week.
  • For the first four days of release, you have to pay for the chapter (using NAVER Coins) but after four days it becomes free for fans to read. (To me, this is brilliant, because human nature says most fans will pay to read early, as apparently the student does all the time. However, the old chapters are still there to help readers catch up and interest people.)
  • Advance chapters cost more or less depending on how popular that story is. So if a story isn’t popular an advance chapter might just be 1 or 2 cents, whereas a super-popular book’s chapter might be upwards of 20 cents.
  • Once a book is finished, after a certain time it is archived, which means the first couple chapters will still be free and access to the rest can be rented (for 1 day/1 week/1 month periods) at a cheaper price than reading chapter by chapter.
  • The Webnovels themselves are mostly written in the Young Adult oriented Light Novel format, which means they’re mostly dialogue driven with lots of spacing and simpler language.
  • The Best League novels not only have covers, but each week there is a piece of art that goes with them showing some scene from that chapter in a slightly iconic style.
  • The Best League novels also have an odd quirk I’ve rarely seen before, when major characters have lines of dialogue without any added exposition they just put a tiny portrait picture of the character. So instead of:
    • Sun-yi said, “I don’t know who I love, Byung-Gin.”
      • it will be…
    • [Tiny picture of Sun-yi] “I don’t know who I love, Byung-Gin.”
      • Which I imagine increases the reading speed a bit, and gets rid of some dialogue tags.
  • They’ve solved the Micropayments hurdles by using NAVER Coins, which is real money converted into NAVER credits. Sometimes it’s a 1:1 ratio, but at certain times of year NAVER will offer better ratios to get people to buy more credits. Users can also win credits through contests, loyalty rewards, and other activities that they can then use for buying digital content on the site.

That was pretty much it, but I thought it was quite interesting. As I said, I especially love the part about offering content early for people willing to chip in a few cents, since most people will do exactly that if they want to read the next chapter badly enough. The student says she spends about (the equivalent of) a $1 a week on buying Webnovel chapters, which doesn’t sound like much, but can add up pretty quickly.

It’s sad that nobody in the English speaking world has made the effort to produce such a scheme, because I think it could be a great platform for authors. Right now your options for getting English Ebooks out is pretty much either give it away for free in some form on a site like Wattpad or sell it as a complete volume on Amazon or Apple iBooks. In theory, you could use Patreon to get readers to support you, and let the Patreon subscribers have chapters a week earlier, but the problem is that Patreon doesn’t work in cents, but in dollars, and it’s pretty clumsy.

What’s needed is a system like this- where vetted authors can make money in a profit-sharing system with the website and not-yet-vetted authors can practice their craft in a place where they get a wide potential audience. (Possibly also having the option of making some money as they write as well, depending on how it was set up.)

In any case, I thought it was an interesting system, and worth sharing. If you’re interested in reading some Korean novel translations, you can find some links here in an older Reddit thread. (There aren’t a lot of them out there, but a few.)

A little perspective change on science fiction writing

I’m currently listening to an audiobook of Old Man’s War, by John Scalzi, and while enjoying it a thought occurred to me. We often say that Science Fiction is based on the phrase “What would happen if?” and then extrapolate out the story from there, but I think that’s wrong.

Listening to that excellent novel, it occurred to me that “What would happen if?” actually encourages writers to think in terms of events and plot. If I say “What would happen if Giant Bugs from Arcturus dropped from the sky?” You’ll get a picture in your head of giant purple bugs raining down from the sky to eat all of our Frosted Flakes. (Or maybe that’s just me…) Which is fine, and very dramatic, but also encourages the writer to think in terms of big visual elements based around the thing that’s different.

On the other hand, if I change the question to “What would it be like if?” then that encourages a complete different kind of thinking. Saying “What would it be like if?” forces the writer to think in terms of a person or character’s point of view instead of an abstract idea. This makes the writer begin to think the situation through, and reflect on how they or a character would feel going through that situation. This, in turn, produces a better and more relatable story because it’s being drawn out of subjective human experience rather than based on something more objective and less tangible.

Let’s look at a few examples so you can see what I mean. Think about how each pair produces a different idea in your head.

What would happen if the dead came back as zombies to eat the living?

vs.

What would it be like if the dead came back as zombies to eat the living?

 

What would happen if dogs could talk to people?

vs.

What would it be like if dogs could talk to people?

 

What would happen if we found a gate to the stars?

vs.

What would it be like if people found a gate to the stars?

See the difference? One is asking you to think outside yourself, and produces plot-based ideas and stories where you have to rethink how to base it around a character. The other makes you think in character terms right from the beginning, and then work out to view that situation from a personal perspective. And, when I think about it, I think most of the better Sci-Fi has actually been based on similar lines of thinking because it comes out from the human experience rather than being based on lofty ideas.

Just my take, anyways.

Rob

 

Rob Talks the Love of Podcasting with Jack Ward

I recently paid a visit to the Sonic Society’s Sonic Speaks podcast to talk with the incomparable Jack Ward about the history of my podcast- Kung Fu Action Theatre. In the interview, we talk about how I got into podcasting, my experience running KFAT, and my eventual decision to stop doing audio drama. Along the way, we discuss writing and the transition of going between being an audio dramatist and a prose fiction writer, and the challenges that come with learning to tell stories in audio before you’ve mastered prose.


It was a fun chat, and I hope we can do it again sometime. It made me think a lot about the differences between writing for audio and prose that I hadn’t considered, and I think I too learn from the exploration. If you’re planning to do Audio Drama, or make the jump from Audio Drama to fiction writing, it would definitely be a good one to listen to.

What Jackie Chan can teach us about writing action

Following up my post on what writers can learn from Akira Kurosawa, I’m going to do another blog post on writing- this time based on the nine rules that Tony Zhou outlines in the video below about how Jackie Chan masters action comedy. Naturally, it will be easier to follow if you’ve watched the video, so check it out first.

Jackie Chan – How to Do Action Comedy from Tony Zhou on Vimeo.

Action is primarily a visual creature, and is a natural fit for film, but can you do it well in prose? I would say yes, but let’s see if Tony’s 9 Jackie Chan “rules” can be applied to prose writing.

Jackie Chan’s 9 Principles of Action Comedy (as noted by Tony Zhou)

1. Start with a DISADVANTAGE

This one is pretty obvious. If your goal is to build tension, then having your character at a disadvantage in a scene in a must, whether they’re supposed to fight or just trying to run away. The more of a disadvantage you can put them at, the better, although I should note that Jackie primarily makes action-comedies. There is a reason Batman doesn’t most start fights at a disadvantage- because he’s a kick-butt reader surrogate and is supposed to make the reader feel powerful. If you take that away from the reader, they’re not going to like it much. (Although even Batman does occasionally start fights at a disadvantage for variety and dramatic purposes.)

 

2. Use the ENVIRONMENT

Tony is actually combining two points here in the video under one.

The first point he brings up is that Jackie uses the environment in his fights, which makes them more real and unique in a sense. If you can offer your reader something they haven’t seen before in a fight, like a character fighting with a ladder, then that can show that you’ve actually taken the time to think through this fight scene and make it interesting for the reader. If you emphasize the environment properly, it gives the reader a sense of place and can be used to help set up shots.

Speaking of which, the second point is really to set up your shots! If you want to have an action scene, then give the reader a sense of the terrain before and during the action sequence. Don’t be afraid to foreshadow or even lead a little with your descriptions like Jackie does in his movies. In the example they give, Jackie does a shot of a stuntman being knocked down a spiral staircase before he himself uses it shortly for his own actions- and there’s no reason you can’t do this kind of thing too! Use people, objects and even descriptions to lead the reader through the action, and make it easier for them to follow.

 

3. Be CLEAR in your shots

This is a trickier one for writers than you might think.

Normally, writers increase the pace of action scenes by using short, clear sentences and paragraphs to increase the pace of the action and story. They also focus on the very key elements of the events happening to keep from letting description bog down the action as it’s happening. However, to be truly clear about what’s happening you need to describe the action, and you need to do it in a way that paints a clear picture in the reader’s mind so they can follow it without being confused.

So you have to find a balance:

  • Too much description = slow reading and pacing.
  • Too little description = reader confusion.

This is one of the things that makes writing action so difficult- finding that sweet spot that conveys a clear image of the events for the reader to experience and enjoy while at the same time not bogging them down with too much, or disorienting them with too little detail.

 

4. Action & Reaction in the SAME frame

Not sure if this one can apply to writing. The only think I can think of goes back to #3, about being clear in your shots and #2b about letting the reader know where the action is going before it does. If any of you have other thoughts on how this one could be applied, please leave it in the comments.

 

5. Do as many TAKES as necessary

For writers, this is really about how much time you want to spend on your action scenes and effort you want to put into detailing them out. Especially in the modern self-publishing world where getting books out fast is often linked with financial success, it can be hard to spending days, weeks (or months) planning an action scene or sequence, but there are times when quality really is linked with time spent.

Again, like most things with writing, it comes down to balance.

You need to know what you’re capable of, and how much time you’re willing to spend, and then use that time accordingly. If you think you’ll benefit from storyboarding out a whole action scene first and you have the time, then why not? (It might also make a great extra for loyal readers, or to get people to join your mailing list.) But, if you’ve got two weeks to finish this book or the rent doesn’t get paid next month, then you’ll probably want to just do what you can and move on.

 

6. Let the audience feel the RHYTHM

This goes back to #3- let the audience understand what’s happening and they’ll be able to appreciate it more. Also, too many quick cuts (jumping from different points of view, or jumping between simultaneous action at different places) can prevent the reader from really appreciating what’s happening. Both POV jumping and jumping between scenes are effective tools for dramatic pacing in a book, but if you overuse them the reader can get confused or tired by it- so as with garlic and salt in cooking, use them in controlled moderation to avoid leaving a bad taste in the audience’s mouth.

 

7. In editing, TWO good hits = ONE great hit

This is a film editing trick, and I don’t think it can be applied to prose action writing. However, if anyone has some thoughts feel free to note them in the comments section below, I’d be interested to hear them.

 

8. PAIN is humanizing

This one is pretty self explanatory- we empathize with suffering, especially suffering we’ve experienced ourselves, and it brings us closer to the characters and makes them more human. Don’t be afraid to let your characters be hurt, even if it’s just superficial hurts it still reminds us that they’re people and made of flesh and blood like the audience.

Obviously, it also adds to the drama when characters are hurt, because it puts them at a disadvantage in the action and forces them to try even harder to get out of the hole they’re in. If your characters are macho tough-guys, then maybe you don’t want to show them being hurt too much, but if you want the audience to really feel for the character, showing them suffer is a great way to do it. Writer Chuck Palahniuk (of Fight Club fame) once advised that if you want to connect with the reader describe a character’s feet or their mouth, because both places are filled with nerve endings and give us intense sensations in real life.

 

9. Earn your FINISH

Story can be said to be about struggle. Nobody wants to watch a story about a guy who just walks through park and nothing happens, or someone doing something that isn’t hard or difficult for them to do in some way. While you don’t have to make it a series of ever-stronger bosses like a Jackie Chan movie, you should do your best to show that the character had to overcome something (mental, physical, emotional or social, or some combination thereof) to reach their goals and achieve victory.

Don’t be afraid to stack the odds against your characters, and let them have to do something outside of their comfort zone to win. Of course, if you overdo it, it can become ridiculous, so make sure your poor character does at least have a slim chance of winning in the reader’s minds.

 

Final Thoughts

I’ve always been fascinated by the art of writing action in prose form. I think it comes from growing up on comics and action films and then transitioning into literature, where unfortunately the ability to write action varies widely by writer. It’s not an easy skill, and it’s one I struggled with when I was writing my Little Gou short stories and novel, especially since that was literally an attempt to write kung-fu adventures! I don’t claim to have mastered it, and I think I learned a few new tricks watching this video and thinking through this article, but in any case it’s a skill any writer can benefit from developing- whether you’re writing kung fu in old China, car chases through Cairo, or gunfights under the Texas sun.

I’d love to hear your thoughts on this! Please comment below!

Rob

FORCEdraft

Forcedraft

A while back, I blogged about WRITE or DIE!, which is a devilish little productivity tool designed to counter writer’s block by making noises, showing horrible images, or even erasing your text if you stop writing. I used it for a while, and I have to admit it works pretty well, but what if you’re someone who prefers to write at a slightly more leisurely pace or just needs a little freedom from distraction? Not everyone is suitable for the breakneck production speeds Write or Die! encourages.

Well, for you, there’s FORCEdraft– which as it says above is literally a program that won’t quit until you’ve reached your goals, and which will lockdown and block access to your entire PC until you reach those goals (or tell it to quit, if you wussed out and used that option). I actually stumbled across it a while ago and downloaded it, but it wasn’t until recently that I started to use it- and boy am I glad I did!

FORCEdraft lets you set a time goal or word-count goal, and keeps everything from distracting you until you reach that goal. Even if you change your mind- too bad! Once it’s running, nothing short of turning off your computer will stop it. I discovered this when I did a test run and realized that it doesn’t automatically stop when you reach your goal, and I didn’t know how to turn it off. I tried every single trick I could think of and the darn thing wouldn’t let me stop it! (In the end, I discovered by accident that you turn it off by clicking on the logo at the top of the screen and then it will save and exit. And it’s saving constantly, so if there was a crash your work would be fine.)

Since that first trying experience, I began using the program and came to like it so much that I added it to my startup programs so it comes on when it boot up my PC. (In menu mode, not writing mode- I’m not that hardcore! Having to write 500 or more words to get access to my PC would be good for productivity, though!) I’ve found I liked it so much I actually donated to the author, and am now using the PRO version which offers a few extra little bells and whistles. (You can change the screen colors, and it has a clock and word counter.)

It would also be great for writers using the Pomodoro Technique, or something similar, as you could set the timer for 25 minutes, do your block, and then set it for the next 25 minute block after you’ve had your break. However, whatever your schedule, I suggest you check it out if you’re looking for something to increase your writing productivity. I love it because I can craft my prose in a stress-free environment, but still know I have goals that I must meet before I can do anything else. (Including check my mail or Facebook!)

Rob

What Akira Kurosawa can teach us about writing

I recently watched an excellent short analysis of some of director Akira Kurosawa’s film-making techniques by Tony Zhou, and it got me thinking about how we prose writers could apply some of Kurosawa’s techniques to our own work.

So, before we begin, take the time to enjoy Tony’s short 8-minute video. It’s well done, and just watching it makes me want to run out and watch all of Kurosawa’s films just for their sheer artistry and beauty…

Akira Kurosawa – Composing Movement from Tony Zhou on Vimeo.

Okay, now you’re up to speed, let’s talk about how some of his key ideas can be applied to writing.

Now, my first takeaway from Kurosawa is the obvious one- nothing in a story should be wasted. Everything down to the last period should be in a story for a reason, and should be working to make that story into the best possible story you can make it. Since as a writer you have absolute control over what’s on that page, and what your reader perceives, you can control what they see much like a camera does, and like Kurosawa you should be using every tool at your disposal to bring your story to life with the greatest effect.

Let’s look at a few specifics:

The Environment

One of the first things Zhou discusses is Kurosawa’s masterful use of the environment- Kurosawa uses it to create both visual stimulation and to show the mental states of characters. While it might be trickier for we prose writers to use the environment to create direct visual stimulation, it’s definitely a good reminder that we shouldn’t underestimate the power of weaving the environment into our writing. It’s very easy to write everything as happening during sunny days and breezy evenings, but aren’t you missing an opportunity if you do so? Think about what environmental conditions could help to push your scene or theme to the next level, and weave them into the story in a way which supports and reinforces the story in some way. Whether it’s swirling fog to represent a character’s confusion, or a distant blazing forest fire that progressively fills the character’s world with smoke and indicates looming trouble, it can only make your story stronger.

Groups

Dealing with groups of people might seem a more visual element than a prose one, but it can still be useful for writers to consider. It’s very easy to picture characters doing things alone or with only the other main characters, but having groups of other people around can help to remind the reader that characters do have a place in society. As with the image of the showgirl crying while the other actresses rush past her from Kurosawa’s Stray Dog (1949), how groups of people react to a character can very much represent a character’s inner life as well as their greater place in society.

Key Gestures

Kurosawa liked to have each actor take on a unique gesture or way of moving so that the audience would instantly recognize him or her. This isn’t a bad tip for writers in general, either. Just as you can use visual cues like clothing, accessories or appearance to bring your characters to life in the reader’s imaginations, you can use gestures and movement as well. If you give each of the central characters a motion they consciously or unconsciously perform on a regular basis, it acts as another layer of characterization and something to play with. Of course, the gesture shouldn’t be overdone or comical (unless that’s your goal), but if subtly worked in it could reflect a lot about the character and their inner life.

Movement

There are many ways to look at movement and how it could benefit writing prose. The most direct one would be to try to have your characters doing actions or activities in their scenes, which both make the scene a little more lively (avoiding a “staged” feeling) and allows for a lot of subtext where you connect the actions with the inner life of the characters or themes playing out. I can’t recall who it was, but there was a famous author who said that they always started scenes with characters in motion in some way and finished in similar form.

Of course, movement can also be played out with the “camera” of the descriptive prose itself. Looking at description as a camera and thinking through the effects that different “shots” would have like a cinematographer could definitely benefit your writing in subtle ways. For example, did you know that each of the standard camera shots (close up, medium shot, long shot, worm’s eye view, etc) actually have a psychological or emotional effect on how the viewer interprets the character and scene? There is a whole language to film that’s developed over a hundred years and that we learn as children on a subconscious level. Learning the different shots and why directors use them could benefit your writing by letting you tap into that treasure trove of audience psychology.

Regardless of what you decide to use (or not use) from Kurosawa’s approach, thinking through your approach to scenes in a visual or cinematic way can only enhance your final work. However, do remember that the power of prose over video is that it can go deep inside characters and to places that video can’t, and you should be taking advantage of not just the visual and audio, but also the other senses in your scenes as well.

Rob

P.S. Check out Tony Zhou’s other videos, they’re really something else and will give you a new appreciation of the power of film.

Random Dramatic Scene Generator

I’m feeling rather proud at the moment. I managed to code a simple webpage that generates a pair of naturally conflicting characters and an action verb which defines their relationship in that scene, in other words a Random Dramatic Scene Generator.

Of course, by “code” I mean I found an already existing webpage that did something similar, copied pieces of that code and modified it to suit my own purposes. ^_^ So, coding in the truly classic sense!

In any case, I made this page for use by my students in my scriptwriting class since they need to do short 5-minute dramatic scenes for one of their assignments, and I wanted a random way to give them a starting point in their scenes. Of course, it can be used by anyone who needs a quick dramatic situation for their stories as well.

Enjoy!

Rob