First action scene

Topher

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Hi everyone,

I've not been able to do much writing for a while, and as your comments so far have all been so useful I'm hoping that another critique will kick-start me into getting on with it again!

This is the second part of a chapter I've been working on, the first part of which introduces a new character, Tomos Hake. Tomos is a Feroxi, a martial people who are employed by the government to "defend" the state. While most of the book focuses on a group of workers who are able to manipulate and accelerate the growth of plants (and who are put to work in factories doing so), the Feroxi are able to (and have a legally enforced monopoly on the practice of) manipulating the growth of animals, and breed customised animals to fight with as their primary weapons. They do not accelerate animals' growth (animals find it extremely distressing), and so have to be in constant contact with their animals for the early years of their lives. For some (those who fight with large animals), this means alternating between growing years and fighting years, while for others, like Tomos, who breeds rats, this means having their animals in a harness so as to be in constant contact with them while fighting and doing other things. Tomos has a large mischief of custom-grown rats, which he transports in large wooden boxes on the back of his horse, as well as the few young rats he is currently growing. The Feroxi also have a culture of altering their own bodies (partly so they know what it feels like). They live on land given to them by the government (which, unlike most of the surrounding land, is very fertile), subsistence farming in communal Feroxi communities while they wait to be called to arms.

In the first part of the chapter, Tomos and his regiment are summoned to quell a disturbance among the peasants on a local estate (owned by a man called Forecroft). This is a frequent occurrence, and is basically all the Feroxi are ever called to do nowadays, leading Tomos to already be pretty disillusioned with his military life (which he had thought would be all romantic battles for worthy causes). We also meet Pluck, a scruffy, ill disciplined old Feroxi who fights with eagles. The peasants on the estate are always easily cowed just be the presence of the Feroxi, but this time the landowner and Tomos's General seem to want to make an example of them, pick out a ringleader (Epert Trap), and order Tomos to execute him.

This is the first 'action' scene I've ever written, and I found it quite difficult. I often don't particularly enjoy action scenes in the books i read, finding they get a bit tiresome, but i felt this scene really needed something of this kind. Any feedback at all would be really really appreciated!



**************

The Sergeant looked at Tomos, her stern face unaltered. “Sergeant Hake, my order stands.” Next to her, Forecroft looked down at his feet, trying his best to look somber.

At this, a commotion started in the crowd, several young men pushing through towards Epert Trap. There was a shout, something that Tomos couldn’t make out. Something was thrown, hitting the bullock standing at the bottom of the steps in the shoulder.

The Sergeant gave a command, and the Feroxi surrounding the crowd moved forwards, their animals lurching in towards the crowd. There were screams as the crowd contracted, bunching together into a tight, terrified mass. One man was floored by one of Jula’s bulls; another rolled on the floor, three of Hursh’s snakes writhing on top of him.

A seemingly endless minute later, the Sergeant gave the command to pull back. The crowd cowered. Those lying injured on the floor were pulled back from the Feroxi and into the middle of the crowd, out of immediate harm’s way. The Sergeant turned to Tomos again.

“Private Hake. Now.”

Tomos continued to stare at Epert Trap, his mind blank, a high-pitched whining noise flooding his ears. Could he really kill this man? He had spent his whole life training for this. His whole life readying himself for war and bloodshed, to do what was necessary to defend the state. His whole life being told stories of valour, of brave Feroxi fighting for peace and stability. It wasn’t just what he had to do; it was who he was, who he had always wanted and assumed he would be. But is this what all of that meant? Tearing a man to pieces in front of his family; half torturing a man to death, stood at the foot of the biggest manor house he had ever seen, simply for wanting an hour a day to pick his own vegetables? The more he thought about it, the more impossible it seemed.

He was ripped from his thoughts by the thundering of hooves. One of Jula’s bullocks, charging at Epert Trap, head down, his enormous, polished horns somehow not wavering from their target as it ran. Tomos looked up at the Sergeant, who glowered at him from the steps. He had blown it. All that training, the discipline, the drills, all for nothing. He was as dead as Trap.

A terrible shriek. Then a roar, more bear than cow. Tomos turned to see Jula’s bull flailing, peasants desperately diving away from its hind legs as it kicked and jumped in circles, two huge eagles clawing at its face. Then hooves. Pluck was galloping straight towards him.

“Run, boy! Now!” Pluck sped past him, grabbed Epert Trap by the collar and, with a strength Tomos would never have thought possible from the old man, hauled him up onto the back of his horse. Tomos started, the old man’s words breaking the hold his shock had over him and bringing him back to the bright, stinking, all-too-real present.

Tomos sped after Pluck, urging Hess onward. There was no turning back now. He glanced over his shoulder, and his heart sank. Sergeant Frik’s dogs were thundering after him, heads down in single-minded, absolute determination. There was no way he could outrun them. Feroxi horses were infamous for their speed, bred by several families at their headquarters near the capital who had been doing so since the Feroxi were founded. Yet over a short distance, Frik’s dogs were faster.

Tomos reached back and untied the strap holding the wooden boxes in place. They fell with a crash, splintering as they rolled across the dogs’ path. Hess sped up, grateful for the lighter load. Two of the dogs dodged the wooden crates in their path; the other leapt over them without breaking stride. Still they were gaining on him.

By now, Tomos had caught up with Pluck, the extra weight of his passenger slowing his horse down. Pluck turned to him and grinned.

“All on you now, lad. Make it worth it.”

Before Tomos could respond, Pluck stood on his saddle and leapt, past Trap who had been sat behind him and towards the pursuing dogs. He landed directly on top of one of the dogs, his legs managing to knock the legs from under a second, and together they rolled in a sickly ball of dust and elbows and teeth. Yelps alternated with snarls with Pluck’s trademark profanities as the old man fought wildly with the enormous dogs.

Tomos stared behind him in disbelief as he galloped onwards. Was this really the same Pluck he had known most of his life, doddering and lazy, cynical and drunk? True, the old man had always been full of exciting tales of bravery and blood, but Tomos had always taken them with a pinch of salt: stories like that had a tendency to take on a life of their own at the best of times, never mind when told with a whisky in hand.

Tomos was torn from his reflections as he spotted the third dog charging towards him, its eyes fixed on him as it closed the distance between them. He turned and tucked down low, urging Hess to run as fast as she could. The dog might be faster than her, but if he could just avoid it for long enough it would tire much sooner. The world flashed past him, the noise of the wind mixing with the ringing in his own ears to cut him off from the world, a bubble of adrenaline and fear plummeting through a familiar landscape rendered alien. Beside him, he heard sobs from Epert Trap, whose horse was keeping good pace with his own.

He looked behind again, over his right hand shoulder, trying to focus, to see where the remaining dog was. It was nowhere to be seen. He turned, looking to his left. Still no sign of it. With a mix of elation and dreadful scepticism, he sat up a little, frantically trying to get sight of his pursuer. Just then, Hess let out a terrible noise and stumbled, skipping a step. The dog must be too close for him to see, biting at her calves.

Tomos drew his sword and leant back, trying to see the dog, to swipe it away from Hess. It was running alongside Hess’s left side, snapping at her rear leg, almost connecting, each time dodging away at the last second as her powerful legs threatened to crush it. It only needed one good bite to bring them crashing down. Tomos changed his sword to his left hand and lunged at the dog, feeling clumsy handling it with his weaker hand while trying to stay on the speeding horse. He missed once, twice. The dog lunged, almost catching Hess's ankle before lurching away again.

Tomos screamed at the dog in frustration, swiped and missed a third time. This time he missed Hess’s flank by a hair’s breadth.

Tomos thought frantically, everything he had learnt at the barracks flooding through his mind in a blur. They’d never been taught how to fight animals like this, for it was only Feroxi that used them. The ringing in his ears grew even louder, the gutteral barks of the gigantic dog and the pounding sound of Hess’s hooves fading into the background as the world closed in around him.

The dog moved further forward, now snapping at Tomos’s own leg. He kicked wildly at it, panic filling his throat. In desperation, Tomos grasped at an idea. He grabbed the sword in both hands, holding it down straight in front of the dog. He closed his eyes and took a breath. Then he screamed the verbal halt command to Hess, and she stopped running, skidding on the dusty ground beneath them. Tomos put all his weight behind the sword as the dog propelled itself into it, the sword making a brutal, grinding noise that reverberated through his whole body as it dug into the creature’s skull.

The dog gave a pitiful, screeching yelp as it fell, sliding and rolling in the dirt, the sword so embedded that it was torn from Tomos’s grip. He turned, expecting to see a platoon of Feroxi on his tail, but nothing came. Either they had so expected the dogs to catch them that the Sergeant hadn’t thought it worth making chase, or something else had happened amongst the peasants to keep them distracted. Either way, he was sure it wouldn’t be long until they followed.

With an overwhelming sense of loss, for the dog he just killed, his mischief he had left behind, and for his life as he knew it, he kicked Hess back into motion, tearing out of the Forcroft estate on Epert Trap’s tail.
 
There are two episodes in writing excuses about action scenes. I heard them a while ago, so I don't remember it clearly; but I remember that they basically talk about "good blocking versus a bad blow-by-blow", and that's precisely the issue I had here. There's no description of the scenario, so whenever the crowd "moved", I didn't know what to think. The images just don't come vividly into my mind. This is often called "white room syndrome", because the characters are pretty much talking heads in that white room in The Matrix.

Blocking, also used in filmmaking, basically means "where each person is at". This is utterly important. You stopped the action sometimes for the main character to think, remember things, and that was good; but you also should've described the location of the characters, and the scenario.

The descriptions of the blows were good: you used strong verbs. To lunge at, to lurch at, to leap at, to swipe, to skid away... these are all verbs I use in my own writing. You're not using just weak verbs like to run or to hit or to jump, so you're definitely one step ahead of most people.

Just one line edit:

Tomos screamed at the dog in frustration, swiped and missed a third time. This time he missed Hess’s flank by a hair’s breadth.
I'd suggest you make this into a single sentence. Maybe rewrite it, or link them with a semicolon. Separating these sentences with a period makes the second one lose all momentum.
 
This is an interesting piece and I have to admit I at first overlooked your long explanation; however, I had to return to it to better understand who was who because there is much confusion here.
Take this part:
The Sergeant looked at Tomos, her stern face unaltered. “Sergeant Hake, my order stands.” Next to her, Forecroft looked down at his feet, trying his best to look somber.
At first I wasn't sure whether the Sergeant or Tomos was the her, though admittedly in this context and grammar it likely is the sergeant.
The there is the dialogue and suddenly Sergeant is Hake but who said this: Tomas or someone else. And who is Forecroft and is he next to her the Sergeant or her Tomos.

So after getting quite a ways down, being confused, I had to back track and read your explanation to ferret out the details.

However, a problem arises because later Hake is called Private.

You of course know all of the facts; but as for the reader, for purpose of the piece being out of context where that much might be explained, there are some details that need more clarity. Such as what a bullock is in this instance.

Getting back to the first paragraph above.
You are using a lot of filtering here. What I mean is that the word 'look' is a filter word that might be expressed better using another word.
Take this.
The Sergeant looked at Tomos, her stern face unaltered.

It could be expressed thus.

The Sergeant glared at Tomos, her stern face unaltered.

However now with glared you could probably shorten this.

The Sergeant glared at Tomos.

However if that doesn't feel strong enough you could go with

The Sergeant directed her unswerving glare toward Tomos.

Then...
Next to her, Forecroft looked down at his feet, trying his best to look somber.
It might work better to say.
Landowner Forecroft, shoulders slumped, hands prayerful and glance fixed downward, stood next to the sergeant.

But for fun let's put things together a bit.

Landowner Forecroft, his shoulders slumped, hands prayerful and glance fixed downward, stood next to the Sergeant whose unswerving glare judged Private Tomos Hake as she said, "Private Hake, my order stands.”

I'm taking liberty with long sentences here and you might want to go with.

Landowner Forecroft, his shoulders slumped, hands prayerful and glance fixed downward, stood next to the Sergeant. Her unswerving glare judged Private Tomos Hake as she said, "Private Hake, my order stands.”

The Sergeant gave a command,
You might want to be a bit more specific about what this command is.


I think that the whole piece needs to be adjusted for clarity and tightened with the thought in mind of helping develop the scene a bit more as mentioned and trimming excess description while focusing on Tomos' immediate experience of the action with possibly some reason it might seem hyper-focused and orderly or if in fact it might be more chaotic. Either way you decide it will need some trimming.

It is easy to overlook the fact that you know where everyone is or is suppose to be while the readers has to rely on you to fill those details in.
How close are that landowner, the sergeant and the private to the action?


At this, a commotion started in the crowd, several young men pushing through towards Epert Trap. There was a shout, something that Tomos couldn’t make out. Something was thrown, hitting the bullock standing at the bottom of the steps in the shoulder.
In this, how do the steps relate to the three mentioned above(landowner, sergeant, private)?
Is the bullock guarding the stairs that stand between the demonstrators and the landowner?

You might change this to show better the ramping up of the crowd.

From above Tomos observed the already heated crowd begin to simmer as several young men moved to get closer to Epert Trap. As they drew close the crowd boiled into a unified sound of many voices shouting the same near in-discernibly words. Objects flew out of the crowd, some struck the bullock standing at the bottom of the steps. In the tall wild grasses, the crowd oscillated as though winding, building kinetic energy for a sudden surge forward.

Throw in little things to help set the setting firm in the readers mind.

Good start, but definitely needs some tightening.
 
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I just remembered that a Youtube channel that I follow has two great videos about writing fight scenes. One is about the micro part (sentence-by-sentence) and the other is about the macro of fight scenes (more general stuff). And, since your problem seems to be on the latter:

 
I am no expert on fight scenes, but I will try to give my reactions here.
I am not convinced by the idea of using animals as weapons (for one thing, the main character abandons his rats in favour of using a sword), but I don't expect you are going to change that now. :)

The Sergeant looked at Tomos, her stern face unaltered. “Sergeant Hake, my order stands.” Next to her, Forecroft looked down at his feet, trying his best to look somber.

At this, a commotion started in the crowd, several young men pushing through towards Epert Trap. There was a shout, something that Tomos couldn’t make out. Something was thrown, hitting the bullock standing at the bottom of the steps in the shoulder. So far, I have no idea where anything is. Is the bullock a weapon?

The Sergeant gave a command, and the Feroxi surrounding the crowd moved forwards, their animals lurching in towards the crowd. There were screams as the crowd contracted, bunching together into a tight, terrified mass. One man was floored by one of Jula’s bulls; another rolled on the floor, three of Hursh’s snakes writhing on top of him. So a crowd of peasants (How many?) is completely surrounded by Feroxi? I am not clear how this action is countering the movement of the several young men.

A seemingly endless minute later, the Sergeant gave the command to pull back. The crowd cowered. Those lying injured on the floor were pulled back from the Feroxi and into the middle of the crowd, out of immediate harm’s way. The Sergeant turned to Tomos again. One of my pet peeves is seeing 'floor' used when it should be 'ground'.

“Private Hake. Now.” Is this the same person as Tomos? There is always a danger of confusing readers if you refer to a character by multiple names. Also you have 'Sergeant Hake' above.

Tomos continued to stare at Epert Trap, his mind blank, a high-pitched whining noise flooding his ears. Could he really kill this man? He had spent his whole life training for this. His whole life readying himself for war and bloodshed, to do what was necessary to defend the state. His whole life being told stories of valour, of brave Feroxi fighting for peace and stability. It wasn’t just what he had to do; it was who he was, who he had always wanted and assumed he would be. But is this what all of that meant? Tearing a man to pieces in front of his family; half torturing a man to death, stood at the foot of the biggest manor house he had ever seen, simply for wanting an hour a day to pick his own vegetables? The more he thought about it, the more impossible it seemed. Good thoughts from Tomos. But there is no scene-setting. Is Trap tied up? Surrounded by guards? What is the setting? A courtyard or field or front lawn?

He was ripped from his thoughts by the thundering of hooves. One of Jula’s bullocks, charging at Epert Trap, head down, his enormous, polished horns somehow not wavering from their target as it ran. Tomos looked up at the Sergeant, who glowered at him from the steps. He had blown it. All that training, the discipline, the drills, all for nothing. He was as dead as Trap. Why has the bullock been sent to attack? Did Tomos have a blackout and fail to hear subsequent orders? What steps?

A terrible shriek. Then a roar, more bear than cow. Tomos turned to see Jula’s bull flailing, peasants desperately diving away from its hind legs as it kicked and jumped in circles, two huge eagles clawing at its face. Then hooves. Pluck was galloping straight towards him. Why is the bull among the peasants? Were they not penned in by the Feroxi? That last sentence puzzled me briefly. So this man Pluck was already mounted?

“Run, boy! Now!” Pluck sped past him, grabbed Epert Trap by the collar and, with a strength Tomos would never have thought possible from the old man, hauled him up onto the back of his horse. Tomos started, the old man’s words breaking the hold his shock had over him and bringing him back to the bright, stinking, all-too-real present. It was not immediately clear to me who was being told to run.

Tomos sped after Pluck, urging Hess onward. There was no turning back now. He glanced over his shoulder, and his heart sank. Sergeant Frik’s dogs were thundering after him, heads down in single-minded, absolute determination. There was no way he could outrun them. Feroxi horses were infamous for their speed, bred by several families at their headquarters near the capital who had been doing so since the Feroxi were founded. Yet over a short distance, Frik’s dogs were faster.

Tomos reached back and untied the strap holding the wooden boxes in place. They fell with a crash, splintering as they rolled across the dogs’ path. Hess sped up, grateful for the lighter load. Two of the dogs dodged the wooden crates in their path; the other leapt over them without breaking stride. Still they were gaining on him. So Tomos seems to have been mounted throughout the scene, and Hess is the name of his horse?

By now, Tomos had caught up with Pluck, the extra weight of his passenger slowing his horse down. Pluck turned to him and grinned.

“All on you now, lad. Make it worth it.”

Before Tomos could respond, Pluck stood on his saddle and leapt, past Trap who had been sat behind him and towards the pursuing dogs. He landed directly on top of one of the dogs, his legs managing to knock the legs from under a second, and together they rolled in a sickly ball of dust and elbows and teeth. Yelps alternated with snarls with Pluck’s trademark profanities as the old man fought wildly with the enormous dogs. I would have thought that Trap would be in front of Pluck, as it would be easier for Pluck to pull Trap up in front of him. (What do the horse experts have to say?) Standing on the sasddle and leaping off seems a pretty athletic feat for anyone, let alone an old man. Does Pluck have a weapon? Otherwise he will be at a disadvantage in tackling a pack of normal dogs, let alone enormous dogs. (And note Pluck does not seem to be using his animal weapon here, whatever it is.)

Tomos stared behind him in disbelief as he galloped onwards. Was this really the same Pluck he had known most of his life, doddering and lazy, cynical and drunk? True, the old man had always been full of exciting tales of bravery and blood, but Tomos had always taken them with a pinch of salt: stories like that had a tendency to take on a life of their own at the best of times, never mind when told with a whisky in hand. Good paragraph.

Tomos was torn from his reflections as he spotted the third dog charging towards him, its eyes fixed on him as it closed the distance between them. He turned and tucked down low, urging Hess to run as fast as she could. The dog might be faster than her, but if he could just avoid it for long enough it would tire much sooner. The world flashed past him, the noise of the wind mixing with the ringing in his own ears to cut him off from the world, a bubble of adrenaline and fear plummeting through a familiar landscape rendered alien. Beside him, he heard sobs from Epert Trap, whose horse was keeping good pace with his own. I don't think he would be lost in reflections in this situation. Otherwise, good.

He looked behind again, over his right hand shoulder, trying to focus, to see where the remaining dog was. It was nowhere to be seen. He turned, looking to his left. Still no sign of it. With a mix of elation and dreadful scepticism, he sat up a little, frantically trying to get sight of his pursuer. Just then, Hess let out a terrible noise and stumbled, skipping a step. The dog must be too close for him to see, biting at her calves. I am not convinced by the dog being out of sight. Personally I'd write it panting and slavering at the horse's heels.

Tomos drew his sword and leant back, trying to see the dog, to swipe it away from Hess. It was running alongside Hess’s left side, snapping at her rear leg, almost connecting, each time dodging away at the last second as her powerful legs threatened to crush it. It only needed one good bite to bring them crashing down. Tomos changed his sword to his left hand and lunged at the dog, feeling clumsy handling it with his weaker hand while trying to stay on the speeding horse. He missed once, twice. The dog lunged, almost catching Hess's ankle before lurching away again. Dramatic paragraph. Note though that he cannot hit the dog unless it is alongside.

Tomos screamed at the dog in frustration, swiped and missed a third time. This time he missed Hess’s flank by a hair’s breadth.

Tomos thought frantically, everything he had learnt at the barracks flooding through his mind in a blur. They’d never been taught how to fight animals like this, for it was only Feroxi that used them. The ringing in his ears grew even louder, the gutteral barks of the gigantic dog and the pounding sound of Hess’s hooves fading into the background as the world closed in around him.

The dog moved further forward, now snapping at Tomos’s own leg. He kicked wildly at it, panic filling his throat. In desperation, Tomos grasped at an idea. He grabbed the sword in both hands, holding it down straight in front of the dog. He closed his eyes and took a breath. Then he screamed the verbal halt command to Hess, and she stopped running, skidding on the dusty ground beneath them. Tomos put all his weight behind the sword as the dog propelled itself into it, the sword making a brutal, grinding noise that reverberated through his whole body as it dug into the creature’s skull. I am not convinced by this action. If the dog is snapping at his leg, he should be able to swipe at its head. He'd find it difficult to put all his weight behind the blade while mounted on the horse.

The dog gave a pitiful, screeching yelp as it fell, sliding and rolling in the dirt, the sword so embedded that it was torn from Tomos’s grip. He turned, expecting to see a platoon of Feroxi on his tail, but nothing came. Either they had so expected the dogs to catch them that the Sergeant hadn’t thought it worth making chase, or something else had happened amongst the peasants to keep them distracted. Either way, he was sure it wouldn’t be long until they followed.

With an overwhelming sense of loss, for the dog he just killed, his mischief he had left behind, and for his life as he knew it, he kicked Hess back into motion, tearing out of the Forcroft estate on Epert Trap’s tail. Why is he feeling bad about the dog and not about his comrade Pluck?

Your use of language is good, and the action occurs at a brisk pace. However there is a lack of scene-setting description, so I have little idea where this is taking place. The manor and the escape route are like a blank screen. There is also a lack of 'blocking', or indication of where the principal characters are standing (or otherwise). And, as indicated inline, some of the action trips my plausibility detector.
However all these problems can be fixed. Take the time to set the scene properly, as though you had to direct it for TV, and indicate where all your actors are positioned. Check that any action will really work (unless it is supposed to be magic). Fight scenes can be difficult to write, as they need to be choreagraphed to ensure that all the separate actions of the fighters work together. I hope this helps.
 
Where are all the characters relative to each other? Sergeant (Frik?) is up on some steps. Thee crowd is surrounded by Feroxi. Frik and Pluck must have some distance between each other because otherwise Frik would have at least tried to stop Pluck from grabbing up Epert Trap. Epert Trap, Pluck and Tomos must all be fairly close to each other. Jula is somewhere nearby because one of her bullocks charges at Trap. Does the bullock do this autonomously or at the behest of Frik?
Tomos starts the scene on horseback, or at least in a horse-drawn cart. So is he not participating in containing the rioters? Also, the crates that he leaves behind in order to slow the dogs down, are those his rats? Does he feel bad about leaving them behind? Or is it not that kind of bond?

How do the rats feel? What are they doing? Can they smell the blood or anticipate combat? Are they reacting to the tension in Tomos?

What is it about these particular peasants that makes Tomos feel unthreatened, like he can't act? Are they malnourished, unarmed, fearful, or polite?
You refer to them as "the crowd" a lot. Does Tomos have any intel on these people? How have they been framed by his superiors? As rebels, insurgents, etc? How would Tomos refer to people from their caste, since we are so close to his perspective.

Describe Epert Trap. What about him makes Tomos hestitate? Does Tomos pick out details about him, or is he kind of out of focus because Tomos is in his own head, about the act of killing a defenseless individual? Also, just because he is defenseless doesn't mean he is guiltless, or not a threat. What is Trap doing? Is he pleading for his life? Is he glaring defiantly? Is he struggling against restraints?

Tomos's decision making is portrayed as very much in his own head, as though he is having an issue with the act of killing, itself, and less the circumstances in which he is asked to do it. Hasn't he been trained to kill? You'd think that you'd ask someone who you knew wouldn't choke to do an execution, but maybe this is some kind of test of loyalty. But even so, it seems like way too much training has been invested in Tomos as a Feroxi for him to not have proven himself in this way until now.

“Sergeant Hake, my order stands.” Next to her, Forecroft looked down at his feet, trying his best to look somber.
Is Tomos a sergeant or a private? And why is a sergeant giving him orders if he is also a sergeant? He could say "our orders stand" maybe. Is the General in this scene?

Perhaps tie in the idea that the Feroxi are far too skilled to be employed in suppressing peasant "disturbances" when the peasants don't even seem to have weapons. This seems like it could be handled by a bunch of thugs with clubs and and not jeapordize individuals that must require a lot of investment in training. Again, this is world-context so maybe there is a reason why the Feroxi are being riot cops instead of spec ops. Are the police of this nation on strike?

You bring up a lot of names in this scene without characterizing them terribly much. You can characterize people, or describe them physically, AS they are performing actions. What are Frik's unique facial features doing as he is giving orders and being disappointed in Tomos's inability to follow them? What about their unique bodies, what are they saying with those?

An action scene just has less thinking and talking and more doing. Other than that it's just like any other scene, except your perspective-characters will pay more attention to certain things. But communication and body language is still important, and when a character is kind of dazed like Tomos is at the beginning of this scene, they focus on the wrong things, which can allow for some commentary that would be otherwise out of place. Combat can be trippy.

Your difficulty isn't so much in writing action scenes, but in writing a character who has been trained to kill. The training seems to have no effect other than when he's fighting other the dog, which he is understandably crap at because he's not trained to fight other Feroxi.

Is Tomos trained to fight as a charioteer, or as shock infantry? Or is he more of an assassin? The kind of soldier he is does matter, because it would reflect what his instincts are in a situation where he is threatened.
 
Hi, I'm a picky S*d. There's no other way to say it.

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There is absolutely no way you should take this as gospel.

I have only skimmed the "explanation" I think I get the idea, but you wouldn't have this in a real piece. If it was a prologue type thing I' personally wouldn't read it at all. I get this might all have been built up to in previous chapters which might be OK.

Hi everyone,

I've not been able to do much writing for a while, and as your comments so far have all been so useful I'm hoping that another critique will kick-start me into getting on with it again!

This is the second part of a chapter I've been working on, the first part of which introduces a new character, Tomos Hake. Tomos is a Feroxi, a martial people who are employed by the government to "defend" the state. While most of the book focuses on a group of workers who are able to manipulate and accelerate the growth of plants (and who are put to work in factories doing so), the Feroxi are able to (and have a legally enforced monopoly on the practice of) manipulating the growth of animals, and breed customised animals to fight with as their primary weapons. They do not accelerate animals' growth (animals find it extremely distressing), and so have to be in constant contact with their animals for the early years of their lives. For some (those who fight with large animals), this means alternating between growing years and fighting years, while for others, like Tomos, who breeds rats, this means having their animals in a harness so as to be in constant contact with them while fighting and doing other things. Tomos has a large mischief of custom-grown rats, which he transports in large wooden boxes on the back of his horse, as well as the few young rats he is currently growing. The Feroxi also have a culture of altering their own bodies (partly so they know what it feels like). They live on land given to them by the government (which, unlike most of the surrounding land, is very fertile), subsistence farming in communal Feroxi communities while they wait to be called to arms.

In the first part of the chapter, Tomos and his regiment are summoned to quell a disturbance among the peasants on a local estate (owned by a man called Forecroft). This is a frequent occurrence, and is basically all the Feroxi are ever called to do nowadays, leading Tomos to already be pretty disillusioned with his military life (which he had thought would be all romantic battles for worthy causes). We also meet Pluck, a scruffy, ill disciplined old Feroxi who fights with eagles. The peasants on the estate are always easily cowed just be the presence of the Feroxi, but this time the landowner and Tomos's General seem to want to make an example of them, pick out a ringleader (Epert Trap), and order Tomos to execute him.

This is the first 'action' scene I've ever written, and I found it quite difficult. I often don't particularly enjoy action scenes in the books i read, finding they get a bit tiresome, but i felt this scene really needed something of this kind. Any feedback at all would be really really appreciated!



**************

The Sergeant looked at Tomos, her stern face unaltered. “Sergeant Hake, my order stands.” Next to her, Forecroft looked down at his feet, trying his best to look somber. (To many things going on. Too many sergeants. not sure if the sergeant is Tomas or not. The Next to her... sentence seems oddly placed and confused.)

At this (wasn't he somber enough for them), a commotion started in the crowd, several young men began pushing through towards Epert Trap. There was a shout, something that Tomos couldn’t make out (slows the pace IMO. Fine if we have the shouted line, but otherwise it stos the action dead.
"Let show the ba**rds," someone shouted. The crowd pushed forward, some throwing bricks and anything else they could find. It was turning ugly. One of the bricks hit the bullock at the foot of the steps. It panicked and reared against its restraint. Something had to be done.

. Something Bricks were thrown, some hitting the bullock standing at the bottom of the steps in the shoulder.

The Sergeant gave a command, and the Feroxi surrounding the crowd moved forwards, their animals lurching in towards the crowd. There were screams from the ones that were bitten. as the crowd contracted, bunching together into a tight, terrified mass. One man was floored by one of Jula’s bulls; another rolled on the floor, three of Hursh’s snakes writhing on top of him.

A seemingly endless minute later, (Minutes in which you could describe the blood and lost teeth. Again you've opted out of the action) the Sergeant gave the command to pull back. The crowd cowered. Those lying injured on the floor were pulled back from the Feroxi and into the middle of the crowd, out of immediate harm’s way. The Sergeant turned to Tomos again.

“Private Hake. Now.” (Field demotion? he was a sergeant above)

Tomos continued to stare at Epert Trap, his mind blank, a high-pitched whining noise flooding his ears. Could he really kill this man? He had spent his whole life training for this. His whole life readying himself for war and bloodshed, to do what was necessary to defend the state. His whole life being told stories of valour, of brave Feroxi fighting for peace and stability. It wasn’t just what he had to do; it was who he was, who he had always wanted and assumed he would be. But is this what all of that meant? Tearing a man to pieces in front of his family; half torturing a man to death, stood at the foot of the biggest manor house he had ever seen, simply for wanting an hour a day to pick his own vegetables? The more he thought about it, the more impossible it seemed. (this is no time for self refection we're in the action now! We've just had the big surprise announced above was the "NOW" a signal to reflect on the the meaning of life?)

I stopped here in case this wasn't what you wanted. If you do want, I could continue.

To me you're breaking the action up with reflections and descriptions not directly relavent to the scene. The reader is just getting a feel for the riot and then he too is ripped from the scene, just like Tomos IMO. This is even at the detailed level.

He looked behind again, over his right hand shoulder, trying to focus, to see where the remaining dog was. Nothing. It was nowhere to be seen. He turned, looking to his left. Still no sign of it. With a mix of elation and dreadful scepticism, he sat up a little, frantically trying to get sight of his pursuer. Just then, Hess let out a terrible noise and stumbled, skipping a step. The dog must be too close for him to see, biting at her calves.
(by the way, the dog is never going to tire - think stag hunting and snow sleds)

After quite a few reads, I still have no idea what the

Now!

is meant to signal.

Also, given you mention all those years of training that are (in real life) meant to remove even a hint that a soldier should hessitate in the face of battle, I don't think philosophical mental debate belongs here. Before the battle yes, afterwards probably, but when faced with a spear up your nose, never.

Hope I helped

Tein
 
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Getting back to the first paragraph above.
You are using a lot of filtering here. What I mean is that the word 'look' is a filter word that might be expressed better using another word.
Take this.
The Sergeant looked at Tomos, her stern face unaltered.

It could be expressed thus.

The Sergeant glared at Tomos, her stern face unaltered.

However now with glared you could probably shorten this.

The Sergeant glared at Tomos.

However if that doesn't feel strong enough you could go with

The Sergeant directed her unswerving glare toward Tomos.
Hi,

Not really much to add except to say the above is so crucial and helps your writing flow when you get in the habit of deleting filter words.

Often in the throes of writing mania, I'll write countless similar veil or filter words that I edit down when I spell check. You could do it at the editing stage, too, but for me it would involve a lot of footwork at the end of the project.

To add to Tinkerdan's excellent points, I'd say ask yourself if the look/felt/heard adds something (in passive voice it can sometimes be necessary) and if not, delete it with a more direct action.

Ideally you want the reader to see through your characters senses, so using words like look for example create a veil between character and reader. The sergeant fixed him with a (harsh) glare gets all the points across without putting the veil between reader and action.
 
Thanks again all, that's all really helpful and lots to think about. I think some of the scene-setting and blocking is there in the passages directly before those I included here (i was trying to get all the action in to the bit I posted here, so the passages directly before that set things up were lost), but I can definitely see that they are not enough and that it still needs a lot of work. I'll maybe post a second version at some point when I get a chance to look at it again.
 
Too much explaination and not enough emotions or action.

Closer to the character, what they feel. Fear, elation, or simply fighting to survive, all this was lost in blocks of heavy text. It wasn't breathless, it lacked pace.

The Sergeant looked at Tomas, her face stern - with another looking at somber, were two separate characters with two separate or similar emotions, I wasn't sure.

Then a roar, more bear than cow - and I'm not sure what it means.

Keep it focused, keep it sharp and clear and keep the reader in mind.

As the writer you need to present a clear message, and even switching a sword hand wasn't helpful, it confused the action for me.

Less is more, or is for me this time. An action scene has to be in the moment, so take care with over working the action.

Action scenes are a pain and a pleasure to write, depending on how they flow. I've struggled with pace and description, and it's never quite right, until it is - which means you should keep going. Your technical skills are very good, as in comma's etc. felt fine to me. So you can write, but writing is about control where less can be more.
 
Its a cool idea!

A few of my rambling thoughts. I'm rather new to this commenting and critiquing business so please understand I'm just commenting on a couple of aspects that stood out to me.

Hake is already disillusioned by his military career and it doesn't get any less romantic than torturing farmers. I feel like he would have been relieved that he didn't have to go through with executing an innocent man not ashamed for letting his sergeant down.

During this particular paragraph below just as things are starting to get exciting we're brought back out of the building energy to think about how horses are bred. It seems to flow better and hold my attention on the scene if we remove the words in red.

Tomos sped after Pluck, urging Hess onward. There was no turning back now. He glanced over his shoulder, and his heart sank. Sergeant Frik’s dogs were thundering after him, heads down in single-minded, absolute determination. There was no way he could outrun them. Feroxi horses were infamous for their speed, bred by several families at their headquarters near the capital who had been doing so since the Feroxi were founded. Yet over a short distance, Frik’s dogs were faster.

The old warrior guy, his friend for life - his exit needs more fanfare and sadness. This is what Hake would feel more than anything - losing his friend. The reader too, a badass whisky drinking eagle warrior? he sounds epic. Use this and his story to create more attachement his demise here could be a tear jerker.

Cutting and releasing the wooden crates, what about the rats? where are they? what was the point in letting them go they don't do anything to the dogs perhaps you could use this to create either a sense of narrowly missing a victory or further illustrating the dogs incessant pursuit and hopelessness of their attempted escape. You could try to make the reader feel like they don't stand a chance to escape so they are sure that this will end in some kind of catastrophe but victory is grapsed from the jaws of defeat (even better if its a little cute rat that beats the big scary dog ;) )

I don't feel like the farmer Epert would be sobbing, he's just barely escaped with his life and is being pursued by goodness knows what, the sobbing would probably come when the adrenaline has worn off, if at all - he's just narrowly avoided death after all and for most that would be a reason to celebrate.

The last paragraph again sends a bit of a mixed message, would he feel pity or loss for killing an animal that was going to kill him? If he was that 'sensitive' for want of a better word it seems to conflict with his martial heritage and career choice. These animals are weapons after all and that in itself shows a distinct lack of sympathy.
Would he feel loss for leaving a life that expected him to kill innocents? I suppose it depends on the backstory but it sounds like a bad deal - being a Feroxi.

I really like this story idea, it's lots of fun and has so much potential for scope. Excited to hear more about these guys!
 

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