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We asked this week’s panelists…
Q: What authors write the best action? What books feature the best action sequences? What does it take to make action really pop in fiction?
Here’s what they said…
After writing happily ever afters for all of her friends in school, Karina Cooper
eventually grew up (sort of), went to work in the real world (kind of), where she decided that making stuff up was way more fun (true!). She is the author of dark and sexy paranormal romance and steampunk urban fantasy, and writes across multiple genres with mad glee. One part glamour, one part dork and all imagination, Karina is also a gamer, an airship captain’s wife, and a steampunk fashionista. She lives in the beautiful Pacific Northwest with a husband, a menagerie, a severe coffee habit, and a passel of adopted gamer geeks. Visit her at www.karinacooper.com
, because she says so.
When it comes to some of the best action I’ve read, I’d be remiss if I didn’t point you to Ilona Andrews—notably, her Kate Daniels series. This urban fantasy leans heavily on action, outlining the motion—and painting the intensity—in gorgeous detail that skimps on flowery prose. No superhero with impossible pain tolerance, you’re transported with Kate with every cut, every wound, every agony. When I think about authors and books that feature action, I can’t help but arrow right on this series.
Two other authors that come to mind are Chuck Wendig and Stephen Blackmoore. Both write a kind of urban fantasy genre, but both are extremely different. Wendig’s Miriam Black series—beginning with Blackbirds—shows action with an almost fascinating intensity. He describes combat sequences that aren’t so much “fights” as a grotesquely detached explanation of events that could go wither way. Blackmoore, in both City of the Lost and Dead Things, colors his often vicious action sequences with a noir grit you can feel to your bones. They are terse, which only allows my brain to color in the details with such ease that I’m both repelled and entranced. Exactly where I want to be when I pick up a Blackmoore or Wendig book.
Action can be so hard to get right, and extremely easy to get lost in. Too much detail slows down a scene, and a lot of beginning authors tend to want to block and write every gorgeous detail—like an epic martial arts movie scene. It takes a certain understanding of physical capability, some blocking, and the ability to curtail one’s prose to keep the scene going sharp, fast, tight, like an actual fight is. It’s a hard skill to learn, but one worth every moment spent revising to learn it. A reader caught up in the intensity and speed of a fight is one who is there for every breathless moment.
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