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Author: Iola

I provide professional freelance manuscript assessment, copyediting and proofreading services for writers of Christian fiction and non-fiction books, stories and articles. I also review Christian novels at www.christianreads.blogspot.com.

How to Write a Christian Novel: Defining Your Genre 4

Are you targeting the Christian market or the general market?

My previous post attempted to define traditional Christian fiction, and looked briefly at some of the issues people (Christians and non-Christians) have with the conservative evangelical approach of most Christian fiction. This week we look at the alternatives:

  • Inspirational fiction
  • Crossover fiction
  • General market fiction

Christian Fiction (Inspirational)

Just as there is no clear definition of Christian fiction, there is no clear definition of inspirational fiction. I waver between liking and disliking the idea of ‘inspirational’ fiction. Some people find Christian fiction too preachy, full of too-perfect characters treating each other with sickly-sweet holiness, never doing anything wrong.

These people might even be Christians, but non-Christians are certainly not interested in this kind of fiction. They might be interested if there was a little less focus on preaching and a little more focus on reflecting real-life situations. Many non-Christians won’t knowingly read a Christian novel and will complain if they accidentally download a Christian novel as a Kindle freebie, accusing authors and publishers of being unchristian by not properly categorising their novel.

This is where Inspirational fiction can play a part.

I like the idea that fiction can reflect a Christian world view and inspire thought without descending into sermons, but without gratuitous sex and violence. I like the idea that writers can explore some of the more gritty issues of life, like drug or alcohol abuse or the consequences of lust.

But I dislike the term ‘inspirational’. It doesn’t necessarily restrict itself to Christian. Many self-help books are inspirational, but could in no way be described as Christian.

And I haven’t liked some of the Inspirational Christian novels I’ve read, because in getting rid of the praying and preaching, some authors have removed everything overtly Christian, leaving a story that could be published by anyone except for the fact there is no sex, violence or swearing. I like this in general market fiction, but if I’m buying from a Christian publishing house, I expect the book to be, well, Christian.

Yet there have been other inspirational novels I have enjoyed, although these are more likely to be thrillers than romance: perhaps because I can believe God not being front-and-centre of a murder investigation, but I can’t imagine leaving Him out of a romantic relationship.

Crossover Fiction

Crossover fiction is a relatively new term used to refer to novels written from a Christian world view (and often published by an ECPA-member publisher), but one that doesn’t specifically refer to Christianity. The characters may or may not be Christians, they won’t quote Bible verses and they won’t go to church. It’s not that they don’t ever, just that they don’t within the timeframe of the novel (or if they do, it’s a minor plot point). This may be another way of describing Inspirational fiction, or it may be a way for Christian publishers to market books they hope will appeal to a wider readership.

General Market Fiction

In On Moral Fiction, John Gardner rejects God who is the basis of our worldview and values, yet argues that good fiction is underpinned by some form of morality. Gardner then goes on to complain that “our serious novelists, like our painters and composers, are short on significant belief”, that “their works lack conviction”.

As a Christian, I see this as a contradiction in terms: you can’t throw God out of fiction then complain fiction has no significant belief, no conviction and no true morality. After all, “spiritual growth and the search for truth are also integral issues in human life, issues that are sometimes ignored altogether in general-market fiction” (Penelope J Stokes).

There are many Christian authors publishing in the general market whose “books reflect the reality of God and the depth of their own spiritual experience” (Penelope J Stokes). Examples include John Grisham, Mary Higgins Clark and Maeve Binchy.

And if we remember that as Christians we can only ever write with a Christian worldview, then maybe we will find a way into the general market, which might actually give us the opportunity to share the good news, (to paraphrase St Francis of Assisi) by preaching the gospel at all times, using words where necessary.

What do you think? What do you read? What market does your novel target?

Next week we will discuss the next step in defining your target audience: genre.

How to Write a Christian Novel: Defining Your Genre 3

Are you targeting the Christian market or the general market?

“Anything a Christian writes must reflect the truth of God’s account. If as a Christian we don’t write from a biblical worldview, we’re not portraying reality as it is.” Ann Tatlock

What is a biblical worldview? It the opposite of the post-modern view, which says that God is dead, we are a product of chance, reason alone will build a better society, there is no hope of life after death, and all paths lead to god . Penelope J Stokes defines Christian fiction as fiction that tells the truth. She goes on to comment that what we typically call Christian fiction is actually conservative evangelical fiction, which has not just an “acknowledgement of God, but a distinctly religious viewpoint, usually marked by the conversion of one or more characters”.

Christian Fiction (Evangelical)

The US-based Evangelical Christian Publishers Association require that books are consistent with their Statement of Faith (which is essentially the same as the Statement of Faith of the National Association of Evangelicals. American Christian Fiction Writers has a list of Recognized Publishers , which specifies that books must be written from a Christian world view, and must conform to the generally accepted standards of the CBA:

  • Main characters will be practicing Christians. Any character who isn’t (especially in a romance) is expected to have an on-page conversion during the course of the novel;
  • Christian characters do not gamble, play cards, drink alcoholic beverages or dance (although they might drink a little or dance in more ‘edgy’ contemporary stories). Love Inspired does not permit any mention of Halloween;
  • Conservative Christian values, but without mentioning a specific denomination;
  • No swearing;No strong violence, especially towards women;
  • Romantic relationships emphasise the emotional side of love rather than the physical (too much emphasis on the enjoyment of the physical will earn a Christian novel the ‘edgy’ tag, even if it’s no more than a kiss, yet there is an apparent contradiction in that Christian fiction may feature rape).

Some Christian novels tread close to the line in one of more of these traits, which is likely to earn them an ‘edgy’ tag. Others might consider ‘edgy’ to be more realistic: it’s a sad truth that Christians can still be victims of domestic violence or sexual assault, and it makes sense that our fiction should address these issues.

“We may have high and noble hopes of spreading the gospel to the world, but in most cases evangelical novels are read by other evangelicals; only rarely does a religious novel find an audience among the unconverted.” The exception might be Jewish author Chaim Potok: when asked why atheists and agnostics would read his novels but not read Christian fiction, he replied “Jewish authors do not proselytize.” Evangelical fiction certainly proselytizes. The conversion scene is a central focus, particularly in a romance which has a strong theme of not being unequally yoked with unbelievers.

What do you think? Should Christian fiction authors ‘preach to the choir’ or convert the masses?

Next week we will discuss the look at Inspirational, Crossover and General Market fiction.

2013 CALEB Conference and Book Doctor Promotion

The Caleb Conference will be taking place on 11 and 12 October at Riverglenn, Indooroopilly, Brisbane. The conference is arranged by Omega Writers, a group of Australasian writers writing faith-inspired work. You can find out more about Omega Writers and the Caleb Conference at the Omega website.

The format of the conference is a little different this year, as it’s the first year it has been organised by Omega Writers. The programme is currently being finalised, and looks exciting. Attendees will be able to choose from a range of sessions on writing, editing, publishing and marketing delivered by Christian writing and publishing experts across Australia and New Zealand. I’ll be leading two sessions on editing, one with Anne Hamilton, one of Australia’s top editors of Christian fiction.

There is also the opportunity for writers to get in-depth feedback in a Book Doctor session with an editor, either myself or Nola Passmore.

Friday night will be the annual CALEB dinner and award presentation. The CALEB Prize celebrates the best in Australasian Christian fiction, non-fiction, and poetry, and includes the Boom Prize (for writers aged under 21), and the unpublished manuscript prize (which includes publication by Even Before Publishing). I’m thrilled to have worked on three of the four books shortlisted for the fiction prize.

Book Doctor Sessions

I’m looking forward to the opportunity to meet one-on-one with authors during the conference in a half-hour Book Doctor session. These sessions are AUD 30 for Omega members (AUD 50 for non-members), which represents excellent value. I specialise in adult and young adult Christian fiction, as these are the areas in which I am most widely read, and therefore best able to give advice.  Nola Passmore is also offering sessions, and hers will be particularly valuable for those who write poetry, articles and devotions.

My sessions will be tailored to the requirements of each author, and could include:

  • A review of a portion of your manuscript, to identify areas to focus on in self-editing (e.g. point of view, dialogue tags, use of interior monologue);
  • A review of the synopsis of your completed or part-completed manuscript, to discuss developmental aspects such as plot and subplots, characterisation, and point of view; or
  • A conversation around potential genre, plot and characters for a proposed new project; and
  • Conversation and prayer around any issues you are facing as a writer.

All bookings are on a first-come, first-served basis. Once your session has been booked and approved, you are welcome to email me your synopsis or a sample of your manuscript. This will enable me to understand your writing style and prepare for our session, to ensure you gain the maximum value possible from our time together.

Please email advance materials to igoulton@christianediting.co.nz by 1 October 2013.

Conference Special

Christian Editing Services is offering a limited conference special: schedule a Book Doctor session with me at the CALEB Conference to discuss your adult or young adult novel, and I will give you a discount on your next manuscript assessment, content editing, copyediting or proofreading project. The discount will be 10% of the project fee, to a maximum of AUD 50. Projects must be booked by 1 December 2013, and submitted by 1 March 2014.

How to Write a Christian Novel: Defining Your Genre 2

Step One: What age group are you writing for?

The standard industry age categorisations are:

  • Middle Grade: approximately 8-12 years of age.
  • Young Adult: approximately 13-18 years of age
  • Adult: Over 18

Young Adult (YA) is not a genre: it is an age range, as is Middle Grade. Books for children and teenagers cross a range of genres, as do books for adults.

Middle Grade

Middle Grade targeted at readers approximately 8-12 years of age. They are solid readers, able to cope with chapter books with few or no illustrations, and some in-depth in plot and characterisation. The lead characters should be a year or two older than the target audience: if your hero is sixteen, it is likely that the book is Young Adult, not Middle Grade.

Middle Grade fiction for girls will often feature teenagers in their middle school or early high school years, and will focus on relationship issues (e.g. bullying, mean girls) or growing up issues (e.g. physical changes). Fiction for boys is more likely to be adventure-based, and will probably feature two or three protagonists. It may well have a main female character so it will appeal to girls as well (at this age, it seems that girls will read anything, but boys won’t read ‘girl books’).

Prominent Christian authors writing for this age group include Nancy Rue (Lily and Sophie books), Jerry B Jenkins (Left Behind: The Kids and Red Rock Mysteries). Newer authors include Evan Angler (dystopian fiction) and Jerel Law (speculative fiction). Both Angler and Law have a male protagonist and a female secondary lead, to appeal to both genders.

Young Adult

Young Adult novels are written for teenagers, although many adults purchase and read YA fiction (one study found that 55% of YA fiction is purchased by adults). The themes in young adult literature are often very anti-Christian, with a lot of paranormal elements, including vampires, werewolves, mermaids and witchcraft. Dystopian novels are also popular. Those YA novels that are set in the ‘real’ world are likely to promote lust over love and sex over abstinence, glamorise abusive relationships, or endorse politically-correct alternative lifestyles.

Plots are typically consistent with the age and experience of the main character, who is usually in their mid-to-late teens, and may deal with issues such as peer pressure, divorce, illness, alcohol or drug use, gangs, violence, sex, pregnancy, incest and rape. Needless to say, there is a lot of debate around the suitability of these topics to the age group, but supporters argue that reading about these social issues help readers deal with real-life challenges.

Melody Carlson is probably the best-known Christian author for girls in this age group. Most Amish novels and Christian historicals also feature girls in their late teens, and are suitable teenage reading even though they are nominally targeted at adults (I think this is one of the reasons I don’t like Amish fiction: I find it rather juvenile).

I’d like to be able to suggest some solid YA authors for boys, but had trouble finding any. Is this why Omega authors such as L D Taylor and Lynne Stringer are targeting this age group?

Adult

The standard genre classifications for adult fiction are:

  • Literary
  • Mystery, Thriller and Suspense
  • Religious & Inspirational
  • Romance
  • Science Fiction & Fantasy

There are numerous sub-classifications within all of these (and note that ‘Religious and Inspirational’ is not restricted to the Christian religion). We will go into more detail in future posts.

New Adult

New Adult is an emerging genre, featuring protagonists in their early to mid-twenties facing ‘new adult’ problems such as college, relationship issues, starting work or sharing a flat or apartment. New Adult novels are invariably contemporary: the concept doesn’t work as well in a historical context, because people were typically working and/or by this age, so there was no idea of a time between finishing school and taking on the full responsibilities of adulthood.

Are you clear what age group your novel is targeting?

Next week we will discuss the next step in defining your genre: market segment.

How to Write A Christian Novel: Defining Your Genre 1

As a reviewer and editor, I read a lot of fiction, mostly Christian fiction. I see a lot of the same mistakes over and over, especially from first-time authors. My intention with this series of articles is to address some of these common errors to enable fiction authors to improve their writing.

The first issue I want to address is genre. Books from traditional publishers fall into a range of defined genres, which enable readers to easily pick books they will like. The rise of self-publishing makes it more difficult for readers to understand what they are buying based on the brand of the publisher, and many self-published authors haven’t thought through what they are selling. What genre are they?

Before you begin writing your novel, you should know what genre you are writing in. The number one mistake of beginning writers in this area is to not consider genre at all. – Angela Hunt

I agree the first step in writing a novel is to consider your genre. This may be similar to the plotter vs. pantster debate: is it better to plot out the novel in advance, or to have only a broad idea and write by the seat of the pants? Do you need to understand your genre before you start writing, or will it become obvious as the story comes together?

Author Karen Baney maintains the importance of defining your target audience before you begin writing. It is tempting to say ‘my story is targeted at people aged 8-80’ (yes, I’ve seen that). What is more likely is that story isn’t designed to appeal to anyone. A good book may well appeal to people outside the target market (think of the number of adults who buy and read Young Adult fiction), but first you need to meet the needs of a target reader. This could be defined as some or all of:

  • Age;
  • Gender;
  • Religion;
  • Race;
  • Geographic location;
  • Education and occupation;
  • Hobbies and interests;
  • etc.

Can you describe your target reader in these terms? If not, try. If you can’t define your target audience, how will you sell your novel to a publisher? Or to readers? Genre underpins the publishing world:

  • Publishers publish by genre;
  • Agents acquire by genre;
  • Readers purchase by genre.

And readers review by genre. If a book doesn’t meet the expectations of the genre, you can expect low-star reviews with comments about not meeting expectations (I know. I’ve read many, and even written a few myself.) There are advantages to having a broad idea of your target audience before you begin.

Understanding your target reader will:

  • Provide insight into your target market, which will help with determining the most appropriate marketing strategy and developing your platform;
  • Inform some of your writing decisions, including the most appropriate point of view, the number of viewpoint characters, tense, voice, style and word count;
  • Help ensure you don’t stray off-topic as you write;
  • Inform the length of your story.

Whatever genre you write in, make sure you are widely read in that genre so that you know you are following the rules of the genre.

Future posts will cover each of these aspects of genre, starting next week with target age.

What do you write? And what do you read?

2013 CALEB Award Shortlist

I’m pleased to share the shortlist for the 2013 CALEB Awards, organised by Omega Writers, especially as I have worked with several of the authors. Congratulations, everyone!

The full shortlist is as follows:

Fiction

A New Resolution, Rose Dee

Contagious Hope, Debbie Roome

Henry’s Run, Amanda Deed

The Greenfield Legacy, Deed, Vince, Resce, Dee

Sarah’s Gift, Skye Wieland

 

Non-fiction

Youth Ministry on the Front Foot, Zachary Veron (ed)

The Heart of Marriage, Michael Hill

Teen Sex by the Book, Dr Patricia Weerakoon

Living Life at the Top, Paul Clark

Hardwired to Christ, Graeme Schultz

All In 2Night, Lynne Burgess

 

Biography

Soul Friend, Jo-Anne Berthelsen

Adventure with a Glass Eye, Julie Anita Raymond

William Booth and his Salvation Army, David Malcolm Bennett

Down Humdrum Street, Peter Clyburn

Silent Tears, Taikaawa Savage

Doctor Sahib, Elva Schroeder

 

Poetry

In God’s Hands, Lisa Limbrick

Taking Flight, Janette Fernando

Gestures of Love, Andrew Lansdown

 

Children

Wonderfully Madison, Penny Reeve

Marty’s Nut-Free Party, Katrina Roe

More than a Mouse, Penny Reeve

Attack at Shark Bay, Denis W Shuker

Adoptive Father, Kayleen West

Friends, Mark Hadley

 

Boom Prize

Ellie’s Dream, Jada Rolston

Feeding Sparrows, Aimee Reid

Galloping Friends, Hannah Austin

It Couldn’t Happen, Heidi Silsbee

 

Unpublished Manuscript

Adele Jones – Integrate

Cheryl Urek – Cappadocia

Elizabeth Greentree – Sally Hunt vs God

Elizabeth Klein – Ice Breath of the Earth

Janice Gillgren – It Wriggles and It Giggles

Jenny Glazebrook – Where the Heart Lies

LeAnn Orams – Ngaro: Valley of the Singing Stars

Linda Truss – History Changers

Peter Baade – Falcastra

Phillip McKerrow – The Adventures of Drip and Drop

Valerie Ling – I can’t wait to see you bloom!

For more information on Omega Writers and the CALEB Award, see the Omega website.

Dead Man’s Journey by Phillip Cook

Aaron decides to investigate when father goes missing during his daily run and is found, dead, twenty kilometres away from home—and missing a finger. The investigation leads him to suspect a link between his father’s death and the mysterious ‘vanishings’ of homeless men in Brisbane.

His investigation also leads him back to Mackenzie, his childhood best friend and the girl he left behind. He knows what Mackenzie believes about what happens when we die. She’s a Christian. He isn’t. But when Mackenzie vanishes, Aaron finds himself re-evaluating his beliefs about life and death, angels and demons—and God.

The story is a Christian thriller with a speculative/science fiction backdrop and a hint of romance. It is set in and around Brisbane, Australia, in the near future, has a well-constructed plot and a host of interesting characters (I particularly liked the group of homeless men for their humour). It’s an exciting story that kept me thinking ‘what’s going to happen next?’, and I wasn’t disappointed.

Dead Man’s Journey is Phillip Cook’s debut novel, and I will look forward to reading more of his work (and not just because I edited this. I really enjoyed it). Recommended for those who like Christian Speculative fiction by authors such as Frank Peretti, and for anyone who wants to support Australasian authors.

Truly Free by Carol Preston

Truly Free is the fourth and final book in the Turning the Tide series, in which Carol Preston writes fictional accounts based on her own family history (which explains some of the odd character names!). The story has been researched extensively, and that gives it  a sense of time and place that isn’t always present in historical fiction.

Bill has been found dead in mysterious circumstances, and granddaughter Betsy wants answers. In conjunction with her aunt Beth, Betsy finds there is a mystery to be solved, misunderstandings to clear up and major secrets to be revealed before everyone can truly be free.

The underlying theme of the story is freedom in Christ, and Betsy and her father, Nipper, are  the two most important characters in understanding this: Betsy, because she has  to forgive her father; and Nipper, because he has to understand the nature of
God in order to forgive himself and Betsy.

The Greenfield Legacy by Rose Dee, Amanda Deed, Meredith Resce and Paula Vince

Mattie’s life changed when her fiancé didn’t come back from Vietnam. She was forced to give up their baby daughter for adoption, and has never forgotten that despite her marriage to (and divorce from) Doug, the birth of her second daughter, Connie, and her successful management of the family vineyard, the Greenfield Estate. But now she has been contacted by the daughter she gave up.

Connie has always resented her mother for breaking up their family, but neither her husband, Dennis, nor her daughter, Brooke, understand her drive to succeed. When her mother calls and asks her to visit, she resists but goes at the insistence of Dennis and Brooke. But when Connie arrives, she finds more than she expected.

Brooke is currently studying fashion design, and it looks like this will be the fourth course she drops out of. She jumps at the chance to visit Grandma Mattie and the Greenfield Estate—and to reconnect with Aiden, the boy she left behind. But will their history be too much to get over?
Navy is Annette’s daughter, but hasn’t seen her mother since she abandoned their family years ago. Now Annette is ill and has asked to see Navy again, to reconnect with her daughter. When Navy arrives, she meets the grandmother she never knew she had—and a new aunt and cousin who are not pleased to meet her.

Four women, with four very different backgrounds, all related in some way to Annette, and all struggling to understand what those relationships mean. Will they be able to move past their issues to restore broken relationships and find love? The Greenfield Legacy is a fascinating mix of relationships and romance, with an underlying Christian message, and its’ share of humour.

At first I thought The Greenfield Legacy was going to be a four-in-one novella collection, but it isn’t. It’s a single novel, with each of the four points of view written by a well-known Australian Christian fiction author. I have to really congratulate them on how well the stories fit together – I was able to pick who wrote which bit (will you?), but if I hadn’t known, I would have thought it was all written by one person.