Non-fiction explores what is true; fiction explores truth. The length of a novel allows a writer to break out of the sound-bite approach to complex issues and show the various shades of gray. If she does it skillfully, the reader even loses himself in the process of being edu-tained.
Character
A lovable character can hold interest every bit as well as fast-moving action.
Hesitate to name minor characters. The reader can hold only so many details in the memory. If we read about Kim and Judy having lunch together and the author tells us their waitress is Maria, we make a mental note: “I need to remember Kim, Judy, and Maria.” If Maria is unimportant to the plot, the author should leave her name out—unless she’s part of a red herring. Calling her a waitress allows her to fulfill her function in the scene and allows the reader to forget her. Generally in a narrative when an author names somebody, the reader thinks “I need to remember this.”
Use point-of-view to heighten tension. The Book of Ruth demonstrates what happens when a writer uses point-of-view to heighten tension. Remember the part in Ruth’s story when she goes down to the threshing floor to propose to Boaz? The author, under inspiration of the Spirit, writes, “[Boaz] awoke and behold! A woman was lying at his feet!” The reader already knows the woman is Ruth. Yet it’s so much better to say “a woman” than “Ruth,” because it helps readers see events from Boaz’s point of view. We can feel with him the surprise.
The same is true of Jacob’s wrestling match. We know his opponent is the Lord, but Jacob doesn’t. And the text describes events from Jacob’s point of view: “Then Jacob was left alone, and a man wrestled with him until daybreak” (Gen 32:24). Only later does our man Jake realize he’s gotten down and dirty with the Lord Himself and somehow prevailed.
Use limited point-of-view to capitalize on reader identification. As you’ve read the story of David and Bathsheba, have you ever wondered if she seduced him? Did she flirt? Bat her eyelashes? I suspect there’s a reason the author leaves us wondering. We’re supposed to see the story completely from David’s point of view. And David is 100 percent responsible for his choices, no matter what she is doing. (That means this: so are we.)
From the storyteller’s perspective, it doesn’t matter whether Bathsheba is a righteous woman taking a ritual bath or a little seductress flaunting her assets. Regardless of her actions, the king could and should have done better.
Use setting to communicate something greater than the place itself.Choose a setting that communicates something important. I’m not saying a writer should make the setting exotic, though that’s sometimes a good idea. I mean use the setting to make a statement.
Where is Jezebel when she kills the owner of the vineyard she covets? In Jezreel. Where is Jezebel years later when dogs snarf her up? In Jezreel. More than a decade later, we come back to the place where she committed her grandest injustice to watch her get what’s coming to her. And the fact that events end up where they do says something about God’s ultimate sovereignty, about His ability in the end to make all things right.
Where is Peter when he denies the Lord three times? By a fire. Where is Peter when Jesus gives him three chances to declare his love? Right—by a fire.
Where is Elisha when he raises the Shunnemite woman’s only son? At Shunem. Where is Jesus when he raises the widow of Nain’s only son? At Nain—right around the mountain from Shunem. The similarities in the miracles and locations are not lost on those present. The place shows them that a prophet better than Elisha has come.
Setting
When determining when a story is set, the writer isn’t limited only to past, present, and future. A futuristic story can happen long ago in a galaxy far, far away.
The message (women should be able to inherit, own land, marry whom they please) should submit to the story, not vice versa.
The reader respects the storyteller who crafts a big-surprise ending (especially if said reader realizes he or she should have seen it coming).
When people already know how the story turns out (the ship sinks), an intriguing subplot (where’s the necklace?) can keep the pages turning.
nix “with” phrases. (“She looked at him with a smile” becomes “She smiled at him” or even, when possible, “She smiled.”)
highlight “am,” “are,” “is,” “was,” “were,” and “being,” and to replace these with stronger verbs.
cross out “I remember” and dive right into the memory unless I want a level of distance between the reader and my story. So, for example, “I remember my dad taking me to Central Park when I was six” becomes “When I was six, my dad took me to Central Park.”
use odd rather than even numbers of phrases in a series (“I came, I saw, I conquered” [3] works better than “I came, I saw, I wanted, I conquered” [4]).
If you want to your characters to be compelling, give the “good guys” some weaknesses. Nobody’s perfect, so use “imperfection” to make characters believable and endearing.
Writing forces us to clarify what we believe.
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