OK, it is 11:55 am and I was about to start writing as Alex walked in the door. Honestly, I promise. It’ll be late afternoon before I can make another attempt. But I WILL write another 1,000 words today. Actually, I am kind of hyped up now, because it’s going to be the first action scene in my career as writer. Ever. So stay tuned and I’ll keep you abreast of the happenings.
8pm and I added another 1,000 words to the chapter and am now at the point where Liz is dragging Raoul behind her, leaving O’Reily’s in a hurry. Inside, Liz had been accosted by a drunkard when Raoul came to her rescue. He almost reduced the other guy to a pulp, and Liz had to interpose herself between the two fighters in order for Raoul not to kill him. When the waiter reached for the phone to call the police and an ambulance, Liz decided at the spur of the moment to take Raoul with her. She was afraid that he might be detained and charged with assault, so she simply took him by the hand and dragged him out of the bar. What a way to meet a man! How is this going to end???
That’s the first time I am writing an action scene, even a brief one, and it went OK. Not great but not abysmally bad either. I was reminded of Lee Child’s Jack Reacher series of books, which are replete with fighting and action. He has an interesting style, in which he describes analytically and in slow motion what is happening. It reads almost like a choreographed dance when you read it. I kept the fighting short because it isn’t a main point of the plot but just the way how Liz and Raoul meet.
So now I have a decision to make: should I carry on with the plot or should I go back inside and describe the entire scene again, this time from the viewpoint of Raoul. It could be interesting to juxtapose Liz’s and his, learning what was going through his mind and what he was feeling.
What I usually do is to sleep over it and go over the scene again tomorrow. It might turn into something different overnight, you never know.
Thinking about it, I will probably refrain from adding Raoul’s version of the scene. It just isn’t a main point in the plot and I don’t plan to use this style element of dual viewpoints in the book. I want to drive the plot along rather than doing a Rashomon kind of thing. Apropos, you know Rashomon, right? If not, you should definitely go and rent it. It’s one of the best films. Ever.