I saw some of Annouchka Bayley's early directing work, where she transformed Medea as a single-person performance, to a duo performance, all the way up to a full opera troupe.
Same story, same timeline of events, but completely different flavours of expression when working on a different scales. :D
Another approach is to use a specific piece of music as the notional soundtrack, which will define the rhythm of the action.
There's some really nice examples to be found with Kill Six Billion Demons, where the author mentions the pieces of music in the hover-text attached to the pictures. :D
@KitMuse@bookstodon@actuallyautistic@neurodiversity Most action is quite boring. Two people punching each other for more than a paragraph only works if something else happens at the same time. If it's confusing for you to write the scene, then it's way, way worse for your reader to follow.
I draw maps of the scene. Place people in it, & work out their interactions. Your instinct to get out your miniatures is a great idea.
Once you have it present like that, it's a lot easier to describe.
@angiebaby@bookstodon@actuallyautistic@neurodiversity I have a lot of introspection in mine, and I realized today that where my brain is right now I'm doing much better with cozy, magic action vs. bad guys action. Makes me wonder if I were in a place where my mental health were better and I had more mental bandwidth if I couldn't do those stories more justice.
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