Basically, the reason I glossed over it in the first place is because I couldn't think how to write a compelling, action-packed spaceship fight scene. So all I do is say that the attack ship disabled the cruise ship. As I read it, I have to agree that it is rushed. The story is light and comical at times, but I don't want to smell like ripe limburger cheese!
Any tips on writing non-cheesy action?
If the piece is leaning toward the light and comical, you can't go wrong by learning from the example of Douglas Adams. Take a look at "So Long and Thanks for All the Fish", Chapter 19. Brief description of actual action (only one paragraph), but plenty of tension building up to it, and a result that can be inferred from Ford's reaction--or at least we can believe that the result will be given later.
Don't know if that'll help any. I just read that chapter last night.
[This message has been edited by djvdakota (edited October 28, 2004).]
This is what I'd do:
Describe how they approach each other -- is one trying to get away? Do they twist and turn to avoid the weapons, or just run straight away as fast as they can?
Work out what kind of weapons and defenses your two ships have (missiles and decoys, energy weapons, mass drivers?). Depending on what POV you're using, you can show that attacking ship's captain ordering her to fire those weapons. Depending on the type of weapon there might be a noticeable delay before it has any effect. Then briefly describe the effect they have, what exact damage is done (perhaps as a report from one of the ship's officers). Then state that the other ship is disabled.
You probably want to show this as fast paced. The key to this is very sparse description -- having no adjectives or adverbs is ideal.
There are of course other ways of doing it, but this kind of approach seems best to me.
Lest that seem terribly mysterious, let me explain. I'm basically reiterating what everyone else just said, with an emphasis on something that we assume about action sequences but sometimes forget while writing. When you write an action sequence, you should have a clear idea of what takes place, then work to describe that. You have to avoid just stringing together "action sentances" and hoping they make up a scene.
In other words, don't worry about whether the fight scene will be "packed with compelling action". That causes you to focus on the word-craft of the scene when the real problem is that you haven't worked out what actually happens. Thus the attempt to write exciting action often defeats itself. You should concern yourself with writing a scene that makes sense first. Sense will lend meaning, meaning will bring emotional impact.