Fiction · Genre 1
Our action adventure ghostwriting services give you a professional novelist who turns your premise into a finished, fast-moving book under your name. You supply the hero, the hook and the stakes. We supply the chapters, the set pieces and the stamina.
Every stage, handled by people who read and work in the genre. Choose one service or let us manage the whole journey.
You keep the credit, the copyright and every royalty, and the contract says so in plain language. Our wider ghostwriting services cover every kind of book, but this page is for people with a chase, a mission or an escape plan already rattling around in their head and no free year to type it out. Get a free consultation and tell us how your story starts.
An action adventure novel is fiction in which physical danger drives the plot and a capable protagonist keeps moving toward a goal despite it. Pages turn because something is always at risk: a life, a deadline, a stolen object, a border that closes at dawn.
That makes it a cousin of the thriller, though the emphasis differs. Where a thriller leans on suspicion and dread, action fiction leans on motion and consequence. The reader should be able to picture where everyone is standing and feel what each decision costs.
Adventure adds a sense of place and discovery: a jungle, a ship, a mountain pass, a city the hero does not know. Put the two together and you get the book people read on a plane and finish before landing. It is also a genre that rewards series, since readers who love one hero will happily follow him or her into the next crisis.
Action fiction is broad, and readers shop by lane. Most projects fall into one of four. Each has its own vocabulary and its own readers, so we match the writer to the lane rather than the other way around.
Squads, ranks and operations that go wrong halfway through. We keep unit structure and equipment plausible without drowning the story in jargon, so civilians can follow it and veterans do not wince. Chain of command, weapons handling and the fog of a bad plan all get a light, believable touch.
Double agents, dead drops and a handler who may not be on your side. These books depend on information: who knows what, and when the reader finds out. We plot the reveals first and write the chases around them.
One person, or a small group, against weather, terrain and their own limits. The environment is a character here, so geography, water, food and fatigue get real attention. Readers forgive a lot, but not a hero who forgets he has not eaten in three days.
A crew, a target and a plan that must visibly fail before it succeeds. We plant the pieces early so the final reveal feels clever and fair. The crew gets distinct voices, because a heist is also a group portrait. Humor helps here, and a little of it goes a long way.
People who buy action novels are impatient in a good way. They want to be in motion by the end of chapter one, and they notice quickly when a scene stalls.
Chapters stay short and end on a question or a turn. Set pieces escalate instead of repeating, so the third fight cannot just be the first fight with different scenery. The hero must be competent, but never safe: victories should cost something, and the antagonist needs real power over the plot.
Readers also want clarity. A reader who loses track of who is where during a chase stops enjoying it. We draft action sequences in plain, concrete verbs and check each one against a simple map of the space.
Dialogue stays lean. People under pressure do not give speeches, and a line that sounds like an announcement usually belongs in the cut pile. Backstory arrives in short pieces, usually one or two lines at a time, dropped into the quiet moments between scenes, never stacked up in front of the action.
Finally, there is the payoff. A big ending that ignores the promises of the opening feels like a cheat, so we plan the last act before the first draft begins.
Along the way, your project manager is the single point of contact. They keep the schedule, pass your notes to the writer and reply within one business day, so you never chase anyone.
Our fiction and series tier starts from $14,900 and covers a manuscript of up to 80,000 words. The final fixed quote depends on scope, including length, how much plot you bring, and whether you want a sequel planned alongside book one.
The quote is written down before work starts and split into milestones, with no hidden fees. See the full breakdown on our pricing page, or ask for a free consultation to price your specific book. If your manuscript is already drafted and only needs polish, editing is billed per word instead, which is usually far lower.
Action covers sell in a thumbnail: one strong figure, bold type, a color mood that says danger. Our designers handle that through book cover design services, and our book publishing services take the finished manuscript to print and ebook with your ISBN registered in your name. A typical full publishing timeline runs 4 to 8 weeks. Series authors can ask for matching covers from the start, so book two does not look like a stranger on the shelf.
Your rights and your privacy are settled before the first scene is drafted. A signed NDA is in place before work begins, and rights to the manuscript transfer to you on delivery, confirmed in writing at the start of the project. If a release date is fixed, ask about a faster schedule, because rush options come at an additional fee quoted up front.
Fiction ghostwriting at Small Press Distribution starts from $14,900 for up to 80,000 words. Longer books, series planning or heavy research change the quote, and you will see the fixed figure in writing before we begin. Editing and publishing are separate, optional services.
A full-length action adventure novel of 60,000 to 90,000 words typically takes 12 to 18 weeks to ghostwrite. That estimate assumes you give prompt feedback at each milestone, and your quote lists the milestone dates. Rush schedules are available for an additional fee, quoted up front.
Yes. We can plan a series arc, keep a continuity sheet for characters and timelines, and quote each book separately so you can commit one at a time. Many authors start with book one and decide on the sequel once they see the draft.
Your writer signs a confidentiality agreement before work starts. Your plot, your notes and the fact that you hired help stay private. The contract also confirms you hold the copyright.
No. A single paragraph is enough to start. We build the outline with you and nothing moves forward until you approve it. Notes, character sketches and even a playlist of the scenes you imagine all help. The more you share, the closer the first draft lands.
If you have a hero and a problem worth running toward, our action adventure ghostwriting services can get the book written. Get a free consultation or submit your manuscript if you already have pages. Browse all the genres we write.
Before you sign with anyone, it is worth reading the contract advice from the Authors Guild, checking how U.S. Copyright Office rules treat authorship, and seeing what readers expect from the International Thriller Writers community.
Free consultation
Every enquiry is read by a publishing consultant, not a sales script. You'll get an honest view of your project, a recommended route and a fixed written quote.
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