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Mac on 07 Jan at A action story that rolls from one Punisher-esque action sequence to another will probably get pretty tedious. If the story is in third-person narration, you could also focus a chapter on a few of the villains. How do they react to someone new waltzing in and blowing up their stuff? Where do they begin looking for him? Over the course of the book, it will probably be most dramatic if the gangs start an inept, bumbling hunt for him and only gradually begin to put it together.
Or actually a group of people. One way to ratchet up the tension is that they narrowly get closer and closer to discovering who he really is. He probably lives nearby. David on 07 Jan at 1: How long are novels usually and how do you do chapters? Holliequ on 07 Jan at 1: Books for younger audiences can be 50, words and under, but I think older readers expect a longer work than that. I think my average is about 1, words.
Mac on 07 Jan at 3: However, the manuscript itself will probably be slightly longer to compensate for what the publisher will edit out. Could you clarify that a bit? What sort of information are you looking for? Like he stumbled his way home and what do you know, the elevator is out. So he remembered the night in great detail as he made his way up.
And like on the third floor, he passed out as his roommate helped him up the stairs. He will go out and take down a dealer. In return for mercy, the dealer tells Vir that the boss is going to meet his brother in Surry. Vir will follow them, hide in the darkness, follow them some more and then blow up their weapons stash. I think that sounds good. Out of 65 chapters, 13 are told in third person where Amy-Belle is the central character, but I may lengthen those or add more where I can.
After all, Isaac getting blackmailed is one of the main plots in the book. Let me know if you have any questions. My main character has to go on a vigilante spree fighting drug dealers for a bit before he does anything else significant. I need to expand on him more.
Do I go into specific, like a play by play of maybe chapters about each time he goes beating people up and expanding on his character each time? Or should I do a quick summary maybe 2 pages? I like the first one better, since it has more detail. Like how he experiments with a cape, tries fighting with a knife, tries a different outfit, etc.
Of course he chooses to save the girl, but still. Mac on 31 Jan at 4: The main advantage of your novel is that you have the ability to draw out scenes more.
Also, I think that getting up to 60, words about as short as a novel for older readers can go is going to be hard for this work, so fleshing out scenes is a good place to start. Physically, he has increased speed, strength, durability, agility, healing and senses. Mentally, he has supercomputer intelligence and psychometry. He was created to be a superweapon.
He originally grows up paralyzed in a wealthy circle. His parents split up. The mother runs out and abandons her son and husband. And an very wealthy manipulating uncle acts as a mentor surrogate father. All the while, he has maintained a high-stakes political and military career in defense and technological innovations.
The uncle is the Secretary of Defense.
The uncle is my starting villain. His luck turned him into a greedy, calculating, power hungry, mad man secretly plotting world domination. With all the government funding, his father made many breakthroughs.
The father is held by guilt… he feels he owes his brother an unpayable debt for being there when his wife left. Does the origin seem plausible? Should I make it a secret government recruiting project, where they take soldiers to undergo testing… eventually funding is pulled when early testing fails, due to a rare miscalculation by the father. The father is pressured by the uncle to continue on schedule, and speed up development.
When funding is pulled the uncle spends his own money to continue anyway, and in a even secreter location set up as a fail safe. The father then stumbles upon an epiphany, and grants superhuman abilities to those he experiments on. The uncle idealized his nephew being the ultimate failsafe weapon. Implanted with nano technology, and a super computer chip fused with his cerebral cortex, the part of the brain responsible for feeling and thought… with his army of super humans the uncle wants to become president.
The lab needed an abnormal amount of electrical power to start the process for the son. When the lab comes to life the continent of North America blacks out for a few seconds before the son can show signs of movement.
Meanwhile, during the blackout, some of the other test subjects break loose and fight their way to freedom. He breaks loose, the uncle escapes and the son tends to his dying father… What do you think so far?
Mac on 18 Feb at 8: Can you give me some time to think about this? This story is set in the future. Mac on 18 Feb at Dean on 29 Apr at 8: Mac on 29 Apr at That is a good question, Dean. I will think more about it.
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In the meantime, here are a few suggestions. For example, both Spiderman and Fantastic Four drew so much ridicule for their Spider-Car and Fantasticar that even they ended up making fun of the names. For example, the latest Batman movie never names the Batmobile. That will make it feel more serious. This last job would probably be best for someone with forcefields, wind-control, telekinesis, or a power that can tear up debris to make a wall.
Fight scenes in cars are usually most interesting in close spaces. That will make the fight more challenging, which will force your driver to try interesting stunts to get around obstacles. Cities are quite good for this. One is the ability to split into separate parts for each teammate a la Teen Titans. Second is the ability to change terrains from air to ground to underwater, etc. That could be really useful if you have an aquatic or aerial battle in mind.
I guess I still have nightmares from that TMNT bomb level where you have to swim through the lake and get butchered by electric seaweed. Yogi on 30 Apr at 6: How can I show him falling into a trap that the reader knows about without making him look stupid? Some superheroes, like Batman, rely on tools like grappling guns, body armor and hearing devices rather than unknown origins. Mac on 01 May at 1: I would really recommend showing that he triggers the trap not because he is incompetent, but because his villain is in this situation more competent.
For example, his antagonist sets up an urgent crisis that forces the hero to move faster and less carefully than he normally does. The hero probably tries to adjust to the new conditions in an intelligent way, but the villain was just too well-prepared. What kind of trap are you thinking about?
Where is it sprung and what brings the hero there? You describe the two characters here as a hero and an antihero. Is the antihero the main antagonist of the piece? I like your suggestion about superhero gadgets.
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David on 01 May at 6: David, thanks for your thoughts. I will keep them in mind. Now, I used to be good at writing stories and creating all kinds of things. So, anyway… Some special features of DVDs have a storyboard feature that goes through the storyboard of a scene with the sound effects added, etc.