Action vs. Information

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Rules-headerA blog for fiction writers and impending writers. An editor’s perspective.

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Action vs. Information:
The Oil & Water of Novel Writing

Years and years ago a prolific pal of mine, author Matthew Pallamary (who teaches a pirate’s workshop at Santa Barbara Writer’s Conference) uttered one of the most profound adages I’d ever heard. Matt apparently got it from Barnaby Conrad, who may have heard it from playwright/director David Mamet…so I suspect this little gem may have been around for years. But it remains one of the best tidbits of advice that I know. The simple truth is:

Information is the enemy of Action.
Action is the enemy of Information.

Meaning that, as a writer, it’s my obligation to choose one or the other concept (action-based or informational) to define each scene I develop. I can either depict (spectacular) action or provide (revealing) information to a reader. But I cannot simultaneously provide both, as the two concepts are inherently incompatible. Action sequences typically rely on external cues; on visual, sensory-heightened but otherwise superficially detailed observations. Conversely, information dissemination tends to internalize, and either through omniscient narration or dialog provides pertinent revelation, newfound knowledge or secrets unbeknownst by other characters or by the reader.

For example, let’s say I’m writing a fictional account of the Crimean War (1853-1856). Midway through my tale, I describe a gallant yet foolhardy British cavalry charge into Tennyson’s infamous Valley of Death.* Hidden amid the rocky hills surrounding the valley, dozens of fortified Russian cannon open fire and obliterate most of the advancing horsemen. As the smoke clears, two survivors of the bombardment—brothers, by the way, Niles and Ian—stand bloodied and haunted among their dead comrades. The men talk in a hushed whisper, speaking through tears about the heroism of their fallen comrades, about the enemy they see gathering on the precipice ahead, about the unlikelihood of ever again seeing the lovely Lady Desiree, the woman back home they both love.

The cavalry charge? That’s action. I want my audience breathless—so it’s all thundering hooves and glistening sabers and a distant blare of bugles whipped away by the howling wind. Explosions and carnage. Glimpses of both unfettered bravery and agonizing death. Action.

But then—a new scene—the big guns have fallen silent. The two brothers crawl toward each other, dazed and isolated on the body-strewn battlefield. Ian begins to bind Niles’ wounds. They speak intimately about life and death and love and—for the reader—that’s information. Character-building usually is. The brothers ponder the probability of their impending doom, not to mention Ian’s long-overdue revelation of his love for Desiree.

As a writer, I’ve intentionally separated the frenetic action sequence (a fictive inhalation) from the more serene informational (a fictive exhalation) sequence. (Refer again to Rule #8: Keep your characters moving. Push them toward drama—inhale—or pull them away again—exhale.)

So can action and information co-exist in a scene? How separate is separate? Certainly, these two attributes can occasionally brush together…but brush lightly. Consider, for instance:

Acrid smoke drifts across the now silent valley. We see Ian beginning to bind his brother’s wounds. As they talk about the fair Desiree, Niles suddenly draws his pistol and shoots a Cossack who’s crept up behind Ian, ready to pounce with a gleaming scimitar. Ian turns, stares for a moment and returns to his comments, his thoughts once again focused on Desiree.

So, yes—a bit of cross-pollinating is perfectly legit; tidbits of action amidst an informative scene is fine. And, yes, one can intermingle snippets of information amid the action—but avoid attempting to force mass quantities of action and information into the same scene. Because the last thing a reader expects, midway through an exhilarating cavalry charge, is a flashback or a history lesson or a love sonnet. For instance, here’s a taboo:

As their horses rush the two men toward certain death, their sun-drenched sabers held high, Ian turns to Niles and admits that he’s in love with his brother’s fiancée, then demands a frank and earnest conversation about the matter.
…..“Now?” Niles shouted incredulously over the roaring wind.
…..“Yes, this very instant, I’m afraid,” Ian replied. “It’s terribly important to me, Niles. And by the way, don’t forget that you owe me twenty quid…”

Um… no. Because whatever raw emotion I’ve thus far developed is now moot, the drama unnecessarily deflated. Sure, Ian may love Desiree, and she may even be weighing heavily on his mind—but now isn’t the time or the place to bring that particular tidbit to the page.

But what if Desiree is important to the story? What if my entire novel is based on a decades-long love triangle. So where does Lady Desiree belong?

Some writers may believe that she belongs exactly when and where she pops into mind—but consider how her sudden appearance will effect the overall pacing and the reader’s emotional quotient. As previously stated, her character certainly doesn’t belong here, in the middle of a raging battle. Amid the carnage, poor Desiree’s attempt for a modicum of stage presence feels extraordinarily misplaced. The importance of her presence, or her words, may easily become lost as readers gloss over this unexpected, lilac-scented intrusion, eager to learn how the attack concludes.

The simple solution? Alternate action and information scenes. (As in often, throughout the entire novel.) Because a more opportune moment for Desiree to bloom would be during a scene or chapter before the cavalry charge, for instance as she tearfully pens letters in her Wembly Park bedroom for both Ian and Niles—letters that may dramatically change the lives of both men. Or else place her in a scene after the charge, perhaps as a flashback in Ian’s memory. Perhaps we see her swoon into the arms of dear Uncle Clive as she’s notified by courier of Ian and Niles’ status as MIA, both men presumed dead. So allow Lady D. and her thoughts sufficient ‘quiet time’ to fully engage the reader.

Be aware that the primary advantage of alternating action and information scenes is in potentially increased drama. How delightful, plot-wise, should Ian reveal his affection for his brother’s betrothed in the chapter preceding the cavalry charge! How might Niles’ thoughts be distracted or tormented as he lines up for the assault in the following scene? Now you’ve piqued the reader’s curiosity—and possibly created a perfect cliffhanger that you’ll tie together in an appropriate, upcoming chapter. Might Ian die (your readers will wonder), his love for Desiree forever unrequited? Might brother turn on brother? So, yes, separating action and information scenes has definitive advantages. Knowing how and when to separate these two crucial elements can nicely turn up the heat in terms of tension and future plot-development.

A basic rule of thumb to follow would be (and not always, mind you, but more often than not):
Scene-setting: Information
Character-building: Information
Plot-building: Action or information (although tread carefully, as building a plot via information may feel like reader-feeder.**)
Forward Plot Momentum: Action

For those uninterested in the Crimean War, let’s say I’m writing a gently comedic romantic tale. Action can be all about the rampant teenage angst and confusion and turmoil leading up to a first kiss. That slow, undulating tension can be as terrifying as the whole British cavalry charging forward toward certain death. Because what’s action if not a sensationalized visualization of dramatic events?

Oh yes, and now it’s a rule. Rule #26: Don’t mix Action and Information. Keep these two incompatible concepts separate.

And now—because every rule has its #!@$!%?!@ exception—let’s consider dialog. Dialog can certainly be action-oriented. (“If I ever see your face again,” Sheriff Bob shouted, “I’ll shoot you dead where you stand!”) But dialog can also prove informational. (“I’m afraid I’ve never told you, Penelope, about the letter hidden in father’s wall safe.” Bertram slowly swung open the heavy steel door. “I believe it’s time you finally know of our nefarious family secret.“)

So then, what is dialog?

…ah, the perfect opportunity for a cliffhanger.

 


*The Charge of the Light Brigade by Alfred, Lord Tennyson. It’s what people read before Twitter.

**Reader-feeder (a quick guide):
…..“Steve, I just got a phone call from the hospital. I’m sorry, but Mother passed away last night.” (is not reader-feeder)

…..Steve, I just got that phone call from the hospital we were both dreading. I’m sorry, but our mother, Mary Anderson, passed away last night.” (is reader-feeder)

 


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Rules-headerA blog for fiction writers and impending writers. An editor’s perspective.

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Welcome to the blog!
……Here’s what’s what.

My name is Dave Workman. I’m an acquisitions and content editor for Muse Harbor Publishing. I began writing Rules of Engagement for beginning (or curious) writers, based on what I perceive to be fundamental obstacles that many of us confront when beginning, or struggling through, a new novel. Perhaps I can offer useful advice—or maybe not—although I certainly know what excites me as a reader—and what excites me as an editor who accepts and rejects manuscripts. Thus, the following blog may be worth a look.

1. Good Writing, Bad Advice.
Rule #1: Finish your book.
Rule #2: Don’t listen to anybody if the advice doesn’t resonate.

2. Simple, But Exciting (Part 1)
Rule #7: Write in clear, precise sentences.
Rule #8: Keep your characters moving. (Either push your characters toward drama or pull them away again.)

3. Simple, But Exciting (Part 2)
Rule #5: Continually scene set, character build or move the plot forward. (Nothing else matters.)

4. Exciting, But Simple.
Rule #3. Always write for yourself.

5. Active Writing (Part 1): Active Voice.
Rule #20: Don’t extend a scene past the “just enough” point.
Rule #12: Write only what matters. Leave out the boring parts.

6. Active Writing (Part 2): Active Language (Grammar)
Rule #6: The Jumping Cow Rule (Active vs. Passive Voice).

7. Active Writing (Part 3): Active Composition (Plotting)
Rule #14: Develop your story from A-to-Z. (Know where you’re going)

8. Where To Start.
Rule #11: Get acquainted with your story. (Discover your core elements.)

9. Perfection.
Rule #25: Perfection in writing doesn’t exist.
Rule #4: Do the best you can.

10. Action/Reaction.
Rule #10: In fiction, for every action, provide a reaction.

11. Show, Don’t Tell.

12. What’s Your Intention?
Rule #29: Your characters may remain elusive or distracted, but your prose must remain clear and concise.

13. Focus on the Now.
Rule #16: Focus on the now. (Stay in the moment.)

14. Hammering It Out.
Rule #25: Write one thought at a time. (And don’t worry about the rest.)

15. My Favorite Films About Writers and Writing (A personal aside.)

16. Finding Your Voice (Part 1)
Rule #9: A great novel is not so much what you tell, but how you tell it. That’s a writer’s style.

17. Finding Your Voice (Part 2): Do your characters speak to you?
Rule #12: Shut up and let your characters tell their own stories.

18. Finding Your Voice (Part 3). Point of View: Narrative vs. Authorial Voice

19. Basic Plotting (Part 1): Right Brain (creative thinking) vs. Left Brain (critical thinking). Unfortunately, we need both halves.

20. Basic Plotting (Part 2): Plot ahead.

21. Basic Plotting (Part 3): It’s all about the drama, dahlings.
Rule #27. Make drama your novel’s constant companion.

22. Action vs. Information: The Oil & Water of Novel Writing.
Rule #26: Don’t mix Action and Information scenes. Keep these two incompatible concepts separate.

 


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