Random Wisdom for Writers

When it comes to reading how-to books on writing, I always make sure the author is a success him- or herself before diving in. If it’s an unknown, you’re left to ask, “If this chump knows so much about writing the world’s great novels, why isn’t he doing it himself?”

Chuck Palahniuk’s book, Consider This, certainly fills the bill, though highbrows might sniff because he writes for the masses more than posterity. I’ve read only Fight Club, but I knew  he was prolific, so I picked it up and began reading.

When I read books like this, I like to highlight random pieces of advice or quotes. This book offers a rich trove and so might be worth your while. Granted, it focuses on novel and short story writing, but writing advice is writing advice, and there is always cross-pollination when it comes to effectively working among the genres.

Here’s a sampling:

• There are three types of communication: description, instruction, exclamation (through onomatopoeia).
• Little voice trumps big voice. “Little voice” refers to moment by moment events, facts, objective information. “Big voice” refers to musing, meaning, a character’s subjective take. Keep big-voice philosophizing to a minimum.
• “Action carries its own authority” — Thom Jones
• Use physical action as a form of attribution.
• Use actions and gestures that go against the words a character says. The contrast can speak volumes.
• “Dialogue is your weakest story-telling tool.” — C.P.
• Keep a journal of people’s sayings, tics, gestures. Embed them in your writing.
• Use lists now and then to break up the action. Readers love lists, for some reason.
• Make up rules like little kids do when they play games. Home base. Poison patch. Time limits. Requirements. Exceptions. Author Barry Hannah says, “Readers love that shit.”
• Put your dialogue in quotes, use attribution (readers skip over “he says, she says,” so don’t worry about variations so much), and embed gestures with the attribution.
• Avoid Latin words, abstractions, received text.
• If you get the small stuff right and use it up front, you can get away from some pretty crazy stuff after the fact because you’ve bought the readers’ confidence (or impressed the hell out of them).
• Use your own magical aphorism early on and win the readers’ hearts. Think Ben Franklin’s Poor Richard’s Almanac. It sold like hot cakes.
• Answer these questions about your protagonist before you start: “Who’s telling this? Where are they telling it? Why are they telling it?”
• Do not write to be liked. Write to be remembered.
• Write from within character. Instead of writing “He was 6 feet, 6 inches tall,” a character might say, “He was too tall to kiss.”
• Write via the characters’ experiences and descriptions.
• Don’t be afraid to be outlandish, provocative, challenging.
• Subvert the readers’ expectations. They’ll love you for it.
• “No two people ever walk into the same room,” said Katherine Dunn. Think of that the next time you describe a room or tackle any setting, especially with point of view in mind.
• Answer these questions before beginning or continuing your writing project: “What strategy has your character chosen for success in life?” What education/experiences does he bring? Will he be able to adopt to a new strategy or dream?”
• “Going on the body” means describing through the five senses. Make your readers experience the senses your characters do.

Of course, Palahniuk expands on all of this and makes it much more entertaining with anecdotes, but some of this gives you an idea of wisdom he’s gleaned from the writers’ workshops he’s attended and from writers he’s met along the way.

My next post will offer Part Two of CP’s pearls of wisdom.