#action scenes

[ivebeentotheforest]

Sandworms in battle - Dune: Part Two (2024)

[helpful-writing-tips]

instead of, "Suddenly-"

but before [Character] could [verb], ACTION!

[Character] was about to [verb] when ACTION!

but no sooner had [something] than ACTION!

but just as [something boring], ACTION!

BANG!/CRASH!BOOM! ACTION! "Character dialogue starting some sentence about–" ACTION!

Character's internal monologue starting some senten- ACTION!

Narrator starting some- ACTION!

...ACTION!

credit:@officialtheonite

[inafieldofdaisies]

Halo (2022-) | Season 2, Episode 8 “Halo”, The Season Finale | Favorite scenes (vol. 2-2)

“This armor doesn't belong to them. It belongs to me. To the ones who are gone. And the ones who are still in the fight.”

[vellichor-of-the-solivagant]

How to Plant Snapdragons (pt. 5)

Task Force141 + König + Keegan x Female Criminal!Reader (except Captain Price, because he'll be like a father to the bunch, and König and Keegan won't appear until later on in the story)

CHAPTER SUMMARY: You and Task Force 141 arrived in Rio along with Phillip Graves and his company.

You are currently reading Chapter 5. Here is Chapter 4 and the Masterlist!

CONTENT WARNING: Strong Language and Violence, Bullying Soap (don't take it seriously) WORD COUNT: 2.8k

“So, you fucked with him?” Soap questioned in a low voice, mouth next to your ear as you both took a seat in the plane. Gaz who was over his side leaned in the conversation as well, while Price sighed and Ghost simply stayed quiet beside you.

You pulled down the headset to your neck and raised a brow. “Who?”

Soap pulled a face and mouthed, "Graves."

You guffawed, throwing your head back that you slammed into the metal wall, but that didn't stop you. You repeatedly slapped your thigh, wheezing to the point you coughed and felt like vomiting.

The shadows on the opposite side of the plane stared at you with frowns underneath their goggles. They had worked and lived with you under the same roof, but they had never gotten used to how you laughed.

You hated Graves’ guts, but you could acknowledge a fine man who knew how things work. You had seen him in the gym during your time in the Shadow Company. Topless, and sweaty, his veins bulging every time his muscles flexed, and you couldn’t help but steal a glance and draw what you could remember when you were alone (which you sold to one of his shadows—you didn’t know if the guy was into Graves or his fans or maybe both). But that was it—he had done many things that you hated, and you had equally given him things that he loathed.

You calmed yourself down and smiled at Soap, who also stared at you in confusion. "I'd cut my vagina if ever I had his penis in me."

Soap and Gaz's mouths flew open.

Ghost grunted. "Fuckin’ Hell, have ya got no filter?"

"Watch the language, young lady," Price ordered, shaking his head.

You frowned, waving a hand. "What? It's the scientific term for the reproductive organs of females and males." You crossed your arms and huffed. "Is it because you guys don't actually know the right terms for women and your genitals? The outside of the pussy is called the vulva where you men are supposed to do your best to please—" The next words never left your mouth as Soap clamped his large hand on your face.

"I don't want to have SexEd in an airplane, please," Soap said, glancing at the Shadows across the 141. Was this what they experienced during your stay in the Shadow Company? Did they get it worse or did you mind your own business before? He doubted it would be the latter.

Johnny pulled his hand from you as you all felt the plane running and you quickly strapped your seatbelt on you to secure your position. It didn’t take long till the transport was airborne, the loud engines echoing through your headset, and it felt like something heavy was on you. You all kept silent until everything seemed to steady and Captain Price removed his seatbelt, rising to his feet and walking over to a table. He placed a laptop on top of it and pushed it open.

Graves followed suit, stopping on the other side of the table. “Shadows, gather around.”

The Task Force rose from their positions and crowded around the table, while you stood between Graves and Price, making them both look at you for a second before shifting their attention back to the device. Once again, both the leaders talked over the key points of the mission, starting from going to Graves facility in Salvador to travel by chopper instead, the raid in the favelas to capture the target, subduing the militia, and the exfiltration with Nikolai and the Shadow Company, before going back to the Shadows' facility.

“What if he refuses to speak English?” Gaz questioned, grabbing onto his vest. “We’ve dealt with people who wouldn’t speak even after torture.”

“So have I,” Graves claimed, making you silently scoff before he turned to you. “That’s why we have her.”

Heads snapped towards your way, and Ghost asked, “You know Portuguese?”

You raised a finger and opened your mouth to answer, but the CEO was faster. “Seen her teach one of my men before.”

You knew Portuguese, alright, but you didn’t teach one of his shadows Portuguese. It was Arabic numerals. Yet you also didn’t feel like correcting him and let Graves assume things. It was better for him to think that you only knew Portuguese and English.

You put your hand down. "What he said, but I'm not that fluent."

"Better than nothing," Price declared and he put a hand on the table. "Let's end it here for now. We still have some time later on."

One simple nod from Graves, the Shadow scattered, and he patted the Captain's shoulder before stepping away, going in the direction of the pilot.

As the Task Force 141 walked back to their seats, you patted Ghost's arm. He looked down at you with a questioning gaze and you asked, "Do you have any spare mask and war paint?"

"Why?" He inquired, reaching into one of the pockets of his vest.

You raised a brow. "If I want to get back safely in Rio again, I'll have to hide my face from the locals, no?"

He scoffed and pulled out a mask, handing it down to you. It was a black balaclava with a white skull design. Very Ghost fashion, but it was something similar to what you used to see every day before. "Ya know how to put on camo?"

"Yeah." You nodded, tracing your finger on the soft fabric—thankful that it didn’t actually smell of dirt, sweat, and blood. You weren't a fan of camo face paints as they were hard to remove, and you had someone put it on you instead because you couldn't paint camo on without poking your eye or putting some paint on your eye, said the person. That was a lie. That person just wanted to keep holding your face, running their thumb over your lips, or say there wasn't any mirror when in fact, they keep mirrors all the time as part of the tactic not to expose their head when peeking out a corner.

"Alright." Ghost gave you a can of paint and a mirror.

You both sat down and you began to paint the upper half part of your face since the balaclava would cover the rest. You put the paint down on your lap and pulled the mirror away, angling your head from right to left. Then, you slipped the mask on, adjusted the hole around your sight, and tucked the hem under the collar of your jacket. “How do I look?” you inquired, handing back the camo and mirror to Ghost.

“Ready to kick some arse,” Soap fired immediately.

“A she-ghost,” Gaz said.

“Ghost’s sibling,” the Captain commented.

You, Soap, and Ghost turned the other two. Soap pursed his lips to stop himself from smiling, while Ghost glared at them. You, on the other hand, had a grimace underneath the mask. “Agreeing with your favorite, Captain?”

A gasp escaped Kyle’s lips, facing the Price with bright, expecting eyes. “I’m your favorite?”

Johnny’s brows furrowed. “He’s your favorite?”

Simon couldn’t help but roll his eyes. “Since when do we have favorites?”

Price pulled a face, shaking his head. “I don’t have favorites,” he proclaimed, but that wasn’t enough to convince both the Sergeants. You and Ghost merely listened to their debate and some friendly hits between the Sergeants, really starting to act like siblings fighting for some candies.

It was wonderful to witness, that even though these men weren’t connected by blood, they could be as close as a family who went through heaven and hell, stood in front of death’s door, but would always have one another’s back.

It was admirable—beautiful, that a desire to protect them bloomed in you. If they get dirty, so the world would stay clean, you’d get dirty, so they could continue what they needed to do.

You closed your eyes, feeling it become heavy due to the lack of sleep the past couple of days, and leaned back, a small smile painting on your lips.

Now, you felt like laughing.

Did Task Force 141 remind you of your old friends to feel this way? They’d probably laugh at you and say you’d leave the 141 as well, like what you did to them, or would they laugh because you wouldn’t be able to leave this time with a shackle on?

Oh, how you wish you’d know, no matter how hurtful the truth would be.

Ghost slightly stiffened at the sudden heaviness on his arm and he shifted down his head, finding you sound asleep, cheek squished against him. You looked peaceful with your mouth shut, not moving an inch unlike when you were awake and hyper as though you were on crack. Vulnerable, feeling safe enough to let yourself fall asleep on him in front of all these people who could snap your neck like a twig. But most of all, you looked like a normal person despite the disguise you had put on, simply sleeping because of the lack of. 

It irked him to hear Shepherd refer to you as a tool—a weapon to be used and disposed of. It reminded him of the times before he met Price—before the said man made him feel like a human. Not as Ghost, but Simon. And maybe, if the Captain had done it to him before, perhaps Price can also do it to you.

“Soap,” he called, making Johnny halt from smacking Gaz, his elbow almost hitting you.

Johnny turned to face him with one brow raised, only for both his brows to arch upon seeing you asleep. “Didn’t know she could look quiet.”

“Anyone would look peaceful in their sleep except you,” Price said, crossed his arms, and leaned back, pulling his hat down to cover his eyes as he closed them.

Soap snapped his head at his way. “Captain!”

Gaz painted a smug smirk on his lips, lifting his chin proud. “And that’s why I am his favorite.”

“Ya goddamn—”

"Keep up, lass," Price's deep voice echoed on your headset as you jogged after him and Gaz in the dark—the Sergeant glancing over his shoulder to make sure you were following them and not planning to run away.

Not that you could.

You had a frown on your face, hidden by the night vision you had on, frustrated that you couldn’t get the chance to see the statue of Christ the Redeemer with all the houses (if you could call this cluster of shacks, houses) covering your sight. But there was no time for being hot-headed as you were already in the lion's den.

"Up the roof!" Gaz shouted, firing at the man on the rooftop above you three.

"Engaging enemies on the lower favelas," Price declared, running towards a corner of a house.

You slid for cover behind a crate, before aiming up the roof, shooting a man who had emerged from their covers. Blood splattered at each hit, painting the roof and the ground as he fell.

You quickly averted your attention from the sight and announced, "They're using assault rifles."

"Copy," replied the Captain and Gaz.

“Enemies on sight,” Ghost claimed in a rough voice.

There was a crackle on your headset. "Shadow 0-1 to Bravo 0-6 and Bravo 0-7, Shadows are ready for some takedown," Graves responded.

You pumped your fist in the air where someone would have been whenever you fought, a smile appearing on your lips. "Showtime."

You ran towards a corner and fired at the man crouching behind a window, shattering the glass, before aiming from left to right. With no man in sight, you proceed down to another alley.

A gunshot echoed in the air and you whipped around to where it came from. You pulled the trigger, and hid behind a wall, grabbing a grenade. You peeked out and threw it through an open window, then aimed at the house as it exploded. You sprinted towards it, slowly entering the shattered door, finding three men burned and unconscious.

You noticed a phone lit up in one of their pockets. You grinned, bending out and snatching it. You slipped it into one of the compartments of your vest and gazed up the stairs. "Found a way up the roofs."

"Good, do what you must," Price ordered, making you chuckle as you climbed up the stairs. It could only mean one thing, considering he had tested you in the range before. Show him what you could do.

"Wishing our lady death, Captain?" Kyle's soft voice resounded, making you smile.

"Why don't you save me like a good knight in vest you are, Sergeant?” you questioned, humming as you climbed up the stairs. You glanced from left to right and found a window.

A soft laughter echoed in your headset. “Alright, call for my name when you need me later.”

“How ‘bout I call ya, Gaz?” Soap questioned in a mocking voice.

“He’d kill ya instead,” Ghost said, there was a hint of amusement in his tone.

“I’d tell the militia they could take Soap home,” Gaz responded.

You cackled at the top of your lungs and jumped out of the window, blasting the heads of a couple of men you alerted with your laughter. “Perhaps you could learn Portuguese, Soap.”

“I’ll gie ye guys a skelpit lug,” Johnny barked out.

“Speak English,” the three of you remarked simultaneously, making the poor handwash groan and curse at you three.

“American English, perhaps,” Graves piped in, making you and Kyle howl in laughter.

“Not ye too, Graves!” Johnny yelled, making you flinch at the sudden loud volume, which quickly died down.

“You guys are bullying Soap too much,” Price said in a calm voice.

“Tell them, Captain. Tell them!” Soap exclaimed, and you could imagine him stomping and throwing his hands around like a kid.

Then, Price added, “Do it again, kids.”

“Fuck you!”

You ran, dashing behind walls that went higher than some roofs as bullets whistled past you, and slid, shooting multiple rounds.

A series of gunshots and explosions from all directions could be heard. It seemed that the Shadows had risen from the dark, and now the Task Force could focus on the target.

You launched yourself from one roof to another, landing with a thud and rolling. You got up to your feet and put bullets through a door from below. The door broke down and one man fell out. You proceeded forward, climbing up a higher shack due to the slope of the hill.

Just as you got inside, a curse in Portuguese shot to your covered ears. You slipped forward as the man aimed his handgun and you unsheated your knife, slashing his thigh. He fell with a stifled scream and you drive the blade to his neck. You pulled it off in a swoop and blood gushed out, splatting on your clothes.

You were thankful you couldn’t feel the warmth of it, but you could feel your skin slick with sweat. You looked down at the man next to your feet, blood pooling underneath, and sighed, averting your gaze away.

You marched toward a terrace on the side and noticed a light on top of a mountain from far away. You gasped. “Guys, I see him!”

“Fabricio?!” Price yelled over the comms.

“No, sir! Christ the Redeemer!” You leaped out of the terrace, grinning wide, although you couldn’t see it. You stowed behind a wall as you noticed several men jogging above a makeshift metal bridge to cross roofs. “Can we go later there? I want to see it up close!”

A silence answered you before Price responded in a low voice. “I can’t guarantee that, kid.”

You peeked from the corner and struck them down swiftly. “I know that, sir. I’m just messing with you.”

You heard another sigh from him that got blocked over by Ghost’s loud voice. “I spotted Fabricio! He’s headed down your way, Soap!”

“I see him!” Soap shouted back. “Ah, shite—Captain, he’s going your way!”

“Copy!” The Captain replied in a serious voice. “What the—he’s down yours, Gaz!”

Upon hearing his words, you ran and jumped to another roof, where the militia was headed earlier. Considering the direction where they supposedly proceed and where Gaz should be chasing down the man now, you would be able to see him from a bird’s eye view.

“Bloody man, can’t he settle in one way?!” Kyle commented, clearly frustrated by how annoying the changes in the route of the target were, which was expected as he was on his home ground. “Shit, he’s gonna get away!”

You turned to the right, jumped to another roof, and there the scurrying rat was. You leaped and everything seemed to be in slow motion as you went down and landed on Fabricio, bringing him down on the ground. He grunted in pain and you quickly aimed a gun on his head as you moved more comfortably on the man’s back, completely sitting down on him.

You looked in all directions and smiled under your mask at the Task Force emerging from the shadows one by one. “I better get a good dinner tonight for this.”

Next chapter is here!

You can also read the series in AO3!

Taglist: @yyiikes, @the-faceless-bride, @sae1kie, @sarahedwards16, @kenma-izhu, @kkaaaagt

Note: Ngl, Graves is cute and that makes me want to bully him so bad. As you guys can see, this is based on the Favela mission of MW2 2009. Also, feel free to ask to be tagged, guys! It makes me happy people are reading this shit LMAO

[hashtagcaneven]

Kuro's Advice for Awesome Fight Scenes

So I heard you want to write a cool fight scene. Rock on.

Running into some trouble though? No sweat, I got you covered.

I compiled this list of 8 Rules I personally use for Kickass Action Scenes for a Discord group of writers and thought it might be useful for others as well.

Rule #1 Fight scenes MUST tell an emotional story.

A fight is just an argument but with physical violence instead of words. Just like how in a musical people talk until the energy and emotion goes so high they burst into song and then when that keeps building, they all start dancing. Same concept. People argue and disagree until the emotion is so high they start throwing hands.

Fights act like any other scene where it starts with one emotion and ends with another. Emotion should flow through each move. They should ebb and flow from start to finish, raising and lowering tension to keep a reader engaged and guessing over who is going to win.

This is the bedrock of fight scenes. No amount of “rule of cool” is going to save the scene if there is no emotional heart beating through it.

Rule #2 You need personal stakes

Goes kit and parcel with Rule #1. Your POV characters have to have something on the line to tell an emotional story.

What happens if they lose? What happens if they WIN?

Go beyond JUST “oh if they lose, they die”. What happens to the character’s world if they lose. What will happen to the ones they love when they’re gone? What are the TRUE long term consequences for failure?

Even if it's a friendly (ie non lethal) competition scene, what are those stakes? Bragging rights for a proud character? Or perhaps taking their opponent down a peg?

Avoid vague generalized stakes and find what makes it personal. A knight may fight for his king and country but he also does it because he has his pride as a knight on the line if he walks away or loses.

Rule #3 Pacing is key

Action is fast paced in real life. It should be so in writing.

I personally think of my fight scenes as if they were a movie/show/play fight scene. Partly because that’s my own personal experience and partly because it helps me with pacing, especially with multiple POV characters.

Don’t spend too long on one action. Keep it flowing but have moments of pause. Real fights have moments where someone needs to pick themselves back up or two opponents need to steady themselves for the next round of assault. Use those moments to dig into the introspection of the POV. Your reader is also gonna need a breather from time to time.

With multiple POVs, I flip through them like I’m switching shots on film. We cut away from one thing to see what another character is up to in the flow of things. I flip the camera at moments of triumph or tension to keep building that emotion.

Rule #4 Let your heroes take some hits

Show off those stakes by letting your big bad character get his ass kicked a little bit.

Let ‘em get knocked around a bit to build that tension within a reader. Make them wonder how they’ll pull this off.

Superman fights are so easy to be boring because he’s basically invincible. We all yawn because we know he’s gonna win. Then along comes someone with kryptonite and suddenly it's Superman getting the beat down. Now we’re emotionally engaged because how is he going to get out of this one?

Show their competency in a fight by how well they can take big, painful hurts and keep going anyway. Show it in how they fight back or stay standing, despite the effort.

And don’t be afraid to let your heroes lose a few times. It makes their eventual victory sweeter.

Rule #5 Be clear and concise with your descriptions

Now ain’t the time to pull out your best Tolkien describing a meal impressions.

Action is fast. There are a ton of moving parts which can be severely complex and hard to follow. You want to avoid this confusion at all costs.

Use clear, specific language so the reader can visualize what is happening in their head and not get lost. Once they get lost, they will get frustrated and disengage.

Ditch the heavy metaphors. Let the movement speak for itself as the allegory. If you want to sprinkle in some flowery language, do so separate from the actual action happening in a fight.

Rule #6 Learn the basics of movement

You don’t need to know how to swing a sword with proper technique to write a sword fight (though, let’s be real, it helps). As long as you understand the fundamentals of how the weapon moves, you can write a good sword fight.

Because what makes a fight good is the EMOTION in the fight. Not just the fancy flourishes.

However, if you go too crazy and it becomes unrealistic, your readers can easily disengage.

So you don’t need to know the difference between a riposte and an ochs stance. You just need to know that arms don’t swing that way. You need to know if someone gets pushed, it can throw them off balance.

Learn the basics of human movement, and if there are weapons involved, learn at least the basics because if I see one more person say they’re wielding a longsword like it’s a small sword, you people will kill me inside even more.

Rule #7 Every action has a consequence

When someone attacks, someone has to defend (or get hit). But when someone moves their body one way, it can open them up to a counterattack.

If I lunge too far forward and overextend, I’ve left myself open for attack. If an opponent turns around, their back is now my next best target.

Pay attention to how your characters are moving. Are they opening themselves up for easy counterattacks when you don’t want them to? 

Thinking about what opening a move gives their opponent can help you write your fight scenes, as it will lead to a natural flow and chain of events.

Rule #8 Don’t be afraid to add sound

Fights are vocal. People grunt and groan and shout when they’re hit. They also make noise when they attack. The more wrapped in emotion, the louder and noisier people tend to get as they get lost in it.

During those moments of pause you add from Rule #3 is a great moment for characters to continue the verbal part of their argument

 If one character temporarily overpowers the other, let them brag. If one character gets punched in the mouth, describe the sound of the blood they spit on the ground. 

Just, for the love of the gods, don’t go all Marvel and be quip central. Don’t undercut your own tension and emotion for a quick laugh or to sound cool.

Some examples of great fights:

[ben-talks-art]

Okay, here's a good one. What are your favorite DreamWorks action scenes? 🤔

My top 3 would probably go to the fight with Red Death, Tail Lung's fight on the bridge (although his prison escape was also pretty awesome), and the final fight with the wolf in Puss in Boots the last wish!

[kaylinalexanderbooks]

It's kinda insane how much work I have to put in for a fight scene. Like, idk if this is just me, but I have to outline beforehand like crazy. I have to put in generally what happens, then split it up into multiple active and reactive events, escalations, de-escalations, etc...

And then when I get to writing I have to figure out choreography???

It's usually worth it in the end, and I've gotten decent action out of it...just wish it didn't take so long

Last time, it was, like, a whole group training scene I had to write. It took, like, a month to write that chapter. In all fairness, there was a scene before that, but I think most of the time was the training scene. This is a 1v1 sparring session, which is much easier

It's like 1am but whatever, I made progress! I'll hopefully be able to write the scene tomorrow... Can't wait. Both genuinely because I legitimately want to write the scene but also choreography is hard.

[simlaninmagic]

SHello Everyone,

Here is a mini scene dump part 4 . My next big scene dump is coming after this mini one<3

All the scenes were made in Blender 3.0

They should all work in CYCLES AND EVEE (I mostly use CYCLES)

All the scenes were built around the camera so they are mini not huge scenes a.k.a don’t move the camera around to much

You can change the lighting to however you feel works best for you.

I don’t really like how the shopping center turned out but I’m releasing it anyways.

Parking Garage Exit Photo Op

Art at Harrod

Minimalist Hallway

Random Staircase Sign Hallway

Do Not Claim My Scenes as Your Own

Do Not Put My Scenes Behind a PayPal

Do Not Edit The Scene (Unless it’s to fix something to your liking cause these are spur of the moment ideas and I don’t catch all my mistakes so adjust as need to be but don't change it completely :)

Thank you for reposting @blender4sims

[thepariahcontinuum]

Writing RWBY fics leads to writing a flavour of action scenes you just don't get anywhere else.

....What do you mean a character "Used a makeshift hard-light surfboard to give a velociraptor-dragon a terminal mid-air Chelsea grin" is something that actually happened in a chapter I wrote with my serious face on.

[ivebeentotheforest]

Austin Butler as Feyd-Rautha Harkonnen in Dune: Part Two (2024)

[isleofair]

Hullo! As a writer, any advice or tips on writing chase scenes? 🥰 Or any fast moving scenes?

Ooohhh! 😮😮😮

First of all... I'm incredibly honored you'd ask my opinion! Thank you! 🥺🙏💚 I don't consider myself an expert by any means, but I have written a couple of chase/action scenes, and I particularly enjoyed doing that, so I'll give this a try. (Even though at the time I wasn't really giving this a ton of conscious thought, I'll admit... And I haven't, like, studied writing, or written a huge lot, so all of this could be terribly basic and obvious, in which case, I apologize in advance. 😥)

The first and most obvious things that comes to my mind (at least from a theoretical standpoint) is trying to keep up the pace/tension by using sentence and paragraph structure. I saw advice once that said one should use a new paragraph whenever you'd get a different shot in a movie, so, even if it's not a perfect 1-to-1: fast-paced scenes = usually lots of quick cuts = probably not too many long paragraphs, or sentences. Of course, this is very general; if the "beat" of the scene you want to evoke is particularly "staccato", e.g., if it's a chase on foot, maybe it would be cool to make the sentences sound a little more like pounding feet; whereas if it's a car vs a motorbike, the "rhythm-feel" of the scene might be more akin to longer, contrasting, dueling roars. (I don't think I've ever really been able to do something like this, but it would be cool!). Of course, if you have something like one or a few longer (tracking?) shots in the middle of the, uh, mental movie sequence, I suppose, those could be a longer sentence/paragraph, and having differences would help make the scene even more dynamic. Like a rubber band being plucked many times really fast, and then getting pulled for longer, to release with a bigger bang? Something like that. A long sentence or paragraph could also be the long sigh of relief after all the fast-paced tension, once the action is over.

If it is specifically a chase, I would probably try to make sure we get enough updates on how the chase is going, like mentions of the chaser gaining ground, or stuff like that. Of course, the tension can also come from this not happening, when one of the parties has lost sight of the other, but if we're supposed to be able to keep track in that moment, it's probably best not to let the narration linger on just one of the two for too long, again, just to help in not losing the feeling of urgency.

I personally also like to try and look for very dynamic-sounding or more dramatic words in these cases? Like, if, say, Keith is flying fast in a tense situation, he's not 'flying', he's 'shooting' towards something (obvious, but worth mentioning). In the same vein, it might be best to lose any unnecessary additions/descriptors that might make the narration drag out and lose steam; but I am also convinced that details help focus a scene and make it feel more immediate/real, so... finding a balance between these two things might mean, for example, using synecdoche/letting the detail speak for itself (e.g. if, say, Keith is flying after Lunatic and Lunatic shoots flames at him, just describing the flames coming at Keith, instead of describing Lunatic doing it, might be more effective).

Finally, if you write to music, put on something tense and fast-paced (once again, obvious, but I think worth mentioning!)

I can't think of anything else at the moment... and it's probably for the best, I've rambled on a lot already! 😅 Thank you so much again for asking, I really appreciate that you'd want to hear my thoughts about it, and I'm always grateful for a chance to talk about writing! 🥰🥰🥰

[inafieldofdaisies]

Halo (2022-) | Season 2, Episode 7 “Thermopylae” | Favorite scenes

“Get it out of your head. He's not coming.”

[tepi666]

Gagumon fighting stand

Trade with

gmz_SUPER on twitter

[summerdragoness]

Question for comic/manga artists:

How do you visualize and then apply a scene/scenes involving crowds without making the crowds appear static or boring? I can barely visualize 2-3 characters together doing different things, but I will need to include large crowds the future. Examples of scenes like in Wind Breaker, or Existence, JJK. (shares appreciated because I really would like some help here)

[arikitari-josei-osaka-naru]

"I won't let you hurt him!"

Late submission for Day 6 of @smvillainsweek 2023, Theme: Weapon / Shield. Based on a scene from chapter 6 of "A Gift by Starlight" by Mina Martin, a story tagged "Naru the Vampire Slayer" 🩸✨ The story absolutely lives up to that premise and is cool as hell. This gritty hospital fight scene captured my imagination and I wanted to see it from the moment I read it. If you aren't familiar with Buffy the Vampire Slayer (I'm not very), the story still mostly makes sense and fills you in on what you need to know- I absolutely recommend it to any Neph/Naru fans!! One of the very best.

[rainydaywhump]

Whumpcember Day 27: Bleeding Out

@whumpcember @i-eat-worlds @pigeonwhumps (lmk if you'd like to be added or removed!)

A snippet from Kel's shady and tumultuous backstory. I had Bleeding Out (Imagine Dragons) playing throughout writing this, lol.

CWs and themes: spy mission gone wrong; female main character; medical whump; bullet wound; bone break; bleeding out; character preemptively accepts death (she's still alive though)

Something had gone wrong. Something always did, and that was why it was Kel and Tallmadge who had been assigned to this mission, because that was who could be counted on to improvise as needed. The two of them had successfully stolen back the object of their mission -- an innocuous-looking flash drive -- but their established contact in the building had ghosted them, and suddenly they found themselves running as fast as they could through the industrial mess underneath the building's northern facade, hoping against hope to meet up with a drone as soon as they could get out.

It was halfway across a catwalk overhead that their pursuers caught up with them. They might not have known what the two agents had taken, but they obviously knew it wasn't anything good.

Bullets ricocheted off the metal rails and Tallmadge slipped on the grated floor. Kel grabbed his arm and kept running, but --

"No!"

Pain blossomed in her thigh and warmth pooled out from its front and back sides. Kel collapsed, realizing a second delayed why she'd fallen and why Tallmadge had yelled out: she'd been shot.

Blood spurted out, staggered and quick, from the two wounds. The bullet had smashed through her bone and hit an artery on the way. Not wasting any time, she reached into her pocket...

...and handed the flash drive over to Tallmadge.

"Go. Just fucking go," Kel hissed. Good god, she hadn't realized there was so much blood in her body, and now it was spilling out onto the grated metal catwalk.

Tallmadge didn't hesitate to leave her behind. Kel knew he wouldn't, had counted on it when she partnered with him for the mission. Vaguely, she hoped he'd get some agency-mandated therapy for all this. She watched his fingers clench around that damned flash drive as he sprinted away. The clean white drive was a stark contrast to the stained metal around her.

All for a tiny flashdrive. But it wasn't really tiny -- the codes and data stored in that thing (that thing that shouldn't have been created in the first place, that thing that counterintel dropped the ball on) held lives in their lines.

Matthew Greene. That was the name of the agent who had double-crossed them and stolen all of that data. He'd tried to hawk it to two other countries' intelligence agencies before striking a deal with the Saudi government. Current Saudi tech could brute force the password in roughly eight months. After that, even with all the mitigation Kel's people could do, it would be over for any number of the people whose information was stored there. Friendlies and full agents alike, foreign politicians and civilians, and the families of all of them -- they would be at risk, and so would the incredible network of contacts and information flows that the Organization had accumulated via Greene's teammates in the past year.

Kel looked down at the bleeding. She knew her life was worth getting that flash drive back. She'd known when she'd been briefed on its contents.

There were footsteps rattling the catwalk, and Kel couldn't help but smirk when she looked up at the approaching pursuers. They were too late. She was dying and she didn't even have what they were after. Her stomach was nauseous, her skin was cold, and her leg was all but numb. The adrenaline was probably the only thing keeping her awake, she figured.

As the figures drew closer, Kel's world faded to gray.

...

Ooh how does Kel escape? I mean she obviously does considering we know she's alive in my ongoing fic but she really thought that was it for her then....