The phrase "action writer" is correct and usable in written English.
It can be used to describe a writer who specializes in creating action-oriented content, such as screenplays, novels, or scripts that focus on dynamic and thrilling sequences.
Example: "As an action writer, I strive to create gripping scenes that keep readers on the edge of their seats."
Alternatives: "action author" or "thriller writer".
Shane Black is the veteran action writer-director who gave us the cult hit Kiss Kiss Bang Bang in 2005 and hit serious paydirt with Iron Man 3. His new film is a comedy crime noir set in 70s LA, and features the mouthwatering pairing of Russell Crowe and Ryan Gosling: they are a private detective and his associate who investigate the death of a porn star.
Because animation is less rule-bound than live action, writers can use the kind of shtick that would seem preposterous on film, even if it could be executed.
And once the urge to explain has been conquered, other hazards await: overuse of research (male action writers are especially prone wherever guns are involved), overt signposting for readers assumed to be too dim to make the necessary connections (they are not) and didactic dialogue.
Over at the website Talk to Action, writers have covered this story for years, including Richard Bartholomew, Chris Rodda, Rachel Tabachnick, Bruce Wilson, Eileen Fleming, and Fred Clarkson-- find the posts by clicking here.
Maybe most significantly, those producers hired some veteran action writers, including Mark Bomback and Akiva Goldsman, who have a raft of experience with these kinds of set-piece-y movies.
I don't want to go Snowden all over the White House but soon after September 11 , 2001 the federal government and the Defense Department went to Hollywood action writers for help in brainstorming fictional terrorist plots against American targets.
Not sure if that lead to the fictional rational for invading Iraq but I believe it's high time we revisit the writers' creativity, but instead of action writers, this time we should be calling in comedy writers, leaving no Shecky, Lenny or Galifianakis unturned.
As 1934 made clear, Sinclair was a man of action, a writer who longed to act out his own dogma.
Mixing mischievous animation with quirky live action, the writer and director, Emily Hubley, transforms a conventional drama of loss and healing into an experimental jaunt through a surreal weekend in New York.
With full approval of the action, the writer observes: "a measure which, there is every reason to believe, had the best effect, as the corps behaved during the subsequent siege with the greatest steadiness and propriety".
