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Description
Metamucil, 4-In-1 Fiber Powder Orange, 48.2 OzProduct Description Helps you feel less hungry between meals.* Helps maintain healthy blood sugar levels as part of your diet.* Helps lower cholesterol to promote heart health.** Promotes digestive health.* 100% natural psyllium husk. Made with real sugar. Gluten free (may contain trace amounts less than 20 ppm). If you have specific dietary needs, you should consult your doctor before consuming this product. This product has a low glycemic index, a
Product DescriptionHelps you feel less hungry between meals.* Helps maintain healthy blood sugar levels as part of your diet.* Helps lower cholesterol to promote heart health.** Promotes digestive health.* 100% natural psyllium husk. Made with real sugar. Gluten free (may contain trace amounts less than 20 ppm). If you have specific dietary needs, you should consult your doctor before consuming this product. This product has a low glycemic index, a measure of the effect of dietary carbohydrates on blood sugar levels. *These statements have not been evaluated by the Food and Drug Administration. This product is not intended to diagnose, treat, cure or prevent any disease. **Diets low in saturated fat and cholesterol that include 7 grams of soluble fiber per day from psyllium husk, as in this product, may reduce the risk of heart disease by lowering cholesterol. One serving of this product has 2.4 grams of this soluble fiber. Consult a doctor if you are considering use of this product as part of a cholesterol-lowering program.
Product Benefits
Ingredients
|
Supplement Facts |
|
| Serving Size: 1 Rounded Tablespoon | |
| Amount Per Serving | |
| Calories | 45 |
| Total Carbohydrate | 12 g |
| Dietary Fiber | 3 g |
| Soluble Fiber | 2 g |
| Sugars | 8 g |
| Iron | 0.7 mg |
| Sodium | 5 mg |
| Potassium | 35 mg |
| Ingredients: Sucrose; Psyllium Husk; Citric Acid; Natural and Artificial Orange Flavor; Yellow 6. | |
Suggestions
Put powder into an empty glass and mix with 8 oz of water or other cool liquid. Stir briskly and drink promptly. Take up to 3 times daily. New users: Start with 1 serving per day. gradually increasing to desired daily intake. You may initially experience changes in bowel habits or minor bloating, as your body adjusts to increased fiber intake. For feeling less hungry between meals*: Adults 12 yrs. and over: Two rounded tablespoons in 8 or more ounces of liquid with meals, up to 3 times daily. For maintaining healthy blood sugar levels as part of your diet*: Adults 12 yrs. and over: One rounded tablespoon in 8 ounces of liquid, 3 times daily. Consult your doctor before use if you are currently using medication to control your blood sugar levels. For lowering cholesterol to promote heart health**: Adults 12 yrs. and over: One rounded tablespoon in 8 ounces of liquid 3 times daily. For promoting and maintain digestive health*: Adults 12 yrs. and over: One rounded tablespoon in 8 ounces of liquid up to 3 times daily for fiber supplementation. For occasional constipation and to help promote and maintain regularity. For children under 12, consult a doctor. Bulk-forming fibers like psyllium husk may affect how well medicines work. Take this product at least 2 hours before or after medicines. Store at room temperature tightly closed to protect from humidity. *These statements have not been evaluated by the Food and Drug Administration. This product is not intended to diagnose, treat, cure or prevent any disease. **Diets low in saturated fat and cholesterol that include 7 grams of soluble fiber per day from psyllium husk, as in this product, may reduce the risk of heart disease by lowering cholesterol. One serving of this product has 2.4 grams of this soluble fiber. Consult a doctor if you are considering use of this product as part of a cholesterol-lowering program.
Special Note
Warnings
Keep out of reach of children. Notice: Mix this product with at least 8 oz (a full glass) of liquid. Taking without enough liquid may cause choking. Do not take if you have difficulty swallowing. Allergy alert: This product may cause allergic reactions in people sensitive to inhaled or ingested psyllium. Contact your doctor BEFORE USING this dietary supplement if you have recently experienced a sudden change in bowel habits persisting for 2 weeks, abdominal pain, nausea or vomiting. STOP USING this dietary supplement and ask a doctor if constipation lasts more than 7 days or rectal bleeding occurs. These may be signs of a serious condition.
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4.4 ★★★★★
Based on 9 reviews
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Product Reviews
★★★★★ 5
If you can only afford one craft book on Dialogue, this one is it.
Format: Hardcover
The art of dialogue. How does a writer get it just right to be effective, yet original, dramatic but not too dramatic, captivating and satisfying, and most important of all convincing? The thrust of this book is how McKee spends time on characterizations and the art of the subtext—vital to thrilling and effective dialogue. McKee explains how subtext works, the thinking behind it, shows you its most effective moments, why it works well or poorly, and gives you the tools to make it work. The result: amazingly clear insight. No kidding, if you want to fully understand subtext in dialogue and sharpen your skills, this is the writing book to get.
Conflict in dialogue, turning points, even sentence designs techniques. McKee describes the “suspense sentence” and the “periodic sentence.” Because prose is a natural medium for storytelling, you will learn how Charles Dickens used ‘counter pointing exposition’ and its effectiveness for the reader. I hadn’t seen this kind of hook in writing before, hadn’t heard this term before. Very powerful technique; of course none of us writes like Dickens, but what an example on how to swoop the reader in.
What’s one of the takeaways in Dialogue by Robert McKee? “Quality storytelling inspires quality dialogue.” Which inspires a read of McKee’s other remarkable craft book “Story”—a great companion read as both books belong on any serious writer’s bookshelf.
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Reviewed in the United States on July 28, 2016
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
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Reviewed in the United States on September 21, 2016
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful.
McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do.
However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies!
If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why.
McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism.
Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging.
With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else.
In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree.
But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
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Reviewed in the United States on April 18, 2017
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