In this episode, we take a look at writing advice from Chuck Palahniuk. Can his approach to storytelling help you craft more immersive scenes, or is it too restrictive for your taste?
If you have plot bunnies coming out of your plot holes, it’s time for a writing break.
I’m so glad to be back with you again. I don’t know about you, but I don’t get my bearings in the new year until about mid-January. As promised, we’re starting with a controversial piece of writing advice from a well-known author. This episode might make you a better writer, so hang tight.
The Writing Break cafe is open, and I need coffee, so let’s head inside to the Overthinking Couch.
In:
“In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward – at least for the next half year – you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
The list should also include: Loves and Hates.
…
You can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “The mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.”
You’ll have to say: “Between classes, Gwen was always leaned on his locker when he’d go to open it. She’d roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her ass. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
…
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail. Present each piece of evidence. For example:
“During role call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout: ‘Butt Wipe,” just as Tom was saying, ‘Here’.”
…
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remember[ed] how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast. Get them together and get the action started. Let their actions and words show their thoughts. You -- stay out of their heads.”
Like I said, this is an abridged version, and you can find a link to the full version in the show notes. In it, he goes on to say you should avoid “is” and “have” and you should never leave your characters alone. He also goes on to call writers who don’t adhere to this writing style lazy.
Now, when I first found this article, there were many comments by irate authors that basically said the same thing, which is, that works for you, but that’s now how I do it. And I see their point. My favorite writer is Ernest Hemingway, and he leaves so much unsaid, yet no one breaks my heart with fewer words than Hemingway.
But Hemingway, Palahniuk, and every other commercially successful author believed in rewriting. So, whether or not this writing advice resonated with you, why not give it a try? Rewrite a few pages of your current manuscript and see how you like it. While some might find Palahniuk too wordy, and others might hate Hemingway, remember that they were able to find their audience by writing how they wanted to write. So, if you try it, and you don’t think it’s an improvement, chuck it.
And never forget what Hemingway would tell himself when he got stuck,“All you have to do is write one true sentence. Write the truest sentence that you know.”
Until next time, thank you so much for listening, and remember, you deserved this break.
If you would like us to visit your favorite independent bookstore, feature your favorite independent author (even if it’s you), or discuss something you’re overthinking about, please email me at podcast@writingbreak.com.
Thank you for making space in your mind for The Muse today.
Writing Break is hosted by America’s Editor and produced by Allon Media with technical direction by Gus Aviles. Visit us at writingbreak.com or contact us at podcast@writingbreak.com.