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