Chuck Palahniuk, the author of Fight Club, Choke [Amazon], and Invisible Monster [Amazon], is widely regarded as one of the most influential writers of our generation. His remarkable talent lies in seamlessly blending raw storytelling with captivating language. In his memoir, Consider This: Moments in My Life After Which Everything Was Different [Amazon], he not only shares pivotal moments from his career as an author but also imparts invaluable writing advice from the perspective of a seasoned instructor.
I highly recommend this book to all writers, as it offers a level of actionable advice that I haven’t encountered since Stephen King’s On Writing [Amazon]. Palahniuk’s insights provide a true master-class experience. One notable technique he discusses is the concept of adding texture to your writing.
Texture, much like the indescribable appeal of a catchy song, often goes unnoticed while reading. However, when executed skillfully, incorporating texture into your writing infuses it with the same cadence, melody, harmony, pitch, and tempo that music possesses. This captivating quality firmly grabs hold of your readers and keeps them thoroughly engaged.
But what exactly is texture when it comes to writing? Palahniuk breaks it down into seven distinct forms:
- Point of view (first, second, and third)
- Big voices vs little voices
- Attribution
- What to say when there’s nothing to say
- Passage of time and lists
- Repetitions
- Paraphrasing vs quoting
In this video, I will dissect each of these techniques and provide a concise summary of how to use them effectively, so you to incorporate texture into your writing.
Let’s go!
1. Point of view
When it comes to writing, there are three types of points of view: first person, second person, and third person.
“I am a writer” is first person
“You are a writer” is second person
“Bill is a writer” is third person
Palanuick encourages you to shift between these three POVs—not constantly—but rather as the situation demands. So, when is it appropriate to do so? When you want to evoke control, authority, intimacy, or change the pace of your story.
2. Big voices vs little voices
Big voices are comments and introspections: they manifest as monologues, soliloquies, or the inner thoughts of a character.
In contrast, little voices are the immediate, moment-to-moment actions within a story.
For instance, a character’s contemplation of murder can be conveyed through the Big Voice, while the simple act of the character entering a store and purchasing a knife can be expressed through the Little Voice. Striking a balance between these two approaches will enable you to craft textured narratives.
Palahniuk cautions against excessive use of big voices, as an abundance of philosophical musings may undermine the overall texture of the writing.
3. Attribution
Texture often presents itself in the actions and behaviors of characters, particularly in the moments between their speech. Take a moment to observe the daily gestures of yourself and those around you. How do you instinctively move your hands after uttering something distressing? How does your friend shift his legs following an expression of frustration? Compile a collection of these wordless, swift movements and assign them to your characters. This approach will color them with greater dynamism and lend a textured quality to your writing.
4. What to say when there is nothing to say
While a story naturally progresses from beginning to end, there are moments where no forward movement occurs. Like breaks in the narrative, these are instances when characters confront impasses, such as deadlock arguments.
Life is replete with such moments, where regardless of the character’s efforts, the situation remains beyond their control. It could be a character being emotionally affected by something strange they witness on TV, noticing food on a fellow diner’s face, or the struggle of holding in the need to use the bathroom. In these moments, there may be no words exchanged, but their actions speak volumes about them as individuals.
Palahniuk advises us to compile a list of these paused moments, or what he refers to as placeholders. He then encourages us to strategically insert these moments into our stories, like jump cuts in a film.
5. Passage of time
The most straightforward method to convey the passage of time is through the use of space breaks. However, Palahniuk cautions against relying too heavily on this approach. An alternative way to indicate the passage of time is by stating the specific time and then providing a concise account of the events that have transpired.
But, it is important to avoid creating a mundane list. If the character has just reached their destination, refrain from listing every single thing they passed on the journey: the school, the police station, the store, and so on.
Instead, envision the list as a montage. Picture the character following the same route each day: turning left at the school, attentively observing the school children, slowing down as he passes the police station, muttering a prayer for all the solitary shoppers, before finally arriving at the bar. Condense the time by employing montages and lists.
6. Repetition
Similar to a mantra or the recurring chorus of a song, repetition serves as a powerful tool for creating texture. Palahniuk advises viewing repetitions as rituals. Observe how organizations, cults, and religions employ repetitive elements. What phrases or ideas are reiterated in a sermon? What concepts are repeated during an office meeting? In your own storytelling, craft something that can be echoed throughout the narrative.
One notable example from Palahniuk’s own work is the First Rule of Fight Club: “We Don’t Talk About Fight Club.” Adopt this approach and allow the repetition to take root in the minds of your readers. Let them anticipate its recurrence and allow it to be ingrained in their memories.
7. Paraphrasing vs quoting
When a character speaks, there are two distinct approaches we can employ to convey their lines. Both methods serve the purpose of delivering the necessary information, yet they offer contrasting experiences.
If you wish to highlight your character’s uniqueness and imbue them with greater personality, enclose their dialogue within quotation marks. On the other hand, if you intend to downplay your character’s significance or diminish their authority, you can rephrase or summarize their words. This technique may be subtle, but it proves highly effective in creating textured writing.
And there you have it—these are the seven techniques you can use to infuse texture into your writing. I’m curious to know: which method do you use the most? Additionally, which technique piques your interest? Feel free to share your thoughts in the comments.
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Elliot Chan 