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Tossing aside all the bigger philosophy, here’s my attack: make sure every action sequence has a separate goal within the sequence which might legitimately suceed or fail with derailing the movie. Slap a little suspense beat down as your seed, then let your action sequence arrive from the a.) circumstances surrounding the goal or b.) choices of the character.

You can stop reading now, if you just take this away: Don’t write action sequences. Write suspense sequences that require action to resolve.