Violence as a side-dish. . .

[Cdre Bob Wesley]

. . .instead of a main course.

Most of Star Trek does not center around action-adventure, but rather problem solving. As a Narrator, what are some of the ways you have added action scenes within the main plot without making it all about the violence?

[C5]

I don't know if that is what you were looking for, but here are a few action scenes I had in my stories that did not involve (too much) violence:
- Chasing sequence on board a space stations (with lots of bystanders)
- The characters taking some time off relaxing and skiing in the holodeck (there was no malfunction, only some nice falls and one character asking the holodeck to add a yeti to make things more interesting)
- Characters on a diplomatic mission engaging in some exotic sport contest on a planet (for their own fun but also for some diplomatic purpose)

[selek]

Keep in mind that 'action' doesn't always mean 'mano a mano'.

It can also involve 'conflict' with the environment, deadlines, and other 'threats'.

The Narrator's Guide has some good insights on the four types of conflicts- all four can provide 'action' to your adventure, without turning it into mindless or endless combat.

Look at Raiders of the Lost Ark- the penultimate action movie.

In the first action scene, Indy had to deal with the booby traps- poison darts, falling rocks, the spike trap, and the rolling boulder. (Man versus Nature)

None of these was technically 'combat'- but it was exciting and action-packed and set the tone for the rest of the movie. These types of encounter qualify as 'action', but they're also very easy for the Narrator to define and compartment. They serve as momentary (and often lethal) challenges- but do not dominate or derail the adventure the way unbridled combat tends to.

Chases work well if done properly, but the prime ingredients you're looking for are tension and suspense. 'Action' scenes almost invariably involve physical challenges with direct and (often) immediate consequences for failure.

Another good example is the helicopter/limo scene from True Lies. Harry Tasker had to get Helen off the speeding limo before it crashed. Again, no 'enemy' insight, but it involved a variety of tests- skill tests for the chopper pilot, Strength checks for Harry and Agility checks for Helen herself. (Again, this is technically Man versus Nature).

It was also a self-contained event that affected, but did not dominate the entire film.
The death of the starship Kelvin and George Kirk in the AbramsAbomination qualifies as an action scene (and a Man versus Self conflict)- and was the most emotionally powerful in the movie.

Spock's sacrifice at the end of Wrath of Kahn fits the same bill, as does the Bird of Prey travelling back and forward in time in STIV- The Voyage Home.

Tension, suspense, an immediate danger, and very real consequences that hinge on the character's skill, attributes, courage, and integrity of the heroes are the essential ingredients to an 'action' scene. This is most readily expressed in Man versus Man conflict- but it can be expressed in any of the four conflict types.

Food for thought, anyway....