Flatlander Faith

Apologetics from an Anabaptist perspective

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The story arc

Have you ever read a book which follows the life of a main character, yet there doesn’t seem to be a story? This character does a variety of things, things good and bad happen to him or her, but they are just disconnected happenings without a point. Evidently, the writer had no idea how to fit it all into a story arc.

The story arc is the backbone of the story. The story begins with a central character who is facing some kind of trouble. He tries to find a way out of this trouble, but makes it worse. He continues to struggle to find a way to overcome this trouble, but it just compounds itself and gets worse and worse until it seems there is no possible way out. Finally, the central character gets hold of himself, faces his own weaknesses which have hindered him all along, faces the problem with courage he never had before and is victorious. The character has grown, the problem is overcome, and we have a story that grips our interest from start to finish.

This is not a newfangled modern concept. The stories in the Bible are prime examples of the story arc.

Moses is born in a time when Pharaoh has decreed that Israelite boy babies should not be allowed to live. His mother abandons him, but with a little help from his sister he is rescued by Pharaoh’s daughter and reunited with his mother until he is weaned. He grows up to be a prince of Egypt. Josephus tells us that he became a brilliant military commander. At the age of 40 his mind turns to the distress of the Israelites. He tries to help, but finds his help is not appreciated. But now he has crossed a line and can no longer stay in Egypt.

He flees to Midian and connects with a Midianite priest and shepherd. He marries this man’s daughter and spends the next 40 years caring for his father-in-law’s sheep in the Sinai peninsula. It seems that he keeps in sporadic contact with his brother and sister and is aware of the increasing oppression of the Israelite people. Then God appears to him in the burning bush and calls him to go back to Egypt to lead the Israelite people to freedom.

Moses balks at God’s call, claiming to be slow of speech. In the circumstances, the simplest explanation is that Moses could barely speak the Hebrew language. He had learned a little when he was very young, but never enough that the Israelites would believe that God had sent him to deliver them from bondage. God insisted and Moses went, with the support of his brother Aaron.

Moses has no difficulty speaking to Pharaoh and soon learns Hebrew so that he is no longer dependent on Aaron as his interpreter. But his repeated requests to let the Israelites go only increases Pharaoh’s oppression of them. The plagues of Egypt do nothing to make things better, until the death angel slays the firstborn of every Egyptian family. Then Pharaoh tells the people to go, and they get as far as the Red Sea which they have no means of crossing with all their people, possessions and livestock.

Pharaoh changes his mind and leads his army in hot pursuit. Here are the Israelites, trapped between the sea and an army with murder on its mind. Then God intervenes, placing a thick cloud between the Egyptians and Israelites and opening a passage through the Red Sea. The people walk through on dry land, with a wall of water on each side. Then God takes away the cloud and the enraged army charges after the Israelites. The wheels fall off their chariots and there is confusion and tumult. When the whole army is in the seabed, God lets the walls of water collapse, drowning the whole army. Moses has led the Israelites to freedom.

That is the classic story arc. Now, the Israelites were people just like us and one happy ending was not the end of the story. The Bible is full of story arcs like this. In fact, the Bible as a whole is one big, overarching story arc.

The stories in the Bible are about real people, people who are a bewildering mixture of strength and weakness, just like you and me. These stories reveal how God can use such weak, failure-prone people to accomplish His purposes. They are inspiring stories. And they are the ideal examples for us to study if we wish to learn how to write a gripping story.

Thoughts on the craft of writing

Image by eroyka from Pixabay 

Here are some reflections after reading books that were interesting and others that could have been interesting if the writer had known how to tell the story.

  1. Read books of the kind that you would like to write. You can’t be a writer if you are not a reader.
  2. Research thoroughly. What was the weather like, what trees and plants grew there, what did people have in their homes, what did they eat, what did they wear, what kind of work did they do, what were common religious and political themes, etc., etc.,
  3. Don’t tell your readers everything you learned. You are doing the research to avoid describing things that do not fit the time and place you are writing about. Count on it that some alert reader will notice if you do. But if you dump a pile of information in front of a reader they are apt to stop reading.
  4. Stick to one main point of view character and tell everything through her eyes and ears. It can work to have one or two other point of view characters, but that is enough. These are the people you want the reader to care about.
  5. There will probably be other major characters. Let the reader learn about them through their actions and their words. If you jump from one character’s point of view to another’s and then to another, your reader’s head will start to spin and she will put the book down.
  6. Start in the middle of the action. Show the dilemma and conflict your main character is facing. Slowly fill in information about how he got there as the story unfolds.
  7. Write for the reader, not yourself.
  8. Write every day.

The art is in knowing what to remove

Michelangelo, when asked how he managed to create such a lifelike sculpture of David out of a block of marble, replied “I just removed everything that was not David.”

Chaim Potok, who wrote novels such as The Chosen and My Name is Asher Lev, said something much the same: “I think the hardest part of writing is revising. And by that I mean the following: a novelist has to create the piece of marble and then chip away to find the figure in it.”

Half-baked writing

If I remember correctly, this happened 40 years ago when we moved into our house in Fullarton, Ontario. This was before the days of 220 volt plugs, I had to hard-wire the kitchen stove. Then wed put a couple of frozen pizzas into the oven to feed those who helped us move.

Pretty soon we were all sitting down, chatting and waiting for the pizzas to cook. It seemed to take a long time. I checked the oven; it was only warm. What was wrong?

I flipped the breaker, pulled the stove out, looked at the connections and decided I had fastened the wires to the wrong terminals. I unscrewed the clamps, switched the wires around, tightened the clamps, pushed the stove back into place and turned the breaker on. The aroma of cooking pizza wafted from the oven and soon we could have our lunch, just a little later than planned.

Well, I never pretended to be an electrician. I do pretend, however, to be a writer, though still in the learning stage. Half-baked writing has no more appeal to me than tepid pizza, and I’m sure readers feel the same. That’s why I am still studying how to get the connections right in my writing so that the story flows as it should.

The writing comes first

Self-publishing platforms and print on demand services have made it possible for every one of us to write and publish a book. easily and inexpensively. There are more books being published today than ever before; most of them sell about 100 copies. Those of us who aspire to do better than that are told that we have to put as much effort into marketing our book as we did in writing it. We need to make ourselves visible on all the social media platforms, use every marketing tool to get our books noticed.

Maybe that’s true. But Rejean Ducharme did none of that and his books flew off the shelves all over the French-speaking world. He never made public appearances, never gave interviews, only two photographs exist of him, from his younger years. He lived as an ordinary guy in Montreal, his friends and family respected his wishes and never talked about him to the media. When he was awarded literary prizes, his wife was the one who attended the events on his behalf. When publishers in Quebec rejected his manuscripts, he sent the manuscripts for three novels to Gallimard in Paris. They bought all three, published the first one in 1966 and published all his novels from that time on.

I confess that I have not read any of his books. Evidently he had fun with words, but that in itself would not sell a lot of books. The real key to his success, from all that I read about his books, is that his characters mirrored the aspirations, disappointments and experiences that make up the daily lives of the readers.

All the stories have already been written. We cannot come up with a unique plot that has not already been used by writers like Dickens, Dostoevsky and Dumas. What we have to do is write those stories in a way that lets the reader see something that they have never seen in quite that way before. The characters must not be wooden props to illustrate our narrative. The characters are the story, the reader must be able to experience their hopes, joys, sorrows, frustrations, defeats and victories.

Writing a believable story is not an abstract, theoretical exercise. Writers have described their work as bleeding onto the paper, or undressing in public. If we can delve into our experiences, the painful ones, the ones we never wanted anyone to know about, and weave them into our story, readers will find their own deep feelings compel them to continue reading. If our goal in writing is to help others, we cannot draw a privacy curtain around the things we are ashamed of in our own past. Whether we are writing memoir or fiction, the writing must flow from the heart to touch the reader’s heart.

Perhaps we do live in an era that requires writers to put more effort into marketing. But no amount of marketing is going to sell a dead horse; first we must ensure that the horse is alive.

I want to live until I die

Age segregation begins in schools. As schools get bigger and bigger it is more and more difficult for a child to relate to those outside her own age group. At the other end of life, retirement offers freedom, but it is freedom with no purpose. Retirees associate with other retirees and strive to keep themselves amused. Eventually they go into retirement homes, which isolates them still more from other age groups. Then they go to nursing homes. As more people require nursing home care, those places become larger and more impersonal. I believe this is a recipe for dementia.

I have painted a pretty bleak picture and we all know people who have stepped out of that flow and lived a meaningful life in their older years. The way people cope with the aging process is a personal choice. Many don’t know what else to do but be carried along with the flow. I don’t want to be in that number. I want to live until I die.

I want to feel that there is a purpose to my life, that I am doing something useful to others, even as I withdraw from the workforce. To accomplish that, I will need to maintain a healthy body, a healthy mind and a healthy heart.

To have a healthy body I need to keep physically active. That doesn’t happen naturally any more, it has to be a deliberate choice. Walking is the best way to keep active, it is low impact and stimulates the whole body. But where I live, for about half of the year it is not very inviting to go out for a walk. So I need a treadmill or a rebounder. Regular, vigorous exercise maintains the health of the heart, the lungs, and the brain.

Having a healthy mind also requires making the choice to exercise it. Doing puzzles and word games is one form of mental exercise, but that is not enough. To prevent my mind from becoming fossilized I need interaction with other people, especially people who do not see everything in exactly the way that I see it. That means children, youth, all ages, plus people of different backgrounds and different life experiences. I need to read books that stretch the mind and help me see the world from a new perspective.

Above all, I need a healthy heart, in the spiritual sense. To maintain the peace and joy of being a Christian also requires exercise. That includes reading and meditating on the Word of God, not just an assortment of favourite passages, but the whole thing, in order to get the whole picture of what God has to say. It includes prayer, not just for myself and my family, but for others — friends, acquaintances, those in authority and those who are not so friendly. That is a very healthy exercise, the more we pray for others, the harder it becomes to say nasty things about them.

As I become more serious about writing, I am challenged to convey my thoughts in a way that is provocative, informative, and sometimes humorous. I need to exercise myself to recognize and avoid trite statements, pat phrases and slogans that no one outside of my bubble will understand. Above all, I need to speak the truth in love, with compassion and without biting criticism.

As a writer, there are times when I need to be alone in my cave in order to get words onto paper. But in order to have words to write, to know what to write and how to write in a way that will interest somebody else, I need to get out of that cave and be with people, all kinds of people. I need to talk to people, listen to people, observe people. The best anti-aging treatment that I know of is people. People who jar my thinking out of its customary rut and help me see things and understand things I would not think of on my own.

A renewed commitment to writing well

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Image by yogesh more from Pixabay

I have always thought of myself as a writer, one who would get serious about writing at some moment in the future. If reading is part of the training for becoming an effective writer , then I have been in training all my life. One cannot learn to write effectively without noting how and why some people’s writing catches your attention and draws you in; and how you mind wanders to other things when trying to read the words of others.

I feel that the moment to get serious about writing has come, and the place to start is to pull up the memoir of my faith journey and put it through the refining fire. If I were to publish it as it is now it would probably sell a couple hundred copies to people who know me or know a little bit about me. That’s nice, but the real test of writing is whether it is interesting to people who know nothing about me.

Here are some thoughts on writing well that I am putting down as an aide-memoire to myself. I hope others might find something here to consider.

1. Forget the Sergeant Joe Friday approach: “Just the facts ma’am, just the facts.” That may have been an effective police interview technique 70 years ago, but it doesn’t work in story writing. Not even when writing my own story. I know the story, I’ve lived it, I remember it because it had an impact on my life. How can I make it grab the attention of a reader who knows nothing about me and make him care about the outcome?

2. Don’t preach, don’t moralize, don’t explain. Let the story tell the story. Animal Farm by George Orwell and The Machine Stops by E.M. Forster are two short books by British authors that make us think about our relationships with others. They are not Christian books, they don’t spell out any moral instruction, yet the messages are powerful.

3. Use simple words. A word with a single syllable is more powerful than one with six. Two adjectives to a noun cancel each other. Most adjectives and adverbs do more harm than good.

4. Eliminate jargon: Christian jargon or anything that is only understood by a certain group of people. It’s OK to use a little in dialogue to paint a picture of the character, but go easy.

5. Master the language you are writing in. Don’t use a word unless you are 100% sure of its meaning.

6. Respect the people you write about, whether real or fictional. Some of the people who appear in my memoir have made deplorable choices. That’s real life. People make choices that lead to unfortunate consequences and most don’t find their way home. That doesn’t mean they are stupid, or evil.

The power of small

In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made. In him was life; and the life was the light of men.

Thus begins the gospel of John in the Authorized Version. This is one of the most powerful paragraphs in the English language. There are 54 words, 50 of them are words of one syllable.

The wording of this statement can not be improved. There are layers of meaning here that would be submerged if we used longer words, or added adjectives and adverbs.

H. W. Fowler put it this way:

“It is a general rule that the short words are not only handier to use, but more powerful in effect; extra syllables reduce, not increase, vigour. This is especially so in English, where the native words are short, and the long words are foreign. . . . Good English does consist in the main of short words. There are many good reasons, however, against any attempt to avoid a polysyllable if it is the word that will give our meaning best; moreover the occasional polysyllable will have added effect  from being set among short words. What is here deprecated is the tendency among the ignorant to choose, because it is a polysyllable, the word that gives their meaning no better or even worse. Mr. Pecksniff, we are told, was in the frequent habit of using any word that occurred to him as having a good sound, and rounding a sentence well, without much care for its meaning. He still has his followers.”

From love of the long word, page 394, Fowler’s Modern English Usage,Second Edition, © 1965 Oxford University Press.

Note to myself

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I believe I know something that others should want to know, but telling is not a good way to get their attention.

What does he/she want to know? Why? What are the barriers to even considering the spiritual aspect of life? How do I help someone become interested in something he/she believes has no importance?

In writing, don’t insult the intelligence of the readers. They believe they have good and sufficient reasons for the way they believe. I have been where they are. What changed my way of seeing things? What made me want to see if I was missing something?

How can I take the reader along on that journey? What caught my interest, made me want to keep looking? When did doubts about the things I had always believed to be true begin to creep in? When did those doubts become stronger than my original beliefs?

What was the turning point, the climax of doubt, the need to find an answer?

It does not work to give someone the answer to a question that has never come to his mind. It didn’t work that way for me, why should I expect it to work with someone else? Sharing the gospel is not a matter of giving pat answers, but of asking questions–questions that will make others begin to ask their own questions.

The pen of the wise

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Image by Pexels from Pixabay

I begin every day by meeting God, first in His Word, then in prayer. My French Bible is on a shelf just above the computer monitor. Most often I read and hear gentle reminders of things I know, but which are always in need of reinforcement. The strength I receive from this quiet time helps me through the day, even if the words I read seldom come to mind.

Some mornings are different. It’s afternoon now and the message of Proverbs 15:2 is still turning around in my mind, like a cat looking for the most comfortable position to settle down. I have three French Bibles on that shelf, all translations I believe to be trustworthy. One word is different in two of them, but the sense is still the same: The tongue of the wise makes knowledge attractive.

Well, of course. That’s so obvious. I knew that already. But did I really? Have I really got it yet? Why do I so naturally slip into teachy-preachy mode, reproaching others for not understanding things that seem so obvious to me?

That’s why people love to read C. S. Lewis. It’s like sitting down to visit with an old friend about everyday things. After the visit, you realize you have learned something important, without ever feeling like you were being taught. There is nothing bombastic about his writing style; no hint of: “You need to listen to what I say because I am important.”

Blaise Pascal was like that, too. He set out to write a defence of Christian faith, knowing how difficult it would be: “People despise Christian faith. They hate it and are afraid that it may be true.  The solution for this is to show them, first of all, that it is not unreasonable, that it is worthy of reverence and respect. Then show that it is attractive, making good men desire that it were true. Then show them that it really is true. It is worthy of reverence because it really understands the human condition. It is also attractive because it promises true goodness.”

Pascal died young, before he could complete the book he wanted to write. All he left behind was scraps of paper on which he had written his thoughts. His friends collected those thoughts into a book; Les Pensées has become a classic of French literature on the same level as Pilgrim’s Progress in English.

I have four copies of Les Pensées (the thoughts) of Blaise Pascal, in French and in English. Each editor had his own idea of the way Pascal wanted his thoughts ordered. None of them agree. It doesn’t matter. Each time I read a few of those scraps of paper Pascal left behind I am struck with how simple Christian truth appears from his hand, his mind—and how profound.

And Wow! This is how it’s done. This is how one makes truth attractive.

Is possible for me to learn this?

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