Chuck Palahniuk – Ken Craft

Random Wisdom for Writers: Part Two

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Here are a few more gleanings from Chuck Palahniuk’s estimable “writer advice” book, Consider This. Yesterday’s post featured the first group of ideas that might make you better at the trade. Today, the final set. Enjoy!

“If you can identify the archetype your story depicts, you can more effectively fulfill the unconscious expectations of your reader.” — CP
Readers relate when authors tell what’s known as an “awful truth.” Imperfect characters making mistakes are a reader’s delight. For one, the reader feels, “I’m not alone,” and for two, the reader feels, “Better him than me. What a train wreck! I can’t take my eyes off this!”
Or, as CP puts it: “People love to see others suffer and lose.” (If it helps, think politics, 2020.)
“Great problems, not clever solutions, make great fiction.” — Ira Levin
Know the difference between a story’s horizontal and its vertical. “Horizontal” = sequence of plot points, whereas “vertical” = pausing to deepen risk and tension because it is a key scene worthy of extra details and action. Too much of one (particularly horizontal) over the other will lose your readers’ interest.
Your plot should have a metaphorical (or sometimes real) “clock” or “gun” that readers are aware of. These may disappear, but readers should, in the back of their minds, be worried about time running out or the threat of some weapon. There are many variations, but these “plot drivers” keep the writer honest and the reader on her toes. Think James Bond movies.
For tension, use unconventional conjunctions sometimes for a whitewater-rushing effect that carries the reader through a particularly suspenseful scene.
Tension can also be harnessed through the use of an object the author recycles throughout the plot. When it reappears, the reader says, “A-ha!” or becomes nervous and wary, or begins to sleuth a bit to figure matters out. Reappearing objects are tension devices.
Avoid tennis-match dialogue.
“Never resolve a threat until you raise a larger one.” — Ursula K. LeGuin
Do not use dialogue to further the plot.
No dreams! Ever.
“You don’t write to make friends.” — Joy Williams
To mix things up in a novel, change the setting. Take your characters on a “second-act road trip.”
Use joy and humor as occasional relief when the going gets rough or the plot gets particularly frightening or suspenseful.
It is OK to depict questionable behavior in a book. Just don’t endorse or condemn it. This is the reader’s task.
“Any time you deny a possibility, you create it at the same time.” — CP
“If you can’t be happy washing dishes, you can’t be happy.” — CP
One troika of character types frequently used by writers: a.) the character who follows orders, is shy and agreeable, is an all-around good boy or girl; b.) the rebel who bullies, breaks rules, brags; c.) the quiet, thoughtful one who often acts as narrator observing the conflict of the first two.
Do not let death resolve your story. Who do you think you are — Shakespeare?
Reject humdrum, believable material in favor of the actual wonders surrounding you in this world. This comes under the category of truth being stranger than fiction, so make those truths PART of your fiction.

Of course, there’s a lot of fleshing out of these ideas with examples from many books, so if the list piques your interest, pick up a copy of Palahniuk’s book.

Oh. And get yourself in a writer’s workshop group. Although Ken Kesey said, “All workshops suck at some point,” they do force you to write when it’s your turn to make copies and get critiqued.

Plus you learn from the writers around you—both better ones and worse ones.

Random Wisdom for Writers

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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.

Is That All There Is?

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Being a successful writer may not be the Shangri-La would-be writers think it is. In his fast-paced, anecdotal writer advice book, Consider This: Moments in My Writing Life after Which Everything Was Different, Chuck Palahniuk warns that true success depends on putting a new book out every year. Feed your demanding readers, in other words—or else.

Then he goes into a long story about Stephen King at a signing where the horror master suffered a bloody callus on his signing finger. He was getting bits of blood on the books he was autographing and asked a handler to fetch him some bandages.

No way, the fan behind the guy whose book was presently being signed shouted. He wanted the King’s ink and blood, too!

Turns out, so did the others in the serpentine line behind these two. Seemed everybody wanted that famous blood, thinking it would make their keepsake books not only better keeps but more valuable sakes. Thus, to avoid a mini-riot, the Master of Horror had to endure his own horror show of sorts, signing on in pain.

You guessed it, in Palahniuk’s book, book tours come off as decidedly less romantic than wannabe writers suppose, to the point where many stories have you muttering, “Is that all there is?”

If those words sound familiar, it’s because Peggy Lee sang the song in 1969.

It could be a theme song for writers. The thought came to mind this past week when I received a rejection from a small book publisher.

Think of it: You send five poems to a poetry journal with a reading fee of $3. Ten months later, you get a rejection and say, after the long wait, “Is that all there is?”

The book rejection seemed seven times worse. It cost $20 for the privilege of being read, but you know and I know that some editor reading a book of poetry knows within the first 5-10 poems whether she wants it or not, even if, in fairness, many poetry collections feature a whole that speaks volumes about their parts.

But, no. In this case it was, “Thanks for the 20 bucks, pal!” And for what? This publisher sent me a one-sentence (!) boiler plate rejection note, almost assuredly after having never read the manuscript in full.

Feedback, even in general terms? None whatsover. That would require I full reading. Instead, it was take the money in run, in broad daylight.

Is that all there is?

Even “success” brings this nagging question around. Got a book accepted and published? As a newbie, you get ridiculous delusions of grandeur. The book tours Palahniuk referred to. The huge sales sure to come. The inevitable demand for another book from your adoring legions.

Truth is, for 99% of writers, it’ll be but a few sales, and most of those to kind friends and family.

Is that all there is?

Palahniuk even shares stories of well-known writers like Ken Kesey doing readings for, wait for it, TWO readers, followed by none whatsoever at a second locale. That and readings where there three dozen people, but they only bought a sum total of three books.

Three.

One could well picture Kesey channeling Peggy Lee as he shuffled back to his hotel room, saying: Is that all there is?

Ah, well. There’s always the song for consolation. If you listen to it, the mood Peggy creates seems perfect for writers and poets who are learning the hard way. Success comes in many shades and, quite often, isn’t all it’s cracked up to be.

Alas.