: This is extremely rare and very difficult to execute smoothly. While switching into present tense when the action picks up is usually fine, it's very difficult to create a smooth transition

This is extremely rare and very difficult to execute smoothly. While switching into present tense when the action picks up is usually fine, it's very difficult to create a smooth transition in the opposite direction - action ends, and you want to switch back to past tense - it's hard not to make it sound awkward.

What is common, is use of ("timeless") noun phrases for quick passages.

The door swung open and he strode in. A swift punch to his jaw, a kick to his groin, elbow into exposed neck, then landing with my weight on his back, handcuffs snapping on his wrists forcefully drawn behind his back, and I stood up, smoothing out my suit. He gave out a long, pained groan.

That way the transition in both directions is smooth and we create the sense of rapid, hectic sequence of actions.

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: Do readers enjoy self-administered vigilante justice? Or do they prefer moral heroes? Let me put it this way: A common trope in American popular fiction is the hero who lives by his

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: Regarding the substance of your question: The maxim that Robert McKee passes along in Story is â€œgive the readers what they expect, but not the way they expect itâ€. Your first option, where

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: Think of everything in the story in terms of "actors". Do they appear near enough to be confusable? Do they appear in contexts where one can be confused with the other? In your case

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: Are newlines effective for adding weight to certain phrases? Sometimes I'll write something where there's a few paragraphs of buildup, then a "whammy line" or two. I wrote a quick example, pretend

: This is extremely rare and very difficult to execute smoothly. While switching into present tense when the action picks up is usually fine, it's very difficult to create a smooth transition

More posts by @Dunderdale623

: Do readers enjoy self-administered vigilante justice? Or do they prefer moral heroes? Let me put it this way: A common trope in American popular fiction is the hero who lives by his

: Regarding the substance of your question: The maxim that Robert McKee passes along in Story is â€œgive the readers what they expect, but not the way they expect itâ€. Your first option, where

: Think of everything in the story in terms of "actors". Do they appear near enough to be confusable? Do they appear in contexts where one can be confused with the other? In your case

: Are newlines effective for adding weight to certain phrases? Sometimes I'll write something where there's a few paragraphs of buildup, then a "whammy line" or two. I wrote a quick example, pretend

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: This is extremely rare and very difficult to execute smoothly. While switching into present tense when the action picks up is usually fine, it's very difficult to create a smooth transition

More posts by @Dunderdale623

: Do readers enjoy self-administered vigilante justice? Or do they prefer moral heroes? Let me put it this way: A common trope in American popular fiction is the hero who lives by his

: Regarding the substance of your question: The maxim that Robert McKee passes along in Story is â€œgive the readers what they expect, but not the way they expect itâ€. Your first option, where

: Think of everything in the story in terms of "actors". Do they appear near enough to be confusable? Do they appear in contexts where one can be confused with the other? In your case

: Are newlines effective for adding weight to certain phrases? Sometimes I'll write something where there's a few paragraphs of buildup, then a "whammy line" or two. I wrote a quick example, pretend

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0 Comments

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: Regarding the substance of your question: The maxim that Robert McKee passes along in Story is â€œgive the readers what they expect, but not the way they expect itâ€. Your first option, where