It coolz, both the number and subject.

What I'm going to do/have done! (Section)

I like describing action scenes. I also feel like it's a part of my writing that I'm better at compared to my overall descriptions of things and most dialogue I end up making. Something about those moments of quick yet decisive actions feels so clear in my head while typing compared to the color of a bottle or a school's description.

But even then I must admit I am a rookie in describing actions. For I have never studied a blade, nor the shape of a man's fist or his stance while he strikes. I have only been in one fight that I can remember, and I was having too much fun enjoying the pain and thrill to properly use it as a reference for what one feel's when their heart is beating quick.

Nor do I have a relative or friend who'd let me gain even the outline of what it means to be in a fight.

No, all I really have is the memories of animations full of battles and the occasional good idea of what to include in my silly stories.

Yes, I can not deny my noviceness both in battles or in action in general. I am a very sheltered individual after all.

Even so, I can not help but be enamored by the beauty of what I do know.

As an example, how would you describe a fist landing on a man's jaw?

Perhaps like this

"I reeled my arm, pushed against the floor, and smashed my knuckles against his chin's bone."

This while plain creates a simple line of action. The person prepares for the blow, begins the movement of the blow, and then lands said blow. Quite easy to follow and it fits snuggly in a three-act structure similar to a beginning, middle, and climax.

However, what if you want to describe a blow in another way? One that felt quicker? Well, something like this might fit better.

"I reeled my arm, bolted forward, and struck his jaw."

The prep is the same, but the middle is shortened in length + modified its word to convey how quick the action was. While the ending is shorter as well it also conveys the action done sooner, creating even less distance between the act and the finished movement. That's why something like "and smashed my fist into his chin's bone." is likely to feel slower. As not only is it literally longer the action takes more effort to understand and can only be fully comprehended by the end. While the first few words "And struck his jaw," already gives a pretty solid meaning to what happened. (especially with prior context.)

While "and smashed my fist." doesn't do the same.

Of course that doesn't mean either sentence is worse or better than another. One just creates a more vivid description while slowing down the pace, while the other cuts on details and time to give a more speedy feel.

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And that's really just the basics, you can convey speed and slowness in a bunch of different ways.

And even that is just the tip of the iceberg of what can be done. There's still the general atmosphere, the combatant's skills, and emotions, the fight's tension, its setup, its payoff, etc.

Really, a good fight has the capability to employ all sorts of descriptions and skills in explaining things far past just what the movement was. Even so, in the end, the concept itself is generally pretty simple. A person fights/challenges another person or does some physically or mentally straining activity. Sure, you can complicate it in a whole bunch of ways but generally speaking, it's a pretty simplistic topic to grasp and apply. At least for me.

I think that's why I like it so much. It gives a good opportunity to test a bunch of cool stuff in a pretty easy way.

It would be nice if that same level of ease came to other descriptions for me though. Like clothes or the taste of things. But I guess I'll just need to get better at them with the good ol power of repetition and consumption.

Anyway, I just felt like talking about that today.

Things I wrote just for you (And the others here as well!...Section.)

One day, while walking on the road of nothing, a dummy crossed paths with a sandbag.

The sandbag had a pink bow tie, and the dummy had a very manly bandaid on its cheek.

They both could not deny the inherent attraction they felt for each other.

And so, they began doing the deed.

This is when it is important to note a very minor yet significant fact about these two love birds.

This dummy was a sadist, and the sandbag a masochist.

And that is an excellent excuse for an action scene.

The dummy bounced back and forth with one arm in front of its face and the other near its cheek. Or in simpler terms, a boxing stance.

The sandbag however did not have a boxing stance, or a guard, or any martial arts based defenses at all. Unless you count its cuteness of course.

No, the sandbag did not do a thing but wait for the dummy to strike. And so, it did.

The dummy leaned forward, turned its hips, and pushed with its back leg.

The strike struck the sand's bang center, bending it into a side-ways U before slamming said sandbag into the ground.

The dummy exhaled, then pulled back its shaky arm and rubbed its biceps.

That is until the dummy realized something rather peculiar.

For in all its other encounters, its opponents had reacted to its clever strike. Be it a groan or scream or even a compliment of its skill.

Yet the sandbag did none of that, it only lay silent on the ground as if it had been laying down to enjoy the upward view of the nothingness around them.

The dummy began to fear the worse, but before it could do anything the sandbag laughed. Calling the dummy 'A dummy dummy!'

The dummy sighed, then asked how it could stand such a grand strike and take no pain from it.

The sandbag simply smiled and said that it had a great abdominal routine. The dummy did not know what that was. But it soon would.

The story goes on, of course. Perhaps it never even ends. But to put it simply,

This is the birth of martial arts.

The final section! (Section.)

Sorry, diplomacy was on vacation here. Maybe next chapter it'll so up? But on this one? Ehh nah, its over.