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Consider This: Moments in My Writing Life After Which Everything Was Different
Renowned, bestselling novelist Chuck Palahniuk takes us behind the scenes of the writing life, with postcards from decades on the road and incredible examination of the power of fiction and the art of storytelling.
In this spellbinding blend of memoir and insight, bestselling author Chuck Palahniuk shares stories and generous advice on what makes writing powerful and what makes for powerful writing.
With advice grounded in years of careful study and a keenly observed life, Palahniuk combines practical advice and concrete examples from beloved classics, his own books, and a "kitchen-table MFA" culled from an evolving circle of beloved authors and artists, with anecdotes, postcards from the road, and much more.
Clear-eyed, sensitive, illuminating, and knowledgeable, Consider This is Palahniuk's love letter to stories and storytellers, booksellers and books themselves. Consider it a classic in the making.
257 pages, Kindle Edition
First published January 7, 2020
789 people are currently reading
15046 people want to read
About the author
Chuck Palahniuk
168 books132k followersWritten in stolen moments under truck chassis and on park benches to a soundtrack of The Downward Spiral and Pablo Honey, Fight Club came into existence. The adaptation of Fight Club was a flop at the box office, but achieved cult status on DVD. The film’s popularity drove sales of the novel. Chuck put out two novels in 1999, Survivor and Invisible Monsters. Choke, published in 2001, became Chuck’s first New York Times bestseller. Chuck’s work has always been infused with personal experience, and his next novel, Lullaby, was no exception. Chuck credits writing Lullaby with helping him cope with the tragic death of his father. Diary and the non-fiction guide to Portland, Fugitives and Refugees, were released in 2003. While on the road in support of Diary, Chuck began reading a short story entitled 'Guts,' which would eventually become part of the novel Haunted.
In the years that followed, he continued to write, publishing the bestselling Rant, Snuff, Pygmy, Tell-All, a 'remix' of Invisible Monsters, Damned, and most recently, Doomed.
Chuck also enjoys giving back to his fans, and teaching the art of storytelling has been an important part of that. In 2004, Chuck began submitting essays to ChuckPalahniuk.net on the craft of writing. These were 'How To' pieces, straight out of Chuck's personal bag of tricks, based on the tenants of minimalism he learned from Tom Spanbauer. Every month, a “Homework Assignment” would accompany the lesson, so Workshop members could apply what they had learned. (all 36 of these essays can currently be found on The Cult's sister-site, LitReactor.com).
Then, in 2009, Chuck increased his involvement by committing to read and review a selection of fan-written stories each month. The best stories are currently set to be published in Burnt Tongues, a forthcoming anthology, with an introduction written by Chuck himself.
His next novel, Beautiful You, is due out in October 2014.
In the years that followed, he continued to write, publishing the bestselling Rant, Snuff, Pygmy, Tell-All, a 'remix' of Invisible Monsters, Damned, and most recently, Doomed.
Chuck also enjoys giving back to his fans, and teaching the art of storytelling has been an important part of that. In 2004, Chuck began submitting essays to ChuckPalahniuk.net on the craft of writing. These were 'How To' pieces, straight out of Chuck's personal bag of tricks, based on the tenants of minimalism he learned from Tom Spanbauer. Every month, a “Homework Assignment” would accompany the lesson, so Workshop members could apply what they had learned. (all 36 of these essays can currently be found on The Cult's sister-site, LitReactor.com).
Then, in 2009, Chuck increased his involvement by committing to read and review a selection of fan-written stories each month. The best stories are currently set to be published in Burnt Tongues, a forthcoming anthology, with an introduction written by Chuck himself.
His next novel, Beautiful You, is due out in October 2014.
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Displaying 1 - 30 of 906 reviews
May 14, 2024
I've read plenty of texts on 'how to write a book.' Typically, they're a mix of the author's reminiscences about their early publications along with advice like, 'try writing in a café - it's terribly inspiring,' and other similar maxims.
Consider This by Chuck Palahniuk is one of the few books of this kind that's genuinely interesting. He provides well-formulated, practical advice, sprinkling the text with anecdotes from his life. I first encountered these notes on Palahniuk's podcasts on his website about ten years ago. If I recall correctly, there were 36 essays on literary craftsmanship. So when I saw this book, I immediately recognized that it was exactly what I had encountered before – reworked, compiled into one text, and published.
Read, write good texts, and publish them.
Ru: Текстов из разряда «как написать книгу» я прочитал множество. Обычно, это смесь воспоминаний о первых публикациях автора с советами, типа: «попробуйте писать в кафе - это ужасно вдохновляет» и другими подобными сентенциями
«На затравку» Чака Паланика , одна из немногих, действительно интересных книг подобного рода. Паланик даёт хорошо сформулированные, практические советы, слегка разбавляя текст историями из жизни. Впервые эти заметки я читал в англоязычном варианте в подкастах Паланика на его сайте около десяти лет назад. Если не ошибаюсь, там было 36 эссе о литературном мастерстве. Всё находилось в свободном доступе но, к сожалению, на русский язык не переводилось. И когда я увидел эту книгу, то сразу понял, что это ОНО, переведено, переработано, свёрстано в один текст, издано.
Читайте, пишите хорошие тексты, публикуйтесь.
Consider This by Chuck Palahniuk is one of the few books of this kind that's genuinely interesting. He provides well-formulated, practical advice, sprinkling the text with anecdotes from his life. I first encountered these notes on Palahniuk's podcasts on his website about ten years ago. If I recall correctly, there were 36 essays on literary craftsmanship. So when I saw this book, I immediately recognized that it was exactly what I had encountered before – reworked, compiled into one text, and published.
Read, write good texts, and publish them.
Ru: Текстов из разряда «как написать книгу» я прочитал множество. Обычно, это смесь воспоминаний о первых публикациях автора с советами, типа: «попробуйте писать в кафе - это ужасно вдохновляет» и другими подобными сентенциями
«На затравку» Чака Паланика , одна из немногих, действительно интересных книг подобного рода. Паланик даёт хорошо сформулированные, практические советы, слегка разбавляя текст историями из жизни. Впервые эти заметки я читал в англоязычном варианте в подкастах Паланика на его сайте около десяти лет назад. Если не ошибаюсь, там было 36 эссе о литературном мастерстве. Всё находилось в свободном доступе но, к сожалению, на русский язык не переводилось. И когда я увидел эту книгу, то сразу понял, что это ОНО, переведено, переработано, свёрстано в один текст, издано.
Читайте, пишите хорошие тексты, публикуйтесь.
January 26, 2020
1. Recommended for: Minimalists and/or Palahniuk fans, but you needn't be either to appreciate it, if you ask me.
2. The last time I highlighted a book as much as I did this one, it was Steven Pressfield's The War of Art, which I highlighted so heavily that my Kindle started crashing every time. Worth it; it's one of the books I'm just perpetually reading now, starting over again as soon as I finish.
3. YMMV, of course, but for me...
Okay so sometimes I find a writing book written by someone whose only other book is, like, 1,001 Recipes for Delicious Organic Ho-Made Hot Dogs and so I'm like, "Who cares what you think, Big Phone?" but then I read it and it's great. Other times I read it and then I don't even want to try their hot dog recipes.
And then sometimes I find a writing book written by someone whose name I recognize (at least) but then I read it and it's like, "I trusted you, baldy!" and if I've read and enjoyed their books, I wonder how that's possible, and if I haven't, I don't want to no mores.
I'm not a Minimalist, but I'm a longtime Palahniuk fan, and I've read his advice before, so I was super-duper bigstyle excited when I learned that this book was on the way. By this I mean, I'm not a millionaire either, but I bought the ebook and the hardcover on release day, I was so convinced that I'd enjoy it.
And I did, Okay, I really did. Because:
a) For various reasons, I don't have a support system as a writer, so it's always a flat-out relief to find a writing book that makes me feel like I'm having that sort of a conversation with someone; and
b) Because regardless of your style, genre etc., Chuck Palahniuk gives incredible advice: frank, solid, unpretentious, and with absolutely no agenda other than improving your work; and
c) He includes a number of genuinely interesting, original anecdotes, not just of his own, but also that he's collected here and there, over the years; and
d) He's confident without being arrogant.
That's--I was raised up to believe the ugliest thing you can do in your life is toot your own horn, like to the point where now I feel almost pathological revulsion whenever I encounter anyone who comes right out and takes credit for anything.
That is a real thing in my life, and yet, numerous times in this book, Palahniuk refers to his own work as a good example of this or that, recommends it for same, and yet, never once did I think Jesus Christ, dude, get your dick outta your heart. I just admired him for it.
And that's not because I'm a fan, okay, when Clive Barker insisted on calling his genre "fantastique" I was like "Come the fuck on, dude," and I idolize that guy.
All Palahniuk cares about is writing stories that people will enjoy reading, stories that will connect with them, be remembered. He doesn't care about the writer, or sales, or fame, or any of that. Not deep down. And he doesn't present that philosophy in a way that's discouraging to people who do care about all of it, nor scornful.
Just... here is what I think, and if you don't agree... you're the one who asked him, dingus. Asked him instead of the hot dogs person.
So.
2. The last time I highlighted a book as much as I did this one, it was Steven Pressfield's The War of Art, which I highlighted so heavily that my Kindle started crashing every time. Worth it; it's one of the books I'm just perpetually reading now, starting over again as soon as I finish.
3. YMMV, of course, but for me...
Okay so sometimes I find a writing book written by someone whose only other book is, like, 1,001 Recipes for Delicious Organic Ho-Made Hot Dogs and so I'm like, "Who cares what you think, Big Phone?" but then I read it and it's great. Other times I read it and then I don't even want to try their hot dog recipes.
And then sometimes I find a writing book written by someone whose name I recognize (at least) but then I read it and it's like, "I trusted you, baldy!" and if I've read and enjoyed their books, I wonder how that's possible, and if I haven't, I don't want to no mores.
I'm not a Minimalist, but I'm a longtime Palahniuk fan, and I've read his advice before, so I was super-duper bigstyle excited when I learned that this book was on the way. By this I mean, I'm not a millionaire either, but I bought the ebook and the hardcover on release day, I was so convinced that I'd enjoy it.
And I did, Okay, I really did. Because:
a) For various reasons, I don't have a support system as a writer, so it's always a flat-out relief to find a writing book that makes me feel like I'm having that sort of a conversation with someone; and
b) Because regardless of your style, genre etc., Chuck Palahniuk gives incredible advice: frank, solid, unpretentious, and with absolutely no agenda other than improving your work; and
c) He includes a number of genuinely interesting, original anecdotes, not just of his own, but also that he's collected here and there, over the years; and
d) He's confident without being arrogant.
That's--I was raised up to believe the ugliest thing you can do in your life is toot your own horn, like to the point where now I feel almost pathological revulsion whenever I encounter anyone who comes right out and takes credit for anything.
That is a real thing in my life, and yet, numerous times in this book, Palahniuk refers to his own work as a good example of this or that, recommends it for same, and yet, never once did I think Jesus Christ, dude, get your dick outta your heart. I just admired him for it.
And that's not because I'm a fan, okay, when Clive Barker insisted on calling his genre "fantastique" I was like "Come the fuck on, dude," and I idolize that guy.
All Palahniuk cares about is writing stories that people will enjoy reading, stories that will connect with them, be remembered. He doesn't care about the writer, or sales, or fame, or any of that. Not deep down. And he doesn't present that philosophy in a way that's discouraging to people who do care about all of it, nor scornful.
Just... here is what I think, and if you don't agree... you're the one who asked him, dingus. Asked him instead of the hot dogs person.
So.
November 29, 2020
A lot of practical advice and first hand anecdotes by one of the most fascinating authors alive today.
He offers some rules for writers to follow while keeping the reader engaged with tales of his personal writing journey.
He offers some rules for writers to follow while keeping the reader engaged with tales of his personal writing journey.
February 11, 2020
I've only read one Palahniuk book (Fight Club) and this, like that, is one fast-moving vehicle, which you might not expect from a writing advice book.
On that point, it scores high marks, especially the first half of the book, where advice, some of it unconventional, comes fast and furious after the repetitive device of "If you were my student, I'd tell you...."
A lot of this is insider information. A veteran of writing groups, CP shares advice he learned from writing groups. Then from writers he's met along the way as a writer. His longest term writing group was one headed by a writer previously unknown to me, one Tom Spanbauer, who wrote Faraway Places.
Other sages quoted are Nora Ephron, Ken Kesey, Joy Williams, Ursula K. LeGuin, Amy Hempel, and David Sedaris (to name but a few).
CP is great with the anecdotes, too. Many about book signings, especially. If you want to be a successful writer, this is a necessary evil that CP has tried to make a joy and a delight, but considering the stories he shares, they can be a bit angst-ridden and even downright scary. Be careful what you wish for, wannabe writers!
About the only minus I can give this is two-fold: one, the advice isn't as plentiful and interesting in the second half of the book. And two, he uses his own books again and again as examples, which comes across as self-promotional and really isn't so effective for readers who are unfamiliar with all of these other CP titles.
But, overall, worth a wannabe novelist or short story writer's look, even if only half of the advice is deemed worthy.
On that point, it scores high marks, especially the first half of the book, where advice, some of it unconventional, comes fast and furious after the repetitive device of "If you were my student, I'd tell you...."
A lot of this is insider information. A veteran of writing groups, CP shares advice he learned from writing groups. Then from writers he's met along the way as a writer. His longest term writing group was one headed by a writer previously unknown to me, one Tom Spanbauer, who wrote Faraway Places.
Other sages quoted are Nora Ephron, Ken Kesey, Joy Williams, Ursula K. LeGuin, Amy Hempel, and David Sedaris (to name but a few).
CP is great with the anecdotes, too. Many about book signings, especially. If you want to be a successful writer, this is a necessary evil that CP has tried to make a joy and a delight, but considering the stories he shares, they can be a bit angst-ridden and even downright scary. Be careful what you wish for, wannabe writers!
About the only minus I can give this is two-fold: one, the advice isn't as plentiful and interesting in the second half of the book. And two, he uses his own books again and again as examples, which comes across as self-promotional and really isn't so effective for readers who are unfamiliar with all of these other CP titles.
But, overall, worth a wannabe novelist or short story writer's look, even if only half of the advice is deemed worthy.
May 27, 2022
I went back and forth on this book. If you're looking for a guide on writing, this probably ain't it. If you're looking for a collection or weird and interesting Chuck experiences as he became and has been an author...sprinkled with literary name dropping, it won't disappoint. There are some writing gems in the book for sure but like the author, they fit his style. I've never been a fan of writing rules, so I read with interest but my favorite part was actually Ira Levin's point: don't overthink your creative process.
A great read and writing advice to ponder. Mostly? Weird.
A great read and writing advice to ponder. Mostly? Weird.
September 12, 2022
Rilettura 2022
«Tutto ciò che scrivi è una sorta di diario. Non importa quanto all’apparenza si discosti dalla tua vita, hai comunque scelto il tema e i personaggi per una ragione. Nonostante l’eventuale camuffamento, qualunque cosa tu scriva, sei sempre tu che esprimi un aspetto di te stesso. Sei in trappola.»
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Questo è il miglior libro sulla scrittura che io abbia mai letto.
Pochi cazzi.
Qui spiego perché: https://www.youtube.com/watch?v=XLf5j...
«Tutto ciò che scrivi è una sorta di diario. Non importa quanto all’apparenza si discosti dalla tua vita, hai comunque scelto il tema e i personaggi per una ragione. Nonostante l’eventuale camuffamento, qualunque cosa tu scriva, sei sempre tu che esprimi un aspetto di te stesso. Sei in trappola.»
-----
Questo è il miglior libro sulla scrittura che io abbia mai letto.
Pochi cazzi.
Qui spiego perché: https://www.youtube.com/watch?v=XLf5j...
December 28, 2020
An interesting, engaging read about how the author writes a novel, with entertaining anecdotes about experiences Palahnuik has had throughout his writing career. He is a diligent observer who always has a notebook and pen available. A worthwhile reading experience.
November 11, 2019
I won this book from a great bookstore and am excited to read it because I’ve read fiction books by this author previously.
At only 20 pages in, I’m enjoying this book. Seems helpful in a practical not preachy way. One thing mentioned is not to let readers lose track of who is saying what. I would not have been able to articulate this as a reader, or not as well as he has, but I totally agree. I’ve read many books, including ones I really liked, where I couldn’t tell which characters in the novel were speaking.
I have a lot more to say, pretty much all positive, but don’t want to give too much away while the book isn’t even available until January. I will say it’s a cool combination of stories and tips for writing. Writing prompts for long into the future. Fantastic last line.
At only 20 pages in, I’m enjoying this book. Seems helpful in a practical not preachy way. One thing mentioned is not to let readers lose track of who is saying what. I would not have been able to articulate this as a reader, or not as well as he has, but I totally agree. I’ve read many books, including ones I really liked, where I couldn’t tell which characters in the novel were speaking.
I have a lot more to say, pretty much all positive, but don’t want to give too much away while the book isn’t even available until January. I will say it’s a cool combination of stories and tips for writing. Writing prompts for long into the future. Fantastic last line.
May 18, 2021
Prima rilettura del 2021 di Tieni Presente Che e niente, lo tengo ancora sotto al cuscino.
---
James Bond dormiva con una pistola sotto il cuscino. Io lo faccio con una copia di Tieni Presente Che di Chuck Palahniuk.
E Voi?
Peace Off
---
James Bond dormiva con una pistola sotto il cuscino. Io lo faccio con una copia di Tieni Presente Che di Chuck Palahniuk.
E Voi?
Peace Off
February 25, 2020
I admire CP's distinctive style and his commitment to grafting. I read Fight Club back in 1996 and felt the swagger and heft of his stark and brutal style. Not an author I read anymore but I'm reading everything I can on writing craft and writers' personal experiences of how they develop.
April 24, 2020
"Welcome to America, our never-ending, great popularity contest. And to capitalism, where likability trumps everything else."
Chuck Palahniuk creates a masterpiece of useful information about writing with bizarre and insightful memories of his own trials and tribulations of writing and book tours.
There was a point where I imagined where Chuck was Jack Torrance from The Shining. Where he’s just looking for the right way to blow people’s minds in the most explosive and disgusting way. (Don’t ask)
Reading this book made me appreciate who he is as a person and all of his books. You get a glimpse inside who he is and how he thinks. Plus you get some history of his greatest work. It makes me want to reread everything he’s ever released.
Consider This was a phenomenal book from a powerhouse author. This is one of the many reasons why he’s my number one. There’s no holding things back with him and he doesn’t sugarcoat anything.
If you want to know the story behind his GG Allin author photo, read this book!!
"Who died and made you Ross Perot?"
Chuck Palahniuk creates a masterpiece of useful information about writing with bizarre and insightful memories of his own trials and tribulations of writing and book tours.
There was a point where I imagined where Chuck was Jack Torrance from The Shining. Where he’s just looking for the right way to blow people’s minds in the most explosive and disgusting way. (Don’t ask)
Reading this book made me appreciate who he is as a person and all of his books. You get a glimpse inside who he is and how he thinks. Plus you get some history of his greatest work. It makes me want to reread everything he’s ever released.
Consider This was a phenomenal book from a powerhouse author. This is one of the many reasons why he’s my number one. There’s no holding things back with him and he doesn’t sugarcoat anything.
If you want to know the story behind his GG Allin author photo, read this book!!
"Who died and made you Ross Perot?"
September 10, 2024
"على حد تعبير جوي ويليامز، "أنت لا تكتب لتكوين صداقات".
الكتاب ده هيكون على قمة كتب حرفة الكتابة اللي برشحها لكم في كل ورشة لأنه مش مجرد كتاب هيساعدك على تطوير مهاراتك القصصية، ده كتاب بيشتغل على نفسيتك، بيعلمك تتوقع إيه من احتراف الكتابة، ومن القراء، ومن النجاح والفشل والإحباط وحتى من تزوير كتبك.
تشاك بولانيك (الكاتب العبقري مؤلف Fight Club) ما بخلش علينا بأي معلومة اتعلمها من الكتاب السابقين واللاحقين والمعاصؤين له.
الكتاب مزيج بين نصائح عظيمة ومفيدة جدًا للكتابة وبين مقتطفات من حياة الكاتب نفسه والمواقف اللي امتهان الكتابة عرضته لها.
ترجمة محمد الدخاخني مبهرة مش هتحس إنك بتقرأ كتاب مترجم أصلًا.
الغلاف توب التوب، حبيت رؤية أحمد فرج له أوي.
الكتاب ده هيكون على قمة كتب حرفة الكتابة اللي برشحها لكم في كل ورشة لأنه مش مجرد كتاب هيساعدك على تطوير مهاراتك القصصية، ده كتاب بيشتغل على نفسيتك، بيعلمك تتوقع إيه من احتراف الكتابة، ومن القراء، ومن النجاح والفشل والإحباط وحتى من تزوير كتبك.
تشاك بولانيك (الكاتب العبقري مؤلف Fight Club) ما بخلش علينا بأي معلومة اتعلمها من الكتاب السابقين واللاحقين والمعاصؤين له.
الكتاب مزيج بين نصائح عظيمة ومفيدة جدًا للكتابة وبين مقتطفات من حياة الكاتب نفسه والمواقف اللي امتهان الكتابة عرضته لها.
ترجمة محمد الدخاخني مبهرة مش هتحس إنك بتقرأ كتاب مترجم أصلًا.
الغلاف توب التوب، حبيت رؤية أحمد فرج له أوي.
November 16, 2021
Samimi diliyle, soyunduğu yazarlığıyla hatıralarından yola çıkıp yazmak, okumak üzerine yazılmış güzel bir kitap "Bunu Bi' Düşün" Okuyan, yazmak isteyen, yazan herkesin alabileceği nice şey var içinde. Belki anlatılan önceden söylenenler ama bir de Palahniuk gibi söylemek var. Aynen benzer konularda yazan her yazarın farklı renkleri, tonları olması gibi. Akıcı, hoş sohbet, kafa açıcı.
May 22, 2021
'Consider This: Moments in My Writing After Which Everything Was Different' by Chuck Palahniuk is a practical guide to constructing novels/short stories according to Dangerous Writing. Dangerous Writing is a philosophy about how novels could be used as tools to engage readers into discussions, touch burning social topics, and do all that in a provocative, straightforward fashion. If you do not feel personally offended, reading about masturbation and defective sex dolls (and I forgot to mention graphic sexual scenes and profane language), the book would certainly be handy for writing your pieces.
In the almost intimate manner that combines juxtaposed essays and step-by-step techniques, Palahniuk helps to understand the rules of keeping the reader constantly on the verge, unaware of what comes next. He talks about creating tension, effective use of dialogues (avoid them as much as possible!), and gives away his personal favorite fiction/nonfiction books.
The fabulous vocabulary of the book is a cherry on the cake. I read three of Palahniuk’s books, all in Russian. Oh boy! How much I must have missed! Though one of his principles includes simple sentences, the overall flow of words is flawless. I swallowed the book; I can’t find another word to describe the process of reading. With half-opened eyes in the night, accompanied by cries of fighting children during the day, everything seemed like a pesky hindrance until the last page. And even then, I wanted more.
Chuck Palahniuk confessed he had never read any reviews on his books, good or bad. So there is a slight chance he’d see my plea to publish another handbook about writing.
I add the book into the category of the most notable books of 2021. Helpful, fast-pacing, engaging to the point of madness; in one word – a recommendation to all aspiring writers.
(I ask for pardon for ignoring one of the basic rules of the book: use forms of ‘be’ and ‘have’ as little as possible.)
June 21, 2020
I've read a lot of good books by authors providing writing advice but this might be my new favorite. Palahniuk does an amazing job of alternating between hilarious stories, thoughtful advice, personal experiences, and events that impacted both himself and other authors he knows. After reading this I'm amazed it doesn't get as much acclaim as Stephen King's On Writing: A Memoir of the Craft, which is also amazing. If you're interested at all in becoming a writer or becoming a better writer, I can't recommend this highly enough.
December 19, 2024
An amazingly solid book of writing tips. I wish this existed ten (okay, who am I kidding, 15) years ago.
It's more than writing tips...I'd call it a distilled method. Chuck does away with the mysticism and whatnot behind writing, that stuff where it's like, "I'm an ARTISTE!" and talks about some concrete methods that'll improve just about anyone's storytelling.
A lot of these sorts of books shy away from giving direct, concrete advice, but Chuck tells people what to do, and then says, "Once you master some techniques, do whatever the hell you want."
It's a great approach to writing. You have to start with SOMETHING, and the challenges he puts forth will get you going. Regardless of whether or not you're a Palahniuk fan, it'll do you good to read this one and try some of it out.
It's more than writing tips...I'd call it a distilled method. Chuck does away with the mysticism and whatnot behind writing, that stuff where it's like, "I'm an ARTISTE!" and talks about some concrete methods that'll improve just about anyone's storytelling.
A lot of these sorts of books shy away from giving direct, concrete advice, but Chuck tells people what to do, and then says, "Once you master some techniques, do whatever the hell you want."
It's a great approach to writing. You have to start with SOMETHING, and the challenges he puts forth will get you going. Regardless of whether or not you're a Palahniuk fan, it'll do you good to read this one and try some of it out.
January 9, 2020
Really enjoyable read. The writing tips may be useful, if you're I writer. I wouldn't know. But the stories from his days on book tours are absolutely priceless. Palahniuk's events unsurprisingly attract all kinds of oddballs and his tales about these interactions are bloody hilarious.
August 20, 2022
“If you were my student … “
Some interesting writing tips from a (personally) extremely hit-or-miss fiction author. Loved the conversational tone, but I wish Palahniuk had read the audio himself. Also, gross cover, but I’m not in the least surprised by the off-putting quirk.
Some interesting writing tips from a (personally) extremely hit-or-miss fiction author. Loved the conversational tone, but I wish Palahniuk had read the audio himself. Also, gross cover, but I’m not in the least surprised by the off-putting quirk.
March 30, 2020
I got audiobook but wishing I had actual book so that it would be easier to take notes, of which I found plenty.
June 24, 2021
Neketinau skaityti šitos knygos, bet mane įkalbėjo. Sakė, kad pelėdos – visai ne tai, kas atrodo, o ši knyga – anaiptol ne rašymo vadovėlis.
Iš principo, nemelavo. Iš to, ką skaičiau, panašiausią į Stepheno Kingo „On Writing“. Memuarai sumaišyti bet nesuplakti su pamokymais, kaip rašyti. Tik jei Kingo atveju vis dėlto persvara buvo memuarų pusėje, čia daugiau dėmesio skirta pamokymams. Bet tai ne kritinė persvara. Pakanka ir vieno, ir kito.
O ir patys „Kovos klubo“ autoriaus pamokymai išdėstyti kaip reta nenuobodžiai. Kai kurie tarsi savaime suprantami dalykai pakišti vos ne po didinamuoju stiklu – ir tu staiga suvoki „a, štai kodėl taip“. Ir nors tarsi ir žinojai, kad būtent „taip“, bet dabar tapo aiškiau, „kodėl“. Tiek tos naudos. Nes jei skaitei bent vieną tokių pamokymų knygą – tai beveik jau kaip ir skaitei jas visas. Ne, žinoma, yra, kur mokytojai prieštarauja vienas kitam, suleistum juos į ringą – būtų ne ką prastesnis „kovos klubas“. Bet didžioji dalis patarimų ir pasvarstymų kartojasi. Ir tai, matyt, natūralu. Bazė – kažkokia nekintanti taisyklių visuma, o štai dėka to, kas skiriasi, autoriai yra unikalūs. Ir gerai. Nes niekam nereikia, kad visi rašytų kaip Kingas ar kaip Palahniukas.
Skaitėsi visai smagiai, tai tegul bus keturi iš penkių.
Iš principo, nemelavo. Iš to, ką skaičiau, panašiausią į Stepheno Kingo „On Writing“. Memuarai sumaišyti bet nesuplakti su pamokymais, kaip rašyti. Tik jei Kingo atveju vis dėlto persvara buvo memuarų pusėje, čia daugiau dėmesio skirta pamokymams. Bet tai ne kritinė persvara. Pakanka ir vieno, ir kito.
O ir patys „Kovos klubo“ autoriaus pamokymai išdėstyti kaip reta nenuobodžiai. Kai kurie tarsi savaime suprantami dalykai pakišti vos ne po didinamuoju stiklu – ir tu staiga suvoki „a, štai kodėl taip“. Ir nors tarsi ir žinojai, kad būtent „taip“, bet dabar tapo aiškiau, „kodėl“. Tiek tos naudos. Nes jei skaitei bent vieną tokių pamokymų knygą – tai beveik jau kaip ir skaitei jas visas. Ne, žinoma, yra, kur mokytojai prieštarauja vienas kitam, suleistum juos į ringą – būtų ne ką prastesnis „kovos klubas“. Bet didžioji dalis patarimų ir pasvarstymų kartojasi. Ir tai, matyt, natūralu. Bazė – kažkokia nekintanti taisyklių visuma, o štai dėka to, kas skiriasi, autoriai yra unikalūs. Ir gerai. Nes niekam nereikia, kad visi rašytų kaip Kingas ar kaip Palahniukas.
Skaitėsi visai smagiai, tai tegul bus keturi iš penkių.
December 14, 2019
What a fabulous insight into Chuck’s writing craft - so many useful tidbits of information, stories, examples, teaching - this has got to be up there with On Writing by Stephen King for all aspiring and current writers! Longer review coming to STORGY and I’ll update...
August 15, 2020
Όσοι δεν ενδιαφέρονται να γράψουν Πολανιακό βιβλίο ή δεν ανήκουν στο Cult, ας προσπερασουν.
August 9, 2023
Kitap temelde 5 bölümden oluşuyor:
1-Dokular
2-Otoritenin tesis edilmesi
3-Gerilim
4-Süreç
5-Kurmacadaki sorunları giderme
1-Dokular
Hikayenin bir bilgi akışı olduğunu düşünün. Bilgi akışını devamlı surette değiştirip çeşitlendirmeye ve geliştirmeye devam etmek gerekir ki akış canlı ve hızlı görünsün, böylelikle okur hikayeden kopmasın. Elinizin altında pek çok farklı bilgi dokusu vardır:
a-iletişimin üç türünü birden kullanmak doğal ve konuşmayı andıran bir üslup yaratır. arada bir devreye giren yönergelerle birleşen ve ses efektleri ya da ünlemlerle kesilen betimlemeler yapın.
b-Üç şahsın bakış açısı arasında gidip gelin. sürekli değil ama otoriteyi, samimiyeti ve hızı kontrol edecek şekilde.
c-hikayeye küçük sesle (eylemle) başlayın, büyük sese (yoruma) kısa aralıklarla geçin.
d-diyaloglarda okurun kafasını karıştırmamak için dedi, diye belirtti gibi kalıplardan ve diyalog esnasındaki fiziksel eylemlerden yararlanın.
e-konular arasındaki dikiş izini gizlemek için tekrarlardan (nakaratlardan) yararlanın.
f-zamanı ilerletmek için saati söylemek yerine geçmişe dönmek, geçmişle bugün arasında, farklı karakterler arasında, büyük sesle küçük ses arasında git gel yapmak, yeni bir bölüme geçmek gibi yöntemler kullanın.
g-hikayeye yeni bir doku eklemek için listelerden yararlanın.
h-insanlara taklit edebilecekleri karakterler ya da toplumsal modeller verin. hikayenizde ritüellere, kurallara ve dualara yer verin.
ı-bir karakteri öne çıkarmak isterseniz sözlerini tırnak içinde verin. etkisini azaltmak isterseniz açımlamaya başvurun, yani sözlerini diyalogsuz aktarın.
2-Otoritenin tesis edilmesi
a-karakterin otoritesini hızlı biçimde kurması için onu alelade gösterip ardından bir takım ezoterik ve karmaşık gerçeği akıcı bir dille arka arkaya sıralamasını sağlayın.
b-okurun karakteri asla eleştirmemesini istiyorsanız ilk sayfadan önce annesini ya da babasını öldürün.
c-hikayedeki ufak detayların hakkını verin. ayrıntılardaki inandırıcılık büyük resimdeki gerçekdışılığın inandırıcılığını artırır.
d-başkalarının fark etmediği, fark etse bile söylemeye cesaret edemediği gerçekleri ifade eden aforizmalar yazın.
e-metninizin daha gerçek görünmesi için kurmaca dışı formlardan (gerçek hayattaki haberler, raporlar...) yararlanın.
f-sizi sevilecek değil hatırlanacak biri yapan hikayeler yazın.
g-karakterin bakış açısının içinden yazın ve onun için melez bir dil yaratın.
h-en acayip, en kışkırtıcı hikayeleri yazın. kitapların sağladığı mutlak özgürlükten yararlanın.
ı-okuru onun için imkansız görünen bir tecrübeye inandırmak için bildiği şeylerle başlayın, bilmediği şeye doğru bebek adımlarıyla ilerletin.
i-okuru yanlış yönlendirip beklentilerini alt üst edin.
j-birinci şahıs ağzından yazın ama ben zamirini gizleyerek (zili duydum yerine zil çaldı gibi)
k-karakterin bilgisini ve görgüsünü belirlerken hayattaki başarı stratejisini (zekasını mı güzelliğini mi seçti?) de dikkate alın.
l-gerçeklik yaratmak için insanların bilinçsizce yaptığı hareketleri kullanın. hikayenizi karakterin yalnızca zihninden anlatmayın, tenlerinden burunlarından bağırsaklarından da anlatın.
m-hikayenizde arketiplerden, efsanelerden yararlanın.
n-duygusal otorite kurmak için hatalar yapan kusurlu karakterler yaratın.
3-Gerilim
a-gerilimi (dikey hareketi) artırmak için hikayedeki unsurları sınırlayın. tek bir temayı anlatmanın farklı yollarını bulun.
b-kurmacada saat öykünün tayin edilmiş bir zamanda sona ermesini sağlayan şeydir. iyi bir saat, zamanı sınırlayarak gerilimi artırır. silah ise öyküyü doruğa çıkaran şeydir. saat sürekli akla getirilirken silah erkenden ve bir kez gösterip sonra okurun unutmasını sağladığın, zamanı gelince ortaya çıkarıp okuru şaşırttığın şeydir.
c-cümleleri birbirine bağlamak için alışılmadık bağlaçları tekrar tekrar kullanarak ritim yaklayın.
d-hikayedeki bir nesneyi kaybedip sonra daha etkili bir şekilde ortaya çıkarın.
e-tenis maçını andıran hazırcevaplarla dolu diyaloglardan kaçının. bunun yerine kaçamak diyaloglara, yanlış anlamalara yer verin.
f-konuyu ilerletmek için diyalog kullanmayın, olayın ayrıntılarını aktarmayı seçin.
g-hikayenizi beraberinde küçük sorular doğuran cümlelerle yazın.
h-kimse gece gördüğünüz rüyayı dinlemek istemez. hikayede rüyalara yer vermeyin.
ı-eylem içermeyen, düşünce ifade eden, soyut fiillerden kaçının. (kapıdaydı yerine kapıda göründü, kahverengi saçlı, incecik kaşlıydı yerine kahverengi saçlarını yüzünden çekti, incecik kaşları havalandı yazın). okura duyguyu dayatmayın, okurun duygulanmasını sağlayacak ortamı yaratın.
i-standart mekanlar tükendiğinde karakterinizi yolculuğa çıkarın.
j-gerilimi artırmak için çözümü olmayan mevzularda yazın.
k-deliliğe evrilen hikayeler anlatın.
l-okura kargaşa ve felaket vaat etmek için başlangıçta o feci olayın asla gerçekleşmeyeceğine dair okura güvence verin.
4-Süreç
a-yaratma süreciniz hakkında fazla düşünmeyin.
b-partilere gidip yaşamınızın tatsız yanlarından bahsedin, böylece başkalarının yaralarını öğrenin.
c-sizi yazmaya sevk edecek atölyelere, ortamlara katılın.
d-yazarlık işini her yönüyle (imza günleri, söyleşiler...) sevmenin bir yolunu bulun.
e-başka yazarları taklit ederek öğrenin. sonra kendi üslubunuzu bulun.
f-bir sonraki ilham gelene kadar masanıza çekidüzen verin, ortalığı toplayın, yeni fikirler için zihninizde yer açın.
g-sempatik bir karakterin acı çektiği öyküler yazın. ama ana karakterinizi öldürmeyin.
h-herhangi bir şeyi elde etmek için değil, okumayı ve yazmayı sevdiğiniz için yazın.
ı-yazarlığı çözüme kavuşmamış yanlarınızı çözümlemenin bir aracı gibi görün. bir nevi terapi.
i-sonrasında her şeyin değiştiği anları yazın.
5-Kurmacadaki sorunları giderme
a-çalışmanızı en sonda sesli olarak okuyun.
b-sahneyi yazmadan önce sahnenin amacını belirleyin
1-Dokular
2-Otoritenin tesis edilmesi
3-Gerilim
4-Süreç
5-Kurmacadaki sorunları giderme
1-Dokular
Hikayenin bir bilgi akışı olduğunu düşünün. Bilgi akışını devamlı surette değiştirip çeşitlendirmeye ve geliştirmeye devam etmek gerekir ki akış canlı ve hızlı görünsün, böylelikle okur hikayeden kopmasın. Elinizin altında pek çok farklı bilgi dokusu vardır:
a-iletişimin üç türünü birden kullanmak doğal ve konuşmayı andıran bir üslup yaratır. arada bir devreye giren yönergelerle birleşen ve ses efektleri ya da ünlemlerle kesilen betimlemeler yapın.
b-Üç şahsın bakış açısı arasında gidip gelin. sürekli değil ama otoriteyi, samimiyeti ve hızı kontrol edecek şekilde.
c-hikayeye küçük sesle (eylemle) başlayın, büyük sese (yoruma) kısa aralıklarla geçin.
d-diyaloglarda okurun kafasını karıştırmamak için dedi, diye belirtti gibi kalıplardan ve diyalog esnasındaki fiziksel eylemlerden yararlanın.
e-konular arasındaki dikiş izini gizlemek için tekrarlardan (nakaratlardan) yararlanın.
f-zamanı ilerletmek için saati söylemek yerine geçmişe dönmek, geçmişle bugün arasında, farklı karakterler arasında, büyük sesle küçük ses arasında git gel yapmak, yeni bir bölüme geçmek gibi yöntemler kullanın.
g-hikayeye yeni bir doku eklemek için listelerden yararlanın.
h-insanlara taklit edebilecekleri karakterler ya da toplumsal modeller verin. hikayenizde ritüellere, kurallara ve dualara yer verin.
ı-bir karakteri öne çıkarmak isterseniz sözlerini tırnak içinde verin. etkisini azaltmak isterseniz açımlamaya başvurun, yani sözlerini diyalogsuz aktarın.
2-Otoritenin tesis edilmesi
a-karakterin otoritesini hızlı biçimde kurması için onu alelade gösterip ardından bir takım ezoterik ve karmaşık gerçeği akıcı bir dille arka arkaya sıralamasını sağlayın.
b-okurun karakteri asla eleştirmemesini istiyorsanız ilk sayfadan önce annesini ya da babasını öldürün.
c-hikayedeki ufak detayların hakkını verin. ayrıntılardaki inandırıcılık büyük resimdeki gerçekdışılığın inandırıcılığını artırır.
d-başkalarının fark etmediği, fark etse bile söylemeye cesaret edemediği gerçekleri ifade eden aforizmalar yazın.
e-metninizin daha gerçek görünmesi için kurmaca dışı formlardan (gerçek hayattaki haberler, raporlar...) yararlanın.
f-sizi sevilecek değil hatırlanacak biri yapan hikayeler yazın.
g-karakterin bakış açısının içinden yazın ve onun için melez bir dil yaratın.
h-en acayip, en kışkırtıcı hikayeleri yazın. kitapların sağladığı mutlak özgürlükten yararlanın.
ı-okuru onun için imkansız görünen bir tecrübeye inandırmak için bildiği şeylerle başlayın, bilmediği şeye doğru bebek adımlarıyla ilerletin.
i-okuru yanlış yönlendirip beklentilerini alt üst edin.
j-birinci şahıs ağzından yazın ama ben zamirini gizleyerek (zili duydum yerine zil çaldı gibi)
k-karakterin bilgisini ve görgüsünü belirlerken hayattaki başarı stratejisini (zekasını mı güzelliğini mi seçti?) de dikkate alın.
l-gerçeklik yaratmak için insanların bilinçsizce yaptığı hareketleri kullanın. hikayenizi karakterin yalnızca zihninden anlatmayın, tenlerinden burunlarından bağırsaklarından da anlatın.
m-hikayenizde arketiplerden, efsanelerden yararlanın.
n-duygusal otorite kurmak için hatalar yapan kusurlu karakterler yaratın.
3-Gerilim
a-gerilimi (dikey hareketi) artırmak için hikayedeki unsurları sınırlayın. tek bir temayı anlatmanın farklı yollarını bulun.
b-kurmacada saat öykünün tayin edilmiş bir zamanda sona ermesini sağlayan şeydir. iyi bir saat, zamanı sınırlayarak gerilimi artırır. silah ise öyküyü doruğa çıkaran şeydir. saat sürekli akla getirilirken silah erkenden ve bir kez gösterip sonra okurun unutmasını sağladığın, zamanı gelince ortaya çıkarıp okuru şaşırttığın şeydir.
c-cümleleri birbirine bağlamak için alışılmadık bağlaçları tekrar tekrar kullanarak ritim yaklayın.
d-hikayedeki bir nesneyi kaybedip sonra daha etkili bir şekilde ortaya çıkarın.
e-tenis maçını andıran hazırcevaplarla dolu diyaloglardan kaçının. bunun yerine kaçamak diyaloglara, yanlış anlamalara yer verin.
f-konuyu ilerletmek için diyalog kullanmayın, olayın ayrıntılarını aktarmayı seçin.
g-hikayenizi beraberinde küçük sorular doğuran cümlelerle yazın.
h-kimse gece gördüğünüz rüyayı dinlemek istemez. hikayede rüyalara yer vermeyin.
ı-eylem içermeyen, düşünce ifade eden, soyut fiillerden kaçının. (kapıdaydı yerine kapıda göründü, kahverengi saçlı, incecik kaşlıydı yerine kahverengi saçlarını yüzünden çekti, incecik kaşları havalandı yazın). okura duyguyu dayatmayın, okurun duygulanmasını sağlayacak ortamı yaratın.
i-standart mekanlar tükendiğinde karakterinizi yolculuğa çıkarın.
j-gerilimi artırmak için çözümü olmayan mevzularda yazın.
k-deliliğe evrilen hikayeler anlatın.
l-okura kargaşa ve felaket vaat etmek için başlangıçta o feci olayın asla gerçekleşmeyeceğine dair okura güvence verin.
4-Süreç
a-yaratma süreciniz hakkında fazla düşünmeyin.
b-partilere gidip yaşamınızın tatsız yanlarından bahsedin, böylece başkalarının yaralarını öğrenin.
c-sizi yazmaya sevk edecek atölyelere, ortamlara katılın.
d-yazarlık işini her yönüyle (imza günleri, söyleşiler...) sevmenin bir yolunu bulun.
e-başka yazarları taklit ederek öğrenin. sonra kendi üslubunuzu bulun.
f-bir sonraki ilham gelene kadar masanıza çekidüzen verin, ortalığı toplayın, yeni fikirler için zihninizde yer açın.
g-sempatik bir karakterin acı çektiği öyküler yazın. ama ana karakterinizi öldürmeyin.
h-herhangi bir şeyi elde etmek için değil, okumayı ve yazmayı sevdiğiniz için yazın.
ı-yazarlığı çözüme kavuşmamış yanlarınızı çözümlemenin bir aracı gibi görün. bir nevi terapi.
i-sonrasında her şeyin değiştiği anları yazın.
5-Kurmacadaki sorunları giderme
a-çalışmanızı en sonda sesli olarak okuyun.
b-sahneyi yazmadan önce sahnenin amacını belirleyin
March 4, 2023
Esta semana he invertido gran parte de mi tiempo en sufrir una gripe, así que la fatiga que te provoca el virus no me ha dejado concentrarme en pleno sobre la lectura. No deja de ser una pena, pues para ser un ensayo se lee con vivo interés.
Palahniuk escribe aquí una especie de manual para aspirantes a escritores ofreciendo alguno de sus trucos y recursos, en gran parte heredados de Tom Spanbauer, a cuyo taller Palahniuk asistió durante años, dónde celebraba el goce de la lectura y la escritura junto a otras personas que tenían sueños semejantes. Si has leído Error humano gran parte de estos trucos (la lengua de fuego y demás) te sonarán, es armamento heredado y en este libro ha sido actualizado y perfilado con más detalle para adentrarse en el laboratorio de creación del autor.
Todo esto viene aderezado con numerosas anécdotas personales ocurridas en sus giras, numerosos comentarios de fragmentos puntuales de obras de gente tan dispar como Norah Ephron, Fitzgerald, Truman Capote, Stephen King, Bret Easton Ellis y un largo etcétera.
Para leer este título hace falta que aspires a escribir, si te enseña el mapa de entrada también es un mapa de salida, es decir, que también invita y recuerda como leer los detalles de las obras narrativas, a prestar atención a todos esos elementos que subyacen en los textos y que sin embargo pasamos por alto o bien leemos por encima, sin observarlo con la debida atención.
Quien por otro lado crea que aquí tiene un manual para convertirse en escritor, también deben considerar que se trata en una serie de recursos y esquemas para escribir como Palahniuk, un narrador enfocado a crear efecto, a buscar los recursos que amplifiquen los distintos golpes de cada texto en el lector, no es necesariamente una guía para convertirse en un escritor total. Pero eso ocurre en todos los talleres o todos los manuales de escritura, imitarás al autor, en este caso escribirás como Palahniuk, siguiendo los mandamientos del minimalismo, de las frases cortas y ligeramente reiterativas para buscar diferentes sentidos en cada reiteración. Todo muy bien razonado, eso sin duda. Vale decir que él mismo también se dedica parte del libro a desmontar esa imagen suya como escritor epatante y rebelde, nociones que sin duda surgen cuando lees El club de la lucha y que, tal y cómo él explica, le han conducido a más de uno y dos equívocos.
Personalmente hace algún tiempo que quizás sí he leído de forma apresurada algún que otro libro, de modo que esta lectura supone una inyección de vitalidad lectora. Aparte, también es mi reencuentro con Palahniuk, autor que hace más de 15 años para mi era de culto y por el que perdí interés hace once años, después de una lectura poco atractiva de Snuff. A pesar que por la gripe no he podido sumergirme al cien por cien, es innegable que lo he disfrutado, incluso estoy pensando que no sería mala idea retomar lecturas de alguna otra de sus obras, quizás Monstruos invisibles o El día del ajuste.
January 22, 2024
Lo había intuido al leer Asfixia pero con este libro me ha quedado claro: en esencia, Palahniuk es un anecdotista, un contador de anécdotas.
Nunca pierde de vista que tiene ganarse la atención del lector así que construye su literatura como una sucesión de historietas, datos curiosos, inventarios de prácticas sexuales, estribillos, sorpresas... golpes de efecto, en definitiva.
Palahniuk comenta aquí esos pequeños golpes de efecto que a él le han funcionado. Sus trucos. Nada nuevo, en realidad: dar variedad al texto, dividirlo en pequeñas unidades con sentido propio, crear ritmos con el lenguaje, sorprender al lector, anclar la narración en el plano de la experiencia, huir del cliché, no pasarse de listo, etc.
Pero hay que reconocer que lo explica de manera bastante amena, con claridad y concisión, dando consejos muy prácticos y sin caer demasiado en la vanagloria (bueno, un poco sí).
Tan clara queda su fórmula que diría que va a ser uno de los autores más fáciles de replicar con inteligencia artificial.
Nunca pierde de vista que tiene ganarse la atención del lector así que construye su literatura como una sucesión de historietas, datos curiosos, inventarios de prácticas sexuales, estribillos, sorpresas... golpes de efecto, en definitiva.
Palahniuk comenta aquí esos pequeños golpes de efecto que a él le han funcionado. Sus trucos. Nada nuevo, en realidad: dar variedad al texto, dividirlo en pequeñas unidades con sentido propio, crear ritmos con el lenguaje, sorprender al lector, anclar la narración en el plano de la experiencia, huir del cliché, no pasarse de listo, etc.
Pero hay que reconocer que lo explica de manera bastante amena, con claridad y concisión, dando consejos muy prácticos y sin caer demasiado en la vanagloria (bueno, un poco sí).
Tan clara queda su fórmula que diría que va a ser uno de los autores más fáciles de replicar con inteligencia artificial.
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April 8, 2023Review now available in Volume 25 Number 2 Summer 2020 (#98) of Rain Taxi Review of Books.
https://www.raintaxi.com/volume-25-nu...
https://www.raintaxi.com/volume-25-nu...
April 2, 2022
A surprisingly helpful book with craft tips aplenty.
August 21, 2024
If you were my student I might tell you this is the only book about craft you'll ever need.
December 17, 2019
About the book: It’s part memoir and part writing advice.
First impressions: I love reading about writing, so I was excited to delve into this. I like the title, and the cover is clever.
Content: Palahniuk offers good advice, both his own and from other writers as well. He covers topics like tension, authority, plus much more. I expected the book to focus mainly on the writing process, but I loved the insights into things like doing book tours.
“What if world events are unfolding in perfect order to deliver us to a distant joy we can’t conceive of at this time?”
Writing: The chapters are short, and the book itself isn’t very long. I wish it was longer. I appreciated the author giving advice without being preachy or condescending. He shares his mistakes and failures. There are funny, light-hearted moments but also more serious ones too.
Final thoughts: If you’re a writer and/or a fan of Palahniuk, I’d recommend Consider This. It’s a fun, fast read about writing.
First impressions: I love reading about writing, so I was excited to delve into this. I like the title, and the cover is clever.
Content: Palahniuk offers good advice, both his own and from other writers as well. He covers topics like tension, authority, plus much more. I expected the book to focus mainly on the writing process, but I loved the insights into things like doing book tours.
“What if world events are unfolding in perfect order to deliver us to a distant joy we can’t conceive of at this time?”
Writing: The chapters are short, and the book itself isn’t very long. I wish it was longer. I appreciated the author giving advice without being preachy or condescending. He shares his mistakes and failures. There are funny, light-hearted moments but also more serious ones too.
Final thoughts: If you’re a writer and/or a fan of Palahniuk, I’d recommend Consider This. It’s a fun, fast read about writing.
March 21, 2020
Brilliant. His stories are worthy enough to read this book, but when you combine it with his lessons and how he views writing and the world, it really makes you think. It definitely got the creative juices flowing for me!
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