For the first six years of my writing life, I didn’t know how to find the exact spot where a story sinks into a bottomless pit of darkness. Nobody around me could agree on which kinds of content deserved an R rating, and I wasn’t sure what my own stance should...
Some people write because they believe it’s their calling—others write for the sheer joy it brings them. In today’s episode, Daeus, Rose, and Martin share the values that drive each of them as authors and discuss the meaning of being “called” to write. They talk about...
In cheap secular entertainment, the value of faith is chronically underestimated and mischaracterized as either irrational belief without evidence or arbitrary adherence to a set of dogmas. On the other side of the spectrum, Christian novels and films sometimes flaunt a cleaned-up, Sunday-best version of faith that, to be fair, is not much of an improvement on mainstream media’s interpretation—which only exacerbates the problem.
A book that’s the clone of hundreds of others won’t capture or keep a reader’s attention. Every sentence—the flesh and muscle of a story—must glisten. The most legendary writers, like Ernest Hemingway and Virginia Woolf, are memorable because they honed their own idiosyncrasies into pleasing forms of expression. If you hope to write evocatively, you need to learn how to capitalize on any sentence length.
Strong women, as they’re portrayed in a lot of fiction and films, have a problem. They act like men (albeit hot men with curvy bodies and perfect hair, teeth, and nails). This bothers me, and it should bother you too, because we’re being fed a lie. Male and female perspectives each possess great worth, and both genders are vital aspects of the human experience. Neglecting one or the other in a story guts the truth’s potency.
You can’t avoid running into mythology, not when it plays a role in so many beloved stories—a few of which are probably on your favorites list. But does your faith give you a reason to feel guilty for enjoying or creating that kind of entertainment? Can writers who believe in the one true God justify the depiction of multiple deities, magical creatures, and mystical rituals? Or will those elements mock Him?
While I’m waiting, I am distilling neon signs in a drop of rain, nearby the rushing of the world’s many neurons, held by the weight of stillness: the back and forth and back of this daily game of hide-and-seek.