Too much of anything is not good for the whole. This goes for us as people, and it is true for plots. For a discussion point, we will discuss the plot of Star Wars.
When writing a space thriller, the reader wants action. A great fight scene can be a thrill a minute, but it must be paced. If the main character goes from one battle to the next with no interruption, the plot has no pace, and the plot has only one thread: the fight scene.
Think of the original Star Wars movie. This movie had everything that ever made a movie popular. It begins with ships that look like gray navy vessels from a World War II movie. Their deck guns even recoil like guns on battleships.
In a white hall, we have a short battle. With everyone in white garb, Darth enters. He is in black, taller than anyone there, has a deep rumbling voice, and breaths funny. We know he is the bad guy.
The movie switches point of view, and we have Luke mucking around the farm. The droids are introduced: an English butler for comic relief and a cute squeaky gizmo that always seems to have a level ramp for its tiny wheels. In this second world, we have a Princess Leia teaser via a tiny hologram. And let us not forget, we have Darth’s mirror character, the purring, all-wise Obi-Wan. The Force is introduced, and the lightsaber*. It’s a swashbuckler!
All that is really left to do is get Luke off the farm and introduce the rogue. Hans Solo comes in, the perfect definition of rogue, and he has a sasquatch sidekick to play foil to Hans’ dry commentary. There are momentary times when there is a shooting or an off-screen mass murder, but there have not been big battles for a space adventure. And don’t forget the love triangle. A love triangle never hurts a plot.
As the movie goes on, we have the death star and the hapless bad guys who drive it. All that is needed is swinging from ropes, sword fights, and fighter jets with good sounds. Of course, there is no sound in the vacuum of space, but the squealing of the dog fight adds to the fun. Explosions are pure white, blinding in a theater, and we have all we need for one of the most successful movies ever made. Luke lets Obi-Wan and the force help him put the bomb down the right tube, and the death star is no more. To ensure a sequel, Darth’s squealer ship spins out of control, but he twists the little knob, brings the ship right, and takes a deep breath.
Think about giving your plots several threads and mix the poignant with the “fight” scene. If you finish a dreary, depressing chapter, try for a little comic relief. It is called relief for a reason.
Teaching 6th-grade back in the day, it was pretty tough to convince the kids the lightsaber was not a lifesaver.
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