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Magic Star of Dramatic Writing

ACTION

A compilation of guidance on writing great dramatic action from classical sources and contemporary experts.


ARISTOTLE

Does the action . .
  • reveal the moral quality of the character?
  • work as a unified and complete part of the whole such that if it is shifted it makes a perceptible difference?
  • serve a necessary or probable function?



DAVID BALL

Does the action . .
  • reveal character?
  • follow directly from the previous event or action and lead to the next action like dominoes toppling?



SYD FIELD

Does the action . .
  • come in peaks and valleys to give the audience time to breathe?
  • provide moments that are quiet and contemplative rest points between strong action scenes?



BERNARD GREBANIER

Does the action . .
  • constitute dramatic action and not merely physical movement?
  • result also from dialogue alone, if the dialogue presents the evolution of an emotional involvement (or the resolution of one) on the part of the persons speaking?



RICHARD WALTER

Does the action . .
  • move story and expand character?
  • complement the scene's elements and overall purpose?
  • weave elegantly into the fabric?
  • give the actor something to do?
  • reach beyond the merely serviceable to the truly exquisite?

Does the action . .
  • avoid static situations, e.g.,
    • telephones
    • cars
    • restaurants
    • offices?




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