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Writing Believable Christian Fiction

How to Write a Novel | Writing Believable Christian Fiction

Writing believable Christian fiction, especially writing what David Bergsland calls Redemptive Christian fiction, relates back to two of the most oft-quoted pieces of writing advice: write what you know, and show, don’t tell.

Write what you know.

We can’t write with accuracy, authenticity or believablility about a topic we don’t know, whether that is art history, motor racing, SEAL team training, or anything else. And this has the potential to become an issue if we were to try and write about a level of Christian experience we don’t know about personally.

However, we serve a mighty God. I might not be able to write from experience about how a Christian suffering from depression receives healing and uses her experience to help others, I know a God who understands suffering. Who understands being in the dark places. Who understands hopelessness—and the hope Christ brings.

Prayer, therefore, must be the foundation of whatever we write as Christians.

We need to ask God to guide our writing. I’m not saying any of us should be so bold (or arrogant) as to say that our words are God’s words: unless we’re quoting the Bible, we can’t say that. But spending time in God’s presence will allow us to know Him better, and therefore to better reflect Him in our writing. Fiction or non-fiction.

Nor should we judge other writers who seem to be writing at a “lower” level. Their writing may be a reflection of their personal Christian experience, in which case it’s our privilege to pray that God will show them more, and bring them closer to Himself.

Or they may be writing at that “lower” level because that is the place God has called them to, and those are the people God has called them to write for. I see too many Christian writers publicly judging other Christian writers for their writing choices.

  • Authors writing for the Christian market judging authors who write for the general market.
  • Non-fiction authors judging fiction authors for writing “lies”.
  • Literary fiction authors judging genre fiction authors for writing populist crap (of course, they usually mange to find a politer way of expressing themselves).
  • Genre writers judging romance writers for feeding inappropriate desires.
  • Clean romance writers judging . . . the list goes on.

Unless we know with 100% certainty that a particular author is going against God’s call by writing whatever genre they are writing, then we should not judge. Even if we do believe they are in the wrong, our best approach is through prayer, that God will work in their lives to lead them towards Himself. Telling them they are wrong isn’t going to motivate them to change.

Which brings me to the second major problem with writing Christian fiction:

Show, don’t tell.

Yes, this is another of those oft-quoted pieces of writing advice. And the problem with a lot of Christian fiction is that it tells where it should be showing. To tell is simply poor writing craft.

But a lot of writers don’t know better. They tell, because they don’t know how to show.

This, I believe, is also a reflection of the way we live our Christian lives. The Bible says:

The LORD does not look at the things man looks at. Man looks at the outward appearance, but the LORD looks at the heart.
– 1 Samuel 16:7

It is an unfortunate reality that many modern churches unintentionally encourage and reward members for looking at the outward appearance. “Proper” Christians wear the right clothing styles—not too short, not too tight, and not too much visible skin. They don’t wear too much makeup (or they don’t wear makeup at all). The women don’t have short hair. The men don’t have long hair. The don’t have tattoos, especially not visible tattoos. Clothes are clean and pressed. Jewelry is tasteful.

We bring our Bibles to church. We drive nice cars. We live in nice houses. We have nice families. We say nice things. We never admit to having difficulties in our relationships with our spouse, our family, with God. We never admit to the financial pressure we are under because of the need to have nice things, the right car, a house in the right part of town. We never admit that we’re showing a sanitised version of our lives, that we curate social media to only show the nice parts. That we’re acting.

Yes, As Christians, we are the ultimate in method acting: we play the part of the good Christian because we’ve twisted Jesus’s words in Luke 6:45:

The good man brings good things out of the good stored up in his heart, and the evil man brings evil things out of the evil stored in his heart. For out of the overflow of his heart his mouth speaks.

Yet instead of focusing on attitudes, we focus on the behaviour and pretend to ourselves that our behaviour (and that of our children) reflects our attitudes. And too much Christian fiction makes this mistake: that because the characters are *acting* like Christians, they must *be* Christians.

So we, as authors are *showing* Christian behaviour, but true Christianity goes deeper than that.

It’s also about Christ-like thoughts and attitudes:

Taking captive every thought to be obedient to Christ
– 2 Corinthians 10

I suspect we ignore these underlying attitudes and motivations in fiction because we can’t or don’t see them play out in real life. No matter how well we know our friends (or even our spouse), we don’t know their every thought. We don’t know their deepest darkest secret (although we might suspect it).

But this is the enormous advantage fiction has over real life: as authors, we can use deep perspective point of view to show a character’s underlying attitudes and motivations. We can show their outward actions, and their inward attitudes.

This is where writing craft becomes vital for writing believable Christian fiction.

It’s easy to show outward actions. It’s not easy to show inward attitudes, and many writers slip into the trap of telling through character thought. That leads to writers “info dumping” Christianity into your fiction. That will inevitably come across as preachy. Instead, weave the character’s Christian faith throughout the story, through their actions as much as through their words and thoughts. As St Francis of Assisi said,

Preach the gospel at all times. When necessary, use words.

Remember as well that there is a market for “Christ-lite” fiction. Non-Christians, Seekers, and Backsliders are unlikely to want to read Redemptive fiction . . . at least, not until they’ve experienced Christ for themselves.

If God can use The Da Vinci Code to bring people to Christ (yes, I’ve heard He can), he can certainly use your book.

Best of the Blogs

Best of the Blogs | 5 August 2017

Best of the blogs—the best posts of the week on writing, editing, publishing, and marketing your book.

Writing

Opening Hook

How to Make a Grand Opening is a great post from Tina Ann Forkner visiting Writers in the Storm. We all know—as readers and as writers—that those opening paragraphs are vital. In this post, Tina explains what needs to be included. A lot—which is part of the reason they are so hard.

Show, Don’t Tell

We all know the rule: show, don’t tell. We even know why it’s bad. What can be harder to understand is the sometimes subtle difference between the two. In Showing Versus Telling: So SHOW Me Already! PJ Parrish visits The Kill Zone Blog to show us.

It’s long, with several examples, but it’s one of the best posts I’ve read on the subject.

Christian Fiction

Lee Tobin McClain addressed an important question for Christian writers at Inspy Romance: How Racy is Too Racy? She shows a before-and-after version of a scene from her new Love Inspired release. The editor queried the scene as being out of line with their standards. It didn’t seem that racy to me, but Love Inspired is known for their conservative storylines and content. What do you think?

Marketing

Book Marketing Checklist

Tim Grahl, author of Your First 1000 Copies and The Book Launch Blueprint, is back with another great freebie. The Book Marketing Checklist is a 45-page pdf download of (I imagine) pretty much everything you need to think about in marketing your book or books.

Yes, it’s a list. And I know some of you don’t like lists because they only tell you what you need to do, not how to do it. If that sounds familiar, I have a couple of suggestions:

  • Follow my blog on Feedly or your favourite RSS feed app, so you don’t miss any of my more detailed how-to posts.
  • Subscribe to my newsletter, so you’ll get a heads-up the next time I run my Kick Start Your Author Platform challenge (click here to subscribe).

Book Reviews

Jason B Ladd, author of Book Review Banzai, visits The Creative Penn to explain How to Get Book Reviews as an Unknown Author. He makes some great points (and I must read his book).

https://www.thecreativepenn.com/2017/07/29/how-to-get-book-reviews-as-an-unknown-author/

Facebook

I know next to nothing about Facebook advertising. The one thing I do know is that if you are using Facebook advertising, or intend to use it in the future, then you need to install the Facebook Pixel on your website.

If that’s gobbledegook to you, then you need to read this post from Social Media Examiner:

http://www.socialmediaexaminer.com/facebook-pixel-install-use-guide-for-marketers/

What are the best posts you’ve found this week on writing, editing, publishing, or marketing?

#AuthorToolboxBlogHop: Shaping the Diamond (Showing, not Telling)

Today I’m participating in a new venture: the first Author Toolbox Blog Hop. You can find more post by clicking the link, or find us on Twitter at #AuthorToolBoxBlogHop

Author Toolbox: Shaping the Diamond

Using Show, Don’t Tell to Engage Readers

Last week, we talked about interior monologue—a technique some writers overuse. This affects the pace of the story because it takes the reader away from showing the action into telling the character’s internal reaction. Remember: show don’t tell.

#AuthorToolboxBlogHop

Telling a story is the classic way of structuring a novel, but it is now considered outdated by publishers, and by readers:

There has been a drastic change in storytelling in the twentieth century… Writers need reminding that we’ve all had exposure to movies [and] television … a visual medium. Today’s readers have learned to see stories happening before their eyes. They tend to skim or skip long passages of description or narrative summary,
– Sol Stein, Solutions for Novelists: Secrets of a Master Editor

Therefore you need to show your reader the scene, rather than telling them about the scene.

Our readers want scenes and action, not to be told what happened through description and narrative summary (and narrative summary includes long passages of interior monologue, especially if it’s in the middle of a scene). Readers need to be able to see each scene, see what is happening:

A good scene will enrich character, provide necessary information to the audience and move the plot forward.
– Les Standiford, in The Complete Handbook of Novel Writing

Jack Bickham says:

Show, don’t tell. Don’t lecture your reader; she won’t believe you. Give her the story action, character thoughts, feelings, and sense impressions as the character would experience them in real life. There are four essential steps:
  • Selection of, and adherence to, a single character’s viewpoint
  • Imagining the crucial sense or though impressions that character is experiencing at any given moment
  • Presenting those impressions as vividly and briefly as possible
  • Giving those impressions to readers in a logical order

In other words, use deep point of view. Sol Stein gives a useful list of questions to review for each scene:

  • Is the scene described in terms of the action that takes place? If there is no action, there is no scene. The frequent fault of new fiction writers is that they unravel the thread of the story instead of keeping it taut like the gut strings of a tennis racket… Leave the reader in suspense.
  • Is each scene visible throughout so that the reader can see what is happening before his eyes? If the action is not visible, you are probably sliding into narrative summary of past events or offstage events.
  • The reader is not moved by the writer or a narrator telling him what one or another character feels. The reader is moved by seeing what is happening to the characters.
  • Which character in the scene do you have the most affection for? How can you make the reader feel affection or compassion for that character in this scene?
  • Is there a character in this scene who threatens the protagonist subtly or openly, psychologically or physically?

Browne and King apply the ‘show, don’t tell’ principle to the interior monologue and feelings of characters, where authors often use unnecessary adverbs or description to explain what a character is feeling:

This tendency to describe a character’s emotion may reflect a lack of confidence on the part of the writer. So when you come across an explanation of a character’s emotion, simply cut the explanation. If the emotion is still shown, then the explanation isn’t needed. If the emotion isn’t shown, rewrite the passage so it is.
– Renni Browne and Dave King, Self-Editing for Fiction Writers

Yes, it’s harder to show than to tell. But make the effort. Your readers will thank you.

Balancing Show vs. Tell

Scenes that show the reader what is happening are harder to write, so writers have a tendency to revert to narrative summary, which is telling. That is not to say that authors should eliminate all narrative summary:

Narrative summary has its uses, the main one being to vary the rhythm and texture of your writing … Just make sure you don’t use it when you should be showing rather than telling.
– Renni Browne and Dave King, Self-Editing for Fiction Writers

That’s not to say we should show everything. Yes, we should show everything that’s important. But not everything is important, and there are some things we don’t want to see up close. This is when we can increase narrative distance.

Using Narrative Distance

Narrative distance is the distance between the reader and the point of view character. There is little distance in deep perspective point of view (which tends to be showing). There is a lot of distance with cinematic or omniscient point of view (which tend to be telling).

Good writers know how and when to manipulate narrative distance to maximise reader engagement and prevent the story getting boring.

Imagine film in which the camera stays the same distance from the characters, never moving back or in. Boring, right? The same is true for fiction.
– David Jauss, On Writing Fiction

For example, a murder mystery necessarily includes a murder. But readers don’t necessarily need to see the murder take place. It might be enough to see the body, to give the reader some emotional distance from the violence, and allow us to focus on what’s most important in a murder mystery: solving the crime.

Handling point of view is much more than picking a person and sticking with it. It involves carefully manipulating the distance between narrator and character … to achieve the desired response from the reader.
– David Jauss, on Writing Fiction

Chekhov’s Gun

We also don’t need to see every insignificant action your character takes, every irrelevant thought he has. This means focusing on what’s important.

The more words you devote to an action (or a speech, or a thought), the more importance that action will have in the reader’s mind. This is the principle of Chekhov’s gun: if there is a gun on the mantelpiece in the first act, it should be fired by the third.

If your character is undertaking some mundane, routine action such as squeezing toothpaste onto his toothbrush, then the reader is expecting this to be relevant in some way. Maybe the maid cleaned the toilet with the toothbrush. Maybe there is poison in the toothpaste. Maybe his wife is being murdered in the next room, and he can’t hear over the sound of the running water.

If you’re mentioning mundane details, make sure they’re relevant to the plot. Give the reader the payoff they subconsciously expect. Otherwise, it’s best to tell:

The key is to show the intense scenes and tell the less important transitions (the narrative summary) between important scenes. As a guide, if what you are writing has the possibility of present-moment dialogue, it is a scene and should be written as such. If not, you’re in summary .
– Renni Browne and Dave King, Self-Editing for Fiction Writers

Revision and self-editing is about examining our rough diamond and working out how best to shape and cut the rough stone to produce a final product that will shine. How will we manipulate the reader experience through careful use of point of view? How will we get the proportions right in terms of showing vs. telling?

The way we shape our rough diamond at this stage determines the look and value of the final cut and polished product. If we want to maximise the impact of our rough stone, we need to shape to produce a brilliant cut. I’ll be back next week to talk about cutting. I’ll also have a special offer, so don’t miss it!

What’s your biggest challenge when it comes to showing, not telling?

Don’t forget to visit the main Author ToolBox Blog Hop page for more great writing advice.