Summary of Chuck Palahniuk's Consider This

Everest Media

Description

Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 I signed copies of my book at 23rd Avenue Books in Portland, Oregon, in August 1996. Bob warned me that if I wanted to make a career out of writing, I’d need to release a new book every year. He said readers liked short sentences.

Sujets

• Style Manuals
• Disciplines
• Language Arts
• Lettres et linguistique

Informations

• Publié par: Everest Media LLC
• Date de parution: 03 mai 2022
• Nombre de lectures: 0
• EAN13: 9781669399483
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Insights on Chuck Palahniuk's Consider This
Contents Insights from Chapter 1 Insights from Chapter 2 Insights from Chapter 3 Insights from Chapter 4 Insights from Chapter 5 Insights from Chapter 6 Insights from Chapter 7 Insights from Chapter 8 Insights from Chapter 9 Insights from Chapter 10 Insights from Chapter 11
Insights from Chapter 1

#1

I signed copies of my book at 23rd Avenue Books in Portland, Oregon, in August 1996. Bob warned me that if I wanted to make a career out of writing, I’d need to release a new book every year. He said readers liked short sentences.
Insights from Chapter 2

#1

When writing a story, consider mixing any or all of the following: words, images, sounds, and emotions. The more music you have to sample from, the more likely you’ll keep your audience dancing.

#2

All fiction consists of only description, but good storytelling can mix all three forms. For instance, A man walks into a bar and orders a margarita. Easy enough. Mix three parts tequila and two parts triple sec with one part lime juice, and pour it over ice.

#3

We constantly switch between first-, second-, and third-person points of view in conversation. The shift controls the intimacy and authority of our story. We must ultimately tell our stories in first person, but we can use all three POVs to control pace and authority.

#4

The voice of little voice is the objective description of the scene. The voice of big voice is the character’s subjective interpretation of the events. Not many stories exist without both voices.

#5

Big voice is used to set a scene or comment on a plot event. It is best used sparingly, and should not be used to preach or explain how the reader should react. It should be used to imply time passing and to buffer between scenes with lots of physical action.

#6

Use attribution to make sure your reader knows who said what. It is important to avoid making your reader feel foolish by having characters exchange long, unattributed speeches.

#7

The most powerful tool in your toolbox is dialogue. However, dialogue is your weakest storytelling tool. It is difficult to write and difficult to read.

#8

We need something to hide the seam between topics. A bland sorbet can’t do it, so people say, Let’s agree to disagree or Other than that, Mrs. Lincoln, how did you like the play. These phrases create a chorus that allows people to think beyond each new drama, thus moving the story forward and allowing unresolved issues to pile up and increase tension.

#9

Placeholders are a method of coping with impasse that can be used in both film and fiction. They reinforce our group identity, and they can be used to quickly move between shifts in prose just as easily as jump cuts move a viewer through a film.