| Them's Fightin' Words is a must have for the novelist | | | | actions and offers writers ways to connect them. |
| wanting to add fight scene drama and action to their | | | | Glenn takes writers from a verbal camera sweep to |
| manuscripts. Author Teel James Glenn pulls his vast | | | | the literary equivalent of a camera slowly tracking in to |
| fighting experience into this book. Readers benefit from | | | | a close-up over the course of a battle. Writing |
| his combat experience, including eastern martial arts, | | | | exercises at the close of each chapter challenge his |
| the physiology and kinetics of weight training and the | | | | readers to capture fighting moves on paper. Exercises |
| dramatic story telling from film and stage acting. For | | | | build upon one another and lay a foundation for writing |
| me, his expertise with edged weapons presents not | | | | effective, active and realistic swashbuckling scenes. |
| only techniques but also the attitude behind the fighting | | | | Readers learn how characters fight, and what attitude |
| mindset. It's a perfect resource for writers who don't | | | | means to understand who the characters are and |
| have a clue how to fight, but want to add fight scene | | | | how they fit into the story's world. |
| excitement to their fiction. | | | | Them's Fightin' Words offers a complete |
| Privileged to study under a number of great teachers, | | | | how-to-write-the-fight package for authors. The text |
| including Errol Flynn's last stunt double, Glenn became a | | | | carries the reader through the mechanics of what to |
| fight choreographer versed in the dynamics of action | | | | consider when adding an action sequence to a |
| acting. He takes that, plus his experience as a stunt | | | | manuscript. Does the fight scene move the plot along, |
| double, fencing master, and affiliate in The Society of | | | | serve as a diversion, or is it an emotional catharsis? |
| American Fight Directors, and he breaks fight scenes | | | | You'll have to read his book to learn the four main |
| down into elemental, easy to understand techniques | | | | reasons to write fight scenes. It takes the writer from |
| for writers to follow. | | | | the how to the why, and includes the appropriateness |
| The author teaches visual and physical aspects of | | | | of time, place and character within the setting. |